New Books in Poetry

For the RtB Books in Dark Times series back in 2021, John spoke with Elizabeth Bradfied, editor of Broadsided Press, poet, professor of creative writing at Brandeis, naturalist, photographer.Her books include Interpretive Work, Approaching Ice, Once Removed, and Toward Antarctica. She lives on Cape Cod, travels north every summer to guide people into Arctic climes, birdwatches.Liz is in and of and for our whole natural world. Did poetry sustaining her through the darkest hours of the pandemic? What about other sources of inspiration?Mentioned in the episode: Eavand Boland, “Quarantine” (from Against Love Poetry; read her NY Times obituary here) Maeve Binchy, “Circle of Friends“ Sherwood Anderson, Winesburg, Ohio Edgar Lee Masters, Spoon River Anthology Louise Gluck Averno and Wild Iris Brian Teare, Doomstead Days Derek Walcott, “Omeros“ W. S. Merwin, “The Folding Cliffs” Natasha Trethewey, “Belloqc’s Ophelia“ Yeats, “We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.” Nest, Eggs and Nestlings of North American Birds (Princeton Field Guides) Trixie Belden Shel Silverstein Lois Lowry, “The Giver“ Liz equates poetry and Tetris Leanne Simpson, “This Accident of Being Lost“ Elizabeth Bradfield, “We all want to see a mammal“ Listen and Read Here: Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Today I talked to the translators of Marianna Kiyanovska's The Voices of Babyn Yar (HURI, 2022), Max Rosochinsky and Oksana Maksymchuk.With this collection of stirring poems the award-winning Ukrainian poet honors the victims of the Holocaust by writing their stories of horror, death, and survival in their own imagined voices. Artful and carefully intoned, the poems convey the experiences of ordinary civilians going through unbearable events leading to the massacre at Kyiv’s Babyn Yar from a first-person perspective to an effect that is simultaneously immersive and estranging. While conceived as a tribute to the fallen, the book raises difficult questions about memory, responsibility, and commemoration of those who had witnessed an evil that verges on the unspeakable.Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

"For me, there is something so solid and comforting in stone" says Sassan Tabatabai in our conversation, and in his poem "Firestones" the words roll, weigh and satisfyingly click together.FirestonesI was collecting rocks on the Cardiff coast,a testimony to centuries of siltleft on the shore, of sediment pressed into stone:sandstone, shale, tufa, travertine, jasper, flint.There was the stone that knew the sadness of the sea,that saved its secrets. It was pock-marked with holesand lay half-buried in sand eager to savethe ocean's spray, like tears, in its miniature pools.There was the stone that always rolled in place.It had rolled round and round with each wave,desperately trying to control the tide.The was the stone that shoe rings upon ringsplaced by the seas over the years,that kept time for the Pacific.There were stones that breathed sulfur,that sparked when they touched.Unremarkable in luster or shine, theywere the lovers of the ocean, firestoneswhose sparks were not dampened by salty waves(but they only made sense in pairs).And there was this one, more white,more brilliant, more polished than any stone.But it was once upon a shell;it needed centuries to become stone.It was a counterfeit firestone:it did not breathe sulfur, it could not make sparks.I traced my steps back along the Cardiff coastand the stones I returned to the sands.The ocean's secrets would be well-kept by the stones:its tears would be stored in pools,its tides kept in check,its years measured in rungs.But love itself I could not leave on the beach.I kept the firestones.Discussing this poem with Sassan, we touched on Scholar's stones came up and also Gerard Manley Hopkins's journals full of words/names.From here we moved to other poems and poems and Sassan's work in different languages (Persian, English), poetic traditions (haiku, Sufi poetry, ghazal) and activities (writing, translation, teaching). His dissertation on Persian poet Rudaki is mentioned. His "messy" practice across these many boundaries expresses a kind of playful profusion, ultimately rooted in sound, word, and the music of the lines.