web01.fireside.fm Sat, 11 Apr 2026 00:17:20 -0500 Fireside (https://fireside.fm) Poetry For All - Episodes Tagged with “Eros And Desire” https://poetryforall.fireside.fm/tags/eros%20and%20desire Fri, 10 Apr 2026 16:00:00 -0400 This podcast is for those who already love poetry and for those who know very little about it. In this podcast, we read a poem, discuss it, see what makes it tick, learn how it works, grow from it, and then read it one more time. Introducing our brand new Poetry For All website: https://poetryforallpod.com! Please visit the new website to learn more about our guests, search for thematic episodes (ranging from Black History Month to the season of autumn), and subscribe to our newsletter. en-us episodic Finding Our Way Into Great Poems Joanne Diaz and Abram Van Engen This podcast is for those who already love poetry and for those who know very little about it. In this podcast, we read a poem, discuss it, see what makes it tick, learn how it works, grow from it, and then read it one more time. Introducing our brand new Poetry For All website: https://poetryforallpod.com! Please visit the new website to learn more about our guests, search for thematic episodes (ranging from Black History Month to the season of autumn), and subscribe to our newsletter. no poetry, poems, literature, teaching, education Joanne Diaz and Abram Van Engen vanengen@wustl.edu Episode 107: John Donne, The Sun Rising https://poetryforall.fireside.fm/107 77896b3f-220b-49c2-9ae0-529e48c9d9b8 Fri, 10 Apr 2026 16:00:00 -0400 Joanne Diaz and Abram Van Engen full 8 Joanne Diaz and Abram Van Engen This episode begins a three-part series on the "aubade," a poem to greet the morning (often by wishing the morning away). We discuss Donne's many wonderful techniques and even recite a little Romeo and Juliet. 26:15 no This episode begins a three-part series on the "aubade," a poem to greet the morning (often by wishing the morning away). We discuss Donne's many wonderful techniques and even recite a little Romeo and Juliet. Here is the poem: The Sun Rising By John Donne Busy old fool, unruly sun, Why dost thou thus, Through windows, and through curtains call on us? Must to thy motions lovers' seasons run? Saucy pedantic wretch, go chide Late school boys and sour prentices, Go tell court huntsmen that the king will ride, Call country ants to harvest offices, Love, all alike, no season knows nor clime, Nor hours, days, months, which are the rags of time. Thy beams, so reverend and strong Why shouldst thou think? I could eclipse and cloud them with a wink, But that I would not lose her sight so long; If her eyes have not blinded thine, Look, and tomorrow late, tell me, Whether both th' Indias of spice and mine Be where thou leftst them, or lie here with me. Ask for those kings whom thou saw'st yesterday, And thou shalt hear, All here in one bed lay. She's all states, and all princes, I, Nothing else is. Princes do but play us; compared to this, All honor's mimic, all wealth alchemy. Thou, sun, art half as happy as we, In that the world's contracted thus. Thine age asks ease, and since thy duties be To warm the world, that's done in warming us. Shine here to us, and thou art everywhere; This bed thy center is, these walls, thy sphere. https://www.poetryfoundation.org/poems/44129/the-sun-rising For more on Donne: https://www.poetryfoundation.org/poets/john-donne 17th century, aubade, rhymed verse, love, eros and desire This episode begins a three-part series on the "aubade," a poem to greet the morning (often by wishing the morning away). We discuss Donne's many wonderful techniques and even recite a little Romeo and Juliet.

Here is the poem:

The Sun Rising
By John Donne

           Busy old fool, unruly sun,
           Why dost thou thus,

Through windows, and through curtains call on us?
Must to thy motions lovers' seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.

           Thy beams, so reverend and strong
           Why shouldst thou think?

I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th' Indias of spice and mine
Be where thou leftst them, or lie here with me.
Ask for those kings whom thou saw'st yesterday,
And thou shalt hear, All here in one bed lay.

           She's all states, and all princes, I,
           Nothing else is.

Princes do but play us; compared to this,
All honor's mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world's contracted thus.
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

https://www.poetryfoundation.org/poems/44129/the-sun-rising

For more on Donne:
https://www.poetryfoundation.org/poets/john-donne

]]> This episode begins a three-part series on the "aubade," a poem to greet the morning (often by wishing the morning away). We discuss Donne's many wonderful techniques and even recite a little Romeo and Juliet.

