Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

There is a long tradition of the study of Sikhism in Western academia. However, historiographical accounts still lack a clear vision of the early formation of the tradition. Rahuldeep Singh Gill, Associate Professor of Religion at California Lutheran University, addresses this lacuna in Drinking From Love’s Cup: Surrender and Sacrifice in the Vars of Bhai Gurdas Bhalla (Oxford University Press, 2017). Through a detailed analysis and lucid translation of the literary tradition of Bhai Gurdas Bhalla (d. 1636), the tradition’s most important poet, Gill challenges and critiques current modes of Sikh scholarship. Bhai Gurdas’ poetry shaped early Sikh theology and practice, providing an emotive lexicon for communal identity. Gill highlights some of the most important of Gurdas’vars in articulating key themes in his writing, including spiritual death, martyrdom, sacrifice, and divine love. These tropes often emerge in the context of relationships with Sikh leadership, such as the martyr Guru Arjan and his son Guru Hargobind. In our conversation we discussed the state of Sikh Studies, the founding tradition around Guru Nanak and the transformations that shaped Gurdas’ life, the Sikh canon and its broader textual landscape, Islamicate influences, the manuscript tradition, practices of feet veneration, scholarly orientalism, translational practices, and interfaith engagement. Kristian Petersen is an Assistant Professor of Religious Studies at the University of Nebraska Omaha. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Jackson Poetry Prize Winner Speaks Patricia Spears Jones has been writing poetry since she was twenty and then she was “good.” Today, the prolific poet is the winner of one of the most prestigious poetry prizes–the Jackson Poetry Prize. She has numerous published collections, and A Lucent Fire, New & Collected Poems (White Pines Press, 2015), is a report on the current state of everything. “Poetry is hard work,” Jones says. Yet the job of the poet is to say something that will matter, that can improve the daily and momentary experience of living and speak back to American capitalist business when it comes to gentrification, stolen history, and racist hatred. Rachel Levistsky of Bomb Magazine writes “Jones’s poems insist on making vibrantly possible American, black, female, queer, poor, jazz, assimilated, heroic, unemployed, crazy, displaced lives that, considering the constant assault on them, can appear merely endangered and precarious.” Additionally, A Lucent Fire croons with blues and gospel, on Cuban and opera. “Her poems are full of harmony, counterpoint, rhythm, songs, and a meticulous aesthetic,” says Linda Rodriguez of La Bloga. When asked “what is Poetry?” Spear Jones suggest checking out George Quasha’s wonderful video. Spears Jones is the author of Painkiller (Tia Chucha Press, 2010), Femme du Monde (Tia Chucha Press, 2006), and The Weather That Kills (Coffee House Press, 1995). She has been the recipient of numerous awards, fellowships and grants from the National Endowment for the Arts, the New York Foundation for the Arts, the Foundation for Contemporary Arts, the Goethe Institute, and the Bread Loaf Writers Conference. A resident of New York City since the 1970s, Spears Jones currently serves as a fellow of the Black Earth Institute and has long been involved with the Poetry Project at St. Mark’s Church. She has taught at Cave Canem, Parsons School of Design, The New School, Sarah Lawrence College, and Naropa University, and she currently teaches at CUNY. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Ever since their composition in the 13th century the poems of the Persian writer Rumi have enthralled millions of readers around the world. In Rumi’s Secret: The Life of the Sufi Poet of Love (Harper, 2017), Brad Gooch describes the life of their author and the path that took him from scholarship to poetry. The son of a scholar and cleric, Rumi traveled extensively as a child and enjoyed a wide-ranging education that prepared him for a life as a teacher and jurist. His meeting with the traveling mystic Shams of Tabriz transformed Rumi’s life, as he soon abandoned his education and responsibilities in favor of immersion into a life of aestheticism. As Gooch explains, it was this relationship which sparked Rumi’s development into the poet he became, as his deep and passionate relationship with Shams created a wellspring of emotions that were subsequently embodied in some of the most enduring verses ever written. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