*Qazal*As a boy, I waited for the smile to appear in you.Listened for echoes of the sigh I could hear in you.You are the mirror where I have sought the beloved:Her hyacinth curls, a nod, a wink. a tear, in you.In the marketplace you can learn your future for a price.They are merchants of fate; I see the seer in you.What had been buried under the scriupture's weight,Its truth, without words or incense, becomes clear in you.They who bind you on the altar of sacrificeHide behind masks; don’t let them smell the fear in you.As I approach the house lit by dawn's blue light,Step by step, I lose myself, I disappear in you.We closed out our talk with a reading of Sassan's translation of David Ferry's "Resemblance" (also featured in episode 55), with the Persian and English stanzas alternating.Sassan's book Ferry to Malta will be out in April, and you can hear him read and discuss his work April 27th at Brookline Booksmith.Read the transcript here Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Today’s guest is Jessica Rosenberg, who is the author of a new book titled Botanical Poetics: Early Modern Plant Books and the Husbandry of Print (U Pennsylvania Press, 2022). An Assistant Professor of English at the University of Miami, Professor Rosenberg has contributed book chapters to Shakespeare and Hospitality and Ecological Approaches to Early Modern Literature and published articles on “The Poetics of Practical Address” in Philological Quarterly and “The Point of the Couplet” in ELH: English Literary History.Botanical Poetics, a wide-ranging study of print culture around poetry between the years 1568 and 1583, investigates the intersection of literary history and horticultural practice. The book includes new interpretations of Shakespeare’s sonnets and Romeo and Juliet, as well as George Gascoigne’s A Hundred Sundry Flowers and Isabella Whitney’s A Sweet Nosegay. Botanical Poetics offers a variety of fresh concepts for the study of early modern poetry such as “the ecology of small forms” and “slippery poetics.” Not least of all, this book explores what it meant to “read like a pig” in the 1570s.John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Since the late twentieth century, the Venetian courtesan Veronica Franco has been viewed as a triumphant proto-feminist icon: a woman who celebrated her sexuality, an outspoken champion of women and their worth, and an important intellectual and cultural presence in sixteenth-century Venice.In Veronica Franco in Dialogue (U Toronto Press, 2022), Marilyn Migiel provides a nuanced account of Franco’s rhetorical strategies through a close analysis of her literary work. Focusing on the first fourteen poems in the Terze rime, a collection of Franco’s poems published in 1575, Migiel looks specifically at back-and-forth exchanges between Franco and an unknown male author. Migiel argues that in order to better understand what Franco is doing in the poetic collection, it is essential to understand how she constructs her identity as author, lover, and sex worker in relation to this unknown male author.Veronica Franco in Dialogue accounts for the moments of ambivalence, uncertainty, and indirectness in Franco’s poetry, as well as the polemicism and assertions of triumph. In doing so, it asks readers to consider their ideological investments in the stories we tell about early modern female authors and their cultural production.Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women’s and gender studies, performance history, and the histories of diplomacy and sociality. Her publications have appeared in The Italianist and the Routledge Encyclopedia of the Renaissance World, with forthcoming research on the intersections across affect, masculinity, early modern poetics, and Baroque opera. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Today is a Different War (Arrowsmith Press, 2023) is Lyudmyla Khersonska's striking portrayal of life from inside war-torn Ukraine. Masterfully translated into English by Olga Livshin, Andrew Janco, Maya Chhabra, and Lev Fridman, no other volume of poems captures the duality of fear and bravery, anger and love, despair and hope, as well as the numbness and deep feeling of what it means to be Ukrainian in these unthinkable times. If you want to know what's in the heart of the Ukrainian people, look no further than this stunning volume of poems.Nataliya Shpylova-Saeed has a Ph.D. in Slavic languages and literatures (Indiana University, 2022). Her dissertation explores contested memory focusing on Ukraine and Russia. She also holds a Ph.D. in American literature (Taras Shevchenko Institute of Literature, National Academy of Sciences of Ukraine, 2007). Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

