Heather Bourbeau’s poetry and fiction appeared in 100 Word Story, Alaska Quarterly Review, The Kenyon Review, Meridian, The Stockholm Review of Literature, and SWWIM. She is the winner of La Piccioletta Barca’s inaugural competition and the Chapman Magazine Flash Fiction winner, and has twice been nominated for a Pushcart Prize. Her journalism has appeared in The Economist, The Financial Times, Foreign Affairs, and Foreign Policy. She was a contributing writer to Not On Our Watch: The Mission to End Genocide in Darfur and Beyond with Don Cheadle and John Prendergast. She has worked with various UN agencies, including the UN peacekeeping mission in Liberia and UNICEF Somalia. Her collection Some Days The Bird is a poetry conversation with the Irish-Australian poet Anne Casey (Beltway Editions, 2022). You can learn more about her here. Bourbeau’s latest collection Monarch (Cornerstone Press, 2022) is a vivid memoir in poem-collection form, bringing forgotten people and events that shaped California, Nevada, Oregon, and Washington from time immemorial to the present. Through her record-keeping and research, Bourbeau, an experienced journalist as well as poet, creates a regional history that counteracts the simple narratives we are told and taught. Combined with a 21-page bibliography and teaching guide, Bourbeau's Monarch invites us to move through the places we call home, particularly if they are in one of the four states featured, with more care and awareness of the past we may be erasing and the kind of future we'll create if we remaining in unknowing. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Content note: This episode contains discussions of violence, including rape and mutilationDerived from public testimonies at a UN-backed war crimes tribunal in Freetown, Testimony: Found Poems from the Special Court for Sierra Leone (Bucknell University Press, 202) is a remarkable poetry collection, which won the IBPA Benjamin Franklin Award (gold, poetry category), aims to breathe new life into the records of Sierra Leone’s decade-long civil war, delicately extracting heartbreaking human stories from the morass of legal jargon. By rendering selected trial transcripts in poetic form, Testimony finds a novel way to communicate not only the suffering of Sierra Leone’s people, but also their courage, dignity, and resilience. The use of innovative literary techniques, along with the author's own experience around the Special Court for Sierra Leone, works to share the voices of survivors of this violence across the world. A heartbreaking and ambitious book, Testimony will be of great interest to human rights, legal, and literary scholars alike.Testimony also includes an introduction that explores how the genre of “found poetry” can serve as a uniquely powerful means through which writers may bear witness to atrocity. This book’s unforgettable excavation and situating of survivor testimonies opens new possibilities for speaking about the unspeakable, and for thinking about the intersections between poetry, human rights, and history.Dr. Stephanie Stepakoff is a psychologist and human rights advocate whose research on the traumatic aftermath of war has appeared in such journals as Peace and Conflict and The International Journal of Transitional Justice. She holds an MFA from The New School and is completing a PhD in English at the University of Rhode Island. Prior to becoming a literary scholar, she was the psychologist for the UN-backed war crimes tribunal in Sierra Leone (2005-2007) and a psychologist/trainer for CVT (an NGO that focuses on survivors of politically motivated torture), first in Guinea and later in Jordan.Dr. Rine Vieth is a researcher studying how the UK Immigration and Asylum Tribunals consider claims of belief, how claims of religious belief are evidenced, and the role of faith communities in asylum-seeker support. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Artifice (Prototype, 2023), the debut collection by Lavinia Singer, is an exploration of the art of making. Its poems celebrate the artistry of craftsmanship: how works relate to beauty, and how they might inspire or ensnare. They consider issues of artificiality and authenticity, ‘the man-made’ and ‘the natural’. They warn of artfulness, in the sense of cunning or deception. And they wonder at the mystery of art and language, that which resolutely remains unknown or ineffable.For Artifice is as much riddle as revelation, stirring delight and discomfort as it delves into the nature of aesthetics and the creative process. How are works made and how do they make us, in turn? What worlds can be built from words? This book dwells in possibility, presenting an ambiguous space for contemplation, connection and, ideally, hope.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 her new poetry collection Suddenly We (Wesleyan UP, 2023), Evie Shockley mobilizes visual art, sound, and multilayered language to chart routes towards openings for the collective dreaming of a more capacious "we." How do we navigate between the urgency of our own becoming and the imperative insight that whoever we are, we are in relation to each other? Beginning with the visionary art of Black women like Alison Saar and Alma Thomas, Shockley's poems draw and forge a widening constellation of connections that help make visible the interdependence of everyone and everything on Earth.Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In 2021, the world commemorates the 80th anniversary of the massacres of Jews at Babyn Yar. The present collection brings together for the first time the responses to the tragic events of September 1941 by Ukrainian Jewish and non-Jewish poets of the Soviet and post-Soviet periods, presented here in the original and in English translation by Ostap Kin and John Hennessy. Written between 1942 and 2017 by over twenty poets, these poems belong to different literary canons, traditions, and time frames, while their authors come from several generations. Together, the poems in Babyn Yar: Ukrainian Poets Respond (HURI, 2022) create a language capable of portraying the suffering and destruction of the Ukrainian Jewish population during the Holocaust as well as other peoples murdered at the site.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

Please Make Me Pretty, I Don't Want to Die (Princeton UP, 2022) explores tactility, sound, sensuality, and intimacy. Set across the four seasons of a year, these fresh and original poems by Tawanda Mulalu combine an inviting confessional voice and offbeat imagery, and offer an appealing mixture of seriousness and humor.The speaker of these poems probes romantic and interracial intimacy, the strangeness and difficulty of his experiences as a diasporic Black African in White America, his time working as a teacher's assistant in a third-grade classroom, and his ambivalent admiration for canonical poets who have influenced him, especially Sylvia Plath. Juxtaposing traditional forms such as sonnets and elegies with less orthodox interjections, such as prose-poem "prayers" and other meditations, the collection presents a poetic world both familiar and jarring--one in which history, the body, and poetry can collide in a single surprising turn of image: "The stars also suffer. Immense and dead, their gasses burn / distant like castanets of antebellum teeth. My open window / a synecdoche of country." Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/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