There’s a phrase that sometimes comes up among those of us who love poetry. Its called the “heresy of paraphrase.” It’s from a book published in 1947 by Cleanth Brooks titled The Well Wrought Urn, but it captures an idea that goes back to Aristotle. And this is the idea: a poem–at least a good poem–is a finally crafted work of art, and the way its crafted, the way its words are structured, is intrinsic to its meaning. You can’t paraphrase a poem. You can’t say it really means or basically means this or that, like you can with other sorts of communication, without distorting it, because how a poem uses language is as important as what its language conveys. In a poem, form and content are inseparable. This view of poetry is the reason those of us who love poetry end up running to our bookshelves in the middle of a dinner party and pulling down our favorite poems and reading them aloud to our unsuspecting guests, because once you mention a poem you love, it doesn’t only feel inaccurate to say its about this or that, it feels like a kind of heresy, like your clumsy paraphrase is damaging it. And that’s exactly how I feel about the poet I’m interviewing today. Leia Penina Wilson’s new book is called i built a boat with all the towels in your closet (and will let you drown) (Red Hen Press, 2014). And if your ear or your mind popped a little when I said that title, that’s because even her titles are poetry. Here’s another title: “she eats his heart she has two hearts she doesn’t know which one to use she begins to call the second heart ‘little baby’ or ‘blitzkrieg.'” As you can hear, the sheer verbal energy, the grammatical verve and irreverent jolts, of her language are dazzling, surprising, unparaphrasable, and if you happened to find yourself at my house for dinner, you’d be hearing me read it over more than one glass of wine. Fortunately, we have her here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which, in spite of the geographical limitations implied by its name, appeared to invite artists from a variety of geographical loci and aesthetic backgrounds. Literature, Exile, Alterity focuses on seven founding members of the New York Group: Bohdan Boychuk, Yuriy Tarnawsky, Bohdan Rubchak, Zhenia Vasylkivska, Patricia Kylyna, Emma Andijevska, and Vira Vovk. Acquiring its shape during the 1950s and 1960s and actively participating in the cultural, social, and political dialogues during the subsequent decades, the New York Group expanded and eventually went rather far beyond its original core. Over the decades, the group also dispersed geographically; however, as Rewakowicz argues, it retained its aesthetic and philosophical essentials revolving around the notions of home/homeland, exile, the collaboration of the center and the periphery, political and social impetus of poetry, poetic forms and meanings they generate, etc. Rewakowicz contextualizes the New York Group from the viewpoint of the poets relationship with their native language(s): writing in Ukrainian was a conscious choice for the majority of the groups members. Language thus is presented not only in terms of creative enterprise but also in terms of political, social, and cultural negotiations. As the research attests, the members of the group situate themselves in opposition to Soviet Ukraine, to the mainstream culture (both in Ukraine and the US), and to the literary conventions supported by the literary establishments. From this perspective, the groups focus on linguistic choices and preferences marks a gesture toward re-inventing selves and poetry, re-negotiating selves and others, and disrupting the mainstream. In addition to the theoretical framework for the discussion of the New York Group phenomenon, Literature, Exile, Alterity also offers an exquisite analysis of the poetry. Rewakowicz illuminates the multilayeredness the poets embrace and presents the groups diverse poetic experimentations as the engagement with altered selves. Existential undertones that the poetic works lavishly comprise are discussed in the context of Western European modernism. In spite of the strong modernist influences that the works of the New York Group demonstrate, the researcher also initiates a discussion of the group in terms of the overlapping of modernism and postmodernism. Literature, Exile, Alterity contributes to the discussion of modern Ukrainian literature from the perspective of intercultural and interliterary connections and influences. Rewakowicz also engages in the conversation regarding diverse intricacies of literary developments. Maria G. Rewakowicz, poet, translator, literary scholar, teaches Ukrainian literature at Rutgers. She received a PhD in Slavic Studies from the University of Toronto. Rewakowiczs research interests include: Ukrainian language, culture, and literature; language politics, literature and identity construction; feminism and nationalism in post-Soviet space; women and gender issues in literature; Ukrainian migr poetry; exile and literature; postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

How do we mourn those we’ve lost? What are the rituals and rites that allow us to understand our loss? To feel the measure of it? To heal, if we need healing? To reach closure, if we need closure? For any of us who have had a loved one die, these questions are personal ones. Suddenly were faced with an emptiness we cant fill and, at the same time, an often overwhelming abundance of memory and emotion. And yet the questions are not only personal, because, when we become mourners, we fall back on the cultural practices of mourning that our society offers us. Here in America, visiting hours, funerals, eulogies, obituaries, and wakes are a few of the ways we reckon with our dead. Unsurprisingly, other cultures have other practices. In Madagascar, for example, the Malagasy people have a ritual called famadihana, where once every five or seven years families celebrate their ancestral crypts by exhuming the corpses and spraying them with wine or perfume. Its a celebration of their past, full of music and dancing, in which some of the living ask for blessing from the dead and others tell stories about them. As strange as such a ritual might seem to us, it also raises the question of whether our practices do our dead and ourselves justice? Is the way we mourn enough to help us through those we’ve lost? These are just the sort of questions, both personal and cultural, that Ashaki Jackson takes up in her poetry collection, Language Lesson (Miel Books, 2016). Inspired by the death of her grandmother, these poems begin on an intensely personal note, where loss is felt in the body and the bones. Gradually, that note deepens and expands to encompass other losses and other ways of mourning, eventually creating a poetic music that captures our collective losses and collects us in love. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