A century after being expelled from Portugal, cryptoJews in Mexico, false converts to Christianity, could not speak of their beliefs for fear of becoming embroiled in the imprisonment, torture, and death in flames that characterized the Inquisition. Without written texts, the Jewish liturgy lost, clans of cryptoJews created a unique body of religious poetry, connecting them to the Laws of Moses, seeking redemption from sin, or hoping for an escape from their embittered lives. The Carvajal clan was led by Luis el Mozo, an alumbrado, a mystic, and his Judaizing sisters. Once discovered to be secretly practicing Judaism, years of suffering at the hands of the Inquisitors were meticulously recorded in the transcripts of their long demeaning trials. The Carvajal's friends, spouses, children and grandchildren were implicated as Judaizers, with many being reconciled by the Church to secular authorities to be burned alive at massive public ceremonies. The burning of Luis and his sisters was the main attraction for cheering crowds at the auto de f of 1596 in Mexico City. The cruelty of the Inquisitors was matched by their attention to legal detail and testimonies made at trial. Buried within thousands of pages of transcripts, hiding in library special collections of rare books around the world are the only remnants of the religious poetry that sustained cryptoJews hiding in Mexico. Mark A. Schneegurt's Anthology of Religious Poetry from the Mexican Inquisition Trials of 16th-Century CryptoJews uncovers these hidden treasures. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Ellen O'Hara was a young immigrant from Ireland at the end of the nineteenth century who, with courage and resilience, made a life for herself in New York while financially supporting those at home. Hereafter: The Telling Life of Ellen O'Hara (NYU Press, 2022) is her story, told by Vona Groarke, her descendant, in a beautiful blend of poetry, prose, and history.In July 1882, Ellen O'Hara stepped off a ship from the West of Ireland to begin a new life in New York. What she encountered was a world of casual racial prejudice that characterized her as ignorant, dirty, and feckless, the butt of many jokes. From the slim range of jobs available to her she, like, many of her kind, found a position as a domestic servant, working long hours and living in to save on rent and keep. After an unfortunate marriage, Ellen determined to win financial security on her own, and eventually opened a boarding house where her two children were able to rejoin her.Vona Groarke builds this story from historical fact, drawing from various archives for evidence of Ellen. However, she also considers why lives such as Ellen's seem to leave such a light trace in such records and fills in the gaps with memory and empathetic projection. Ellen--scrappy, skeptical, and straight-talking--is the heroine of Hereafter, whose resilience animates the story and whose voice shines through with vivid clarity. Hereafter is both a compelling account of an incredible figure and a reflection on how one woman's story can speak for more than one life.Hal Coase is a PhD candidate at La Sapienza, University of Rome. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

For generations, the composition and recitation of poetry has been a key mode of expression among Bedouin populations in the Middle East, reflecting social norms, religious practices, relationships with the natural environment, and tribal histories and politics.In Words Like Daggers: The Political Poetry of the Negev Bedouin (Brill, 2022), Kobi Peled, Professor at Ben-Gurion University of the Negev, analyzes a corpus of poetry collected among the Bedouin of the Negev Desert over the past 100 years for themes of political resistance, dissidence, and reactions to the political changes facing the Negev Bedouin. The poems reveal how the Negev Bedouin responded to and perceived changes in state authority and rule from the late Ottoman period to the contemporary state of Israel. Peled argues that in addition to being a creative and artistic mode of expression, poetry and a close reading of Bedouin poetry can serve as a lens onto Bedouin worldviews, sentiments, and reactions to and participation in processes political formations and state-building undergone in the Negev region during the 20th century.Maggie Freeman is a PhD student in the School of Architecture at MIT. She researches uses of architecture by nomadic peoples and historical interactions of nomads and empires, with a focus on the modern Middle East. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry