Poetry Centered

Manuel Paul López curates poems that draw us into the nourishing mysteries of water. He shares Ofelia Zepeda’s evocation of moisture’s deep ties to people and land ("The Place Where Clouds Are Formed"), Li-Young Lee’s meditation on weeping and the gifts given by those we’ve lost ("'Why are you crying,' my father asked…"), and Quincy Troupe’s precise, tender visions of sunlight and sea ("The Point Loma Series of Haikus and Tankas"). López closes with "Green Water," his own meditation on "the wild taste of self-preservation."You can watch the full recordings of Zepeda, Lee, and Troupe reading for the Poetry Center on Voca:Ofelia Zepeda (2015)Li-Young Lee (2020)Quincy Troupe (2001)Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Poet and professor Evie Shockley introduces poems woven together by a subtle thread of committed attention to place and what happens there—the places of language, self, ancestry, and tragedy. She introduces Mónica de la Torre engaging with languages as wild topography ("Is to Travel Getting to or Being in a Destination"), Marilyn Chin uncovering the political territory of the self ("A Portrait of Self as Nation: 1990-1991"), and Nikky Finney channeling the ancestors into the present ("The Girlfriend's Train"). Shockley closes with poem that sits with the terrible resonances of place names turned into a catalog of violence ("les milles").Find the full recordings of de la Torre, Chin, and Finney reading for the Poetry Center on Voca:Mónica de la Torre (2008)Marilyn Chin (1996)Nikky Finney (2019)You can also watch a 2019 recording of Evie Shockley reading work commissioned as part of the Poetry Center’s Art for Justice series.Have you checked out the new Voca interface? It’s easier than ever to browse readings, and individual tracks can be shared. Many readings now include captions and transcripts, and we're working hard to make sure every reading will have these soon.Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Undisciplinary writer and translator JD Pluecker curates recordings that circle around themes of return, transformation, history, and the future. Pluecker introduces Joy Harjo finding what remains in the wreckage (“New Orleans”), Andrea Lawlor considering how one thing turns into another (excerpt from “Paul Takes the Form of a Mortal Girl”), and C.D. Wright turning herself into an ancestor (“Our Dust”). Pluecker closes by reading “Return Unsettlement,” which asks whether anything is ever quite gone or has ever quite arrived.Enjoy the full recordings of Harjo, Lawlor, and Wright reading for the Poetry Center on Voca:Joy Harjo (1987)Andrea Lawlor (2019)C.D. Wright (2000)You can also watch a recording of JD Pluecker reading in 2019 as part of the language experimentation collective Antena Aire, in collaboration with Myriam Moscona. Have you checked out the new Voca interface? It’s easier than ever to browse readings, and individual tracks can be shared. Many readings now include captions and transcripts, and we're working hard to make sure every reading will have these soon.Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Former U.S. Poet Laureate Juan Felipe Herrera shares poems that consider the questions, what exactly is poetry? What does it do? Herrera crafts an expansive answer to these questions through Marvin Bell’s reflection on poetry as philosophy (“The Poem”), Denise Levertov’s engagement with truth in sacred spaces (“The Day the Audience Walked Out on Me, and Why”), and Lorna Dee Cervantes’s assertion that poetry is the force and form of resistance (“From the Bus to E.L. at Atascadero State Hospital”). To close, Herrera shares his poem “For George Floyd, Who Was a Great Man,” a work that encapsulates humanity, compassion, action, and protest.  You can listen to the full recordings of Bell, Levertov, and Cervantes reading for the Poetry Center on Voca:Marvin Bell (1977)Denise Levertov (1973) Lorna Dee Cervantes (1991)You can also enjoy two recordings of Juan Felipe Herrera on Voca, from 1993 and 2009.Have you checked out the new Voca interface? It’s easier than ever to browse readings, and individual tracks can be shared. Many readings now include captions and transcripts, and we're working hard to make sure every reading will have these soon.Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Matthew Zapruder selects poems that employ the powers of song, memory, and imagination as points of reflection and comfort amidst the Russian invasion of Ukraine. He shares Adam Zagajewski conjuring a life lost to his family (“To Go to Lvov”), Gerald Stern recognizing the fortunate circumstances of his domestic and writing lives (“Lucky Life”), and Li-Young Lee traversing his own psychic landscape (“I Loved You Before I Was Born”). Zapruder closes by reading his “Poem for Passengers,” which celebrates public spaces and the momentary relief from differences they can afford.You can find the full recordings of Zagajewski, Stern, and Lee reading for the Poetry Center on Voca:Adam Zagajewski (1989)Gerald Stern (1983)Li-Young Lee (2020)You can also watch a reading by Zapruder for the Poetry Center from 2019.Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Khadijah Queen homes in on her selections by following three keywords through the archive: disobedience, Detroit, and joy. She introduces Rachel Zucker’s lecture on the confessional mode in poetry (“What We Talk About When We Talk About the Confessional and What We Should Be Talking About”), francine j. harris’s lyric dense with complicated emotions (“katherine with the lazy eye. short. and not a good poet.”), and Monica Sok’s poem of gentle power in the face of trauma (“The Woman Who Was Small, Not Because the World Expanded”). Queen closes by reading “Declination,” which approaches her chosen keywords through the lens of making art. Watch the full recordings of Zucker, harris, and Sok reading for the Poetry Center on Voca:Rachel Zucker, lecture (2016)francine j. harris (2015)Monica Sok (2020)You can also find a reading by Khadijah Queen on Voca, which was given in 2016.Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Sara Borjas introduces poems that focus on the connections between a particular, collective ‘us’—people connected by lineage or language, by place, or by the acts of writing and reading. She shares Layli Long Soldier’s exploration of wholeness and mother-daughter relationships (“WHEREAS her birth signaled…”), Juan Felipe Herrera’s centering of people and complexity (“Let Us Gather in a Flourishing Way”), and Richard Siken’s breaking of the fourth wall to implicate the reader (“Planet of Love”). To close, Borjas reads her poem “Narcissus Complicates an Old Plot,” a celebration of mothers and daughters, language, and community rooted in place.Watch the full recordings of Long Soldier, Herrera, and Siken reading for the Poetry Center on Voca:Layli Long Soldier (2017)Juan Felipe Herrera (2009)Richard Siken (2002)Transcripts for each episode are available here. Click on the episode title, then click on the transcript tab at the bottom of the player. Poems are transcribed as read and do not represent the published work.Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Chet’la Sebree leads us to acknowledge liminal spaces, those places that are not quite one thing or another, moments of transition and not-yet that have become so familiar to us throughout the pandemic. Sebree introduces Camille T. Dungy’s recognition that grief relentlessly intrudes on joy (“Notes on What Is Always with Us”), Brenda Shaughnessy’s reflection on the difficulties of understanding time (“Three Summers Mark Only Two Years”), and Ada Limón’s transformative rendering of relationships (“What I Didn’t Know Before”). Sebree closes with a new poem of her own on liminality, “Blue Opening.”  Watch the full recordings of Dungy, Shaughnessy, and Limón reading for the Poetry Center on Voca:Camille T. Dungy (2016)Brenda Shaughnessy (2005)Ada Limón (2018)Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Anthony Cody selects poems that ask hard questions about war, borders, gender, power, US history, and ourselves—questions asked in order to remind us of the discomfort necessary for change on individual and collective levels. Cody shares Pat Mora’s inversion of relationships between speaker and audience, pursuer and pursued (“La Migra”), Michael S. Harper’s use of staccato repetition to sear atrocity into memory (“A White Friend Flies in from the Coast”), and Diana García’s revelation of truths that span generations (Excerpts from “Serpentine Voices”). Cody closes with his translation of Juan Felipe Herrera’s “Dudo las Luces / I Question the Lights,” which draws attention to the forgotten in our political landscape.You can find the full recordings of Mora, Harper, and García reading for the Poetry Center on Voca:Pat Mora (1996)Michael S. Harper (1973)Diana García (2002)Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.

Wendy Xu curates poems that underscore the necessity of attention for the writing of poems, reminding us that to write is to think, to look, and to be present. She introduces James Tate on bending reality through attention to everything (“Rescue”), Mei-mei Berssenbrugge on the connection between the spiritual and the somatic (“Hello, the Roses”), and Joyelle McSweeney on being unafraid of excess (“Percussion Grenade”). Xu closes with her poem “Why Write,” which engages with the past as a living, risky force.You can find the full recordings of Tate, Berssenbrugge, and McSweeney reading for the Poetry Center on Voca:James Tate (1968)Mei-mei Berssenbrugge (2010)Joyelle McSweeney (2012)Full transcripts of every episode are available on Buzzsprout. Look for the transcript tab under each episode. Voca is now fully captioned, with interactive transcripts and captions available for all readings! Read more about the project here, or try out this new feature by visiting Voca.