I had the pleasure of interviewing poet, Terence Degnan while he sat on a bench in Sunset Park, Brooklyn. For those unfamiliar, we refer to Sunset not as a park, but as a still slowly-morphing section of the borough. It is not difficult to find an entry point into Degnan’s writing, just as interactions with him can feel effortless.He understands the nuances of communication on and off the page and manipulates them into something familiar and comfortable. He is also a poet of such dedication that he went back in time to acquire a Gary Snyder quote for an epigraph, such perseverance that he drafted 300 poems to get down to the 30 or so that grace this collection, and such conviction that he lives his life as he lives his art. With the ambient noise of cars and people and the wind threatening rain, we spoke about the beauty of his collection Still Something Rattles (Sock Monkey Press, 2016), about trees, about lineage and language; we allowed the stimuli of what was happening around us to enter our conversation as we do our writings– all life is art in motion. The three sections of this , “Letters From Purgatory,” “Unicorn”and”Rome,”were written concurrently, but with three different minds. Degnan followed the trajectory of a piece or an idea until it was exhausted and then rebooted, reset and listened for the next internal cue. We learn quickly, in the first section, how the poet intends us to receive his work, even though he would resist the idea of a poet exerting will over a piece that has been released into the world. Maybe the poet is letting us know how he needs to be received: strange, you, revelation that my feral self stays here in the body’s trappings (how it pines to prowl) strange, you, boundaries you starry membranes that hold back prayer how the arrows ascend strange, strange this home yet this interloping bizarreness if you meet me tell me my name, point me to my loves which seem to be in each direction Degnan first discovered his love for poetry through Allen Ginsberg’s “Howl,”so it is not surprising that he says “language is the conglomerate” and it is important to resist our impulse for pleasantries. Talking about difficult things can be a form of bettering ourselves. Pick up this work by a poet who is at ease with himself, his writing, and the place that each inhabits in the world, as adversarial as that may be. The poet’s place is often one of friction, doubt, and constant shifting–for many, this is better than apathy, complacency, and stasis. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

What is the best way to be a feminist? What is the best way to be a poet, a musician, or a painter? As a woman, what is the best way to be a friend to other women? The very idea that these water marks of success exist, goes against the nature of being biased and beautifully flawed humans who have been formed and informed by our lived experiences. Humans do not fit into neatly framed boxes. We are messy, shape-shifters–we resist social constructs and sometimes we resist our very definitions of ourselves. Bashaar employs a colloquial cadence to bring the reader into a conversation about defining oneself outside of these relationships/schools of thought and then in terms of them. This isn’t some sisterhood bullshit, some wannabe salvation for Eve, some half-assed claim that before god grew a cock there was no war, because I know there is violence in all of us–don’t try to tell me I wouldn’t slice a thing open to watch it die I would be remiss if I didn’t call attention to one of the most noteworthy, non-craft aspects of this book: it has been made available, for free, for anyone to download, print out and keep forever. Bashaar and Agape Editions understand that art is important and granting access to arts is a responsibility that falls, partially, on the artist. Artists can circumvent the broad cuts to funding in public institutions. Publishers can provide access to under-served groups. We all can foster a culture that elevates the arts and humanities to a central space. We may not know the best way to be a feminist or a poet, but I think we are pretty damn close to finding the best way to be an artist and citizen when we give our labor to feed the culture’s need for connection through art. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

The “coming of age narrative” will never lose its allure because we are constantly drawn back to the moments that shaped us into the adults we are today. Nostalgia, many argue, is the most powerful human emotion. It not only memorializes eras but intermingles fact with memory and emotion we even remember the feelings memory elicits and the realities we longed for. In My Bedside Radio (Deadly Chaps Press, 2016), coming of age is informed by music that in turn, informed an entire decade. The musicality of the lines mimics the musicality of a 1970s adolescence. The speaker learns about love, relationships, and our national culture by juxtaposing what was taking place in his home with how music was responding to current events. There was no internet and no way to broadcast knee-jerk responses. Musicians and other artists had to take time to process and understand. Their “art as response” actually depicted a thought out and measured response. Coming of age stories will continue to take on many forms– we can only hope for more “poetic forms” as these. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry