Poetry For All

In this episode, we focus on the life and work of Carter Revard, an Osage poet whose medieval scholarship informs the structure of "What the Eagle Fan Says." Jessica Rosenfeld, a professor of medieval literature at Washington University in St. Louis, joins us for this discussion. Carter Revard was a prolific poet and scholar. To learn more about his work, click here. "What the Eagle Fan Says" was published in How the Songs Came Down (Salt Publishing, 2005). To learn more about accentual verse, read this brief treatment by poet Dana Gioia.

This sonnet reflects on the autumn of life and an intimate love, and it turns on that love growing stronger in and through its age, even as the body decays. To learn more about Shakespeare's sonnets, visit Folger Shakespeare page. Our favorite editions of Shakespeare's sonnets are edited by Colin Burrow and Stephen Booth. Sir Patrick Stewart's reading of Sonnet 73 is one of our favorites.

To learn more about Martín Espada, click here. To read the poem, click here. This is the first poem that appears in Floaters, the winner of the 2021 National Book Award. To purchase a copy of the book, click here. Photo credit: Lauren Marie Schmidt (cropped to fit dimensions)

In this episode, we discuss how Rafael Campo, a practicing physician, uses blank verse to explore the experience of illness and suffering. Thanks to the Georges Borchardt, Inc. for granting us permission to read this poem. You can find "Primary Care" in Alternative Medicine (Duke University Press, 2013). Links:Campo reads Primary CareCampo Author PageCampo at the Poetry Foundation

In this episode, we closely read Lisel Mueller's "When I am Asked" in order to better understand grief as a deep source of artistic expression. We look at language as a source of connection and hope, even in the midst of sorrow and solitude. With this poem about the making of poetry (an_ ars poetica_), we come to see how one artist turned to the intricacies of language in the face of a nature that seemed indifferent to her loss. "When I Am Asked" appears in Alive Together: New and Selected Poems, published by Louisiana State University Press (1996). Thanks to LSU Press for granting us permission to read this poem on the podcast. For the text of the poem, click here: "When I Am Asked" Note: When out of copyright, we reproduce the text of the poem ourselves. When still in copyright, we link to the text of the poem elsewhere. For more on Lisel Mueller, see the Poetry Foundation.

In this episode, we examine The Golden Shovel form and discuss the idea of "survivance" through the work of Muscogee (Creek) poet Joy Harjo, the 23rd Poet Laureate of the United States. You can find the text of "An American Sunrise" here, though this is an earlier version of the poem. The final version appears in her finished book of the same title, which you can find here. For an introduction to The Golden Shovel form, see here.Links:Joy Harjo Official Site - Joy HarjoAn American Sunrise by Joy Harjo | Poetry MagazineAn American Sunrise - Joy HarjoIntroduction: The Golden Shovel by Don Share | Poetry Magazine

In this episode, Christopher Hanlon joins us to discuss an excerpt from Walt Whitman's Leaves of Grass. We discuss the poem's prophetic voice, its patterns of repetition, the connective tissue that binds his ideas and invites readers in, and the cultural context in which Whitman produced his work. To read the text of this poem, click here or see below: To learn more about Walt Whitman and his work, visit the Walt Whitman Archive, a magnificent compendium of information about Whitman's life, cultural context, and editions of Leaves of Grass. To learn more about scholar Christopher Hanlon, click here. Text from Leaves of Grass: A child said What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be you are from old people, or from offspring taken, It may be if I had known them I would have loved them, soon out of their mothers' laps, And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

Lucille Clifton (1936-2010) was one of the most powerful poets of the twentieth century. This joyful poem caps a sequence of sixteen poems called "some jesus," which walks through biblical characters (beginning with Adam and Eve) and ends on four poems for Holy Week and Easter. She wrote other poems on the Bible as well, including "john" and "my dream about the second coming," which reimagine a way into biblical characters to make their stories fresh. Clifton wrote from the perspective of a Black woman and many of her most famous poems address race and gender. Clear-eyed about struggles and hardships, insistent in her calls for justice and equality, Clifton's poetry carries a consistent joy and hope, which is apparent (and abundant) in "spring song." Clifton's poetry was known for its lean style, paring everything down to its essential elements. In addition to award-winning collections of poetry, Clifton also wrote sixteen books for children (and had six children herself). For the text of "spring song," and for a recording of Lucille Clifton reading it, see The Poetry Foundation. For more on Lucille Clifton see her biography at The Poetry Foundation. For an introduction to Lucille Clifton, see the poem sampler "Lucille Clifton 101" by Benjamin Voigt.Links:spring song by Lucille Clifton | Poetry FoundationPoetry FoundationAbout Lucille Clifton | Academy of American PoetsLucille Clifton 101 by Benjamin Voigt | Poetry Foundation

We’re sharing a special preview of a podcast we’ve been enjoying, Talk Easy with Sam Fragoso, from Pushkin Industries. Talk Easy is a weekly interview podcast, where writer Sam Fragoso invites actors, writers, activists, and musicians to come to the table and speak from the heart in ways you probably haven't heard from them before. Driven by curiosity, he’s had revealing conversations with everyone from George Saunders and Cate Blanchett to Ocean Vuong and Gloria Steinem. In this preview, Sam talks with poet Claudia Rankine about her book Just Us: An American Conversation, how history remains present for black people, and why we must repeatedly unpack what privilege looks and sounds like in America. You can listen to Talk Easy at https://podcasts.pushkin.fm/tepoetryforall.Links:Home – Talk Easy with Sam Fragoso

In this episode, we look at Ben Jonson's elegy for his son who died of the plague at the age of 7. This poem is so brief, and yet, it manages to cross a lot of emotional terrain as Jonson struggles to understand the profundity of his loss. Here is the poem: On my First Son Farewell, thou child of my right hand, and joy; My sin was too much hope of thee, lov'd boy. Seven years tho' wert lent to me, and I thee pay, Exacted by thy fate, on the just day. O, could I lose all father now! For why Will man lament the state he should envy? To have so soon 'scap'd world's and flesh's rage, And if no other misery, yet age? Rest in soft peace, and, ask'd, say, "Here doth lie Ben Jonson his best piece of poetry." For whose sake henceforth all his vows be such, As what he loves may never like too much. To learn more about the magnificent Ben Jonson, check this page on the British Library website. To learn more about couplets, epigrams, elegies, and apostrophes, click this page on the Academy of American Poets website.