Here is the poem:

The Sun Rising
By John Donne

           Busy old fool, unruly sun,
           Why dost thou thus,

Through windows, and through curtains call on us?
Must to thy motions lovers' seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court huntsmen that the king will ride,
Call country ants to harvest offices,
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.

           Thy beams, so reverend and strong
           Why shouldst thou think?

I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th' Indias of spice and mine
Be where thou leftst them, or lie here with me.
Ask for those kings whom thou saw'st yesterday,
And thou shalt hear, All here in one bed lay.

           She's all states, and all princes, I,
           Nothing else is.

Princes do but play us; compared to this,
All honor's mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world's contracted thus.
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere.

https://www.poetryfoundation.org/poems/44129/the-sun-rising

For more on Donne:
https://www.poetryfoundation.org/poets/john-donne

]]> Episode 73: Sor Juana Inez de la Cruz, Sonnet 189 https://poetryforall.fireside.fm/73 c6cee557-a504-4296-8547-9f99d8d8f020 Mon, 08 Jul 2024 08:00:00 -0400 Joanne Diaz and Abram Van Engen full 6 Joanne Diaz and Abram Van Engen In this episode, Professor Stephanie Kirk guides our reading of Sor Juana Inez de la Cruz’s “Sonnet 189.” Her scholarly insights help us to appreciate the nuances of Sor Juana’s poetry and her importance in her own lifetime and beyond. 24:41 no In this episode, Professor Stephanie Kirk guides our reading of Sor Juana Inez de la Cruz’s “Sonnet 189.” Her scholarly insights help us to appreciate the nuances of Sor Juana’s poetry and her importance in her own lifetime and beyond. Professor Kirk read Edith Grossman's translation of "Sonnet 189" from Sor Juana Inés de la Cruz: Selected Works (https://wwnorton.com/books/9780393920161). Copyright (c) 2014 by Edith Grossman. With permission of the publisher, W. W. Norton & Company, Inc. To learn more about Stephanie Kirk’s scholarship, you can click here (https://artsci.wustl.edu/faculty-staff/stephanie-kirk). Cover image: Miguel Cabrera, posthumous portrait of Sor Juana Ines de la Cruz, 1750. Museo Nacional de Historia, Mexico City, Mexico. Public domain. 17th century, sonnet, poetry in translation, Hispanic Heritage Month, Women’s History Month, World Poetry, love, eros and desire In this episode, Professor Stephanie Kirk guides our reading of Sor Juana Inez de la Cruz’s “Sonnet 189.” Her scholarly insights help us to appreciate the nuances of Sor Juana’s poetry and her importance in her own lifetime and beyond.

Professor Kirk read Edith Grossman's translation of "Sonnet 189" from Sor Juana Inés de la Cruz: Selected Works. Copyright (c) 2014 by Edith Grossman. With permission of the publisher, W. W. Norton & Company, Inc.

To learn more about Stephanie Kirk’s scholarship, you can click here.

Cover image: Miguel Cabrera, posthumous portrait of Sor Juana Ines de la Cruz, 1750. Museo Nacional de Historia, Mexico City, Mexico. Public domain.

]]> In this episode, Professor Stephanie Kirk guides our reading of Sor Juana Inez de la Cruz’s “Sonnet 189.” Her scholarly insights help us to appreciate the nuances of Sor Juana’s poetry and her importance in her own lifetime and beyond.

Professor Kirk read Edith Grossman's translation of "Sonnet 189" from Sor Juana Inés de la Cruz: Selected Works. Copyright (c) 2014 by Edith Grossman. With permission of the publisher, W. W. Norton & Company, Inc.

To learn more about Stephanie Kirk’s scholarship, you can click here.

Cover image: Miguel Cabrera, posthumous portrait of Sor Juana Ines de la Cruz, 1750. Museo Nacional de Historia, Mexico City, Mexico. Public domain.

]]> Episode 58: Richie Hofmann, Things That Are Rare https://poetryforall.fireside.fm/58 64c8466f-5156-4dfb-9f87-73d80b253c4b Mon, 27 Feb 2023 10:00:00 -0500 Joanne Diaz and Abram Van Engen full 5 Joanne Diaz and Abram Van Engen 23:57 no In this episode, we are delighted to have Richie Hofmann as our guest. Richie Hofmann is the author of two collections: Second Empire (https://www.alicejamesbooks.org/bookstore/second-empire) and A Hundred Lovers (https://www.penguinrandomhouse.com/books/689918/a-hundred-lovers-by-richie-hofmann/). His poetry has appeared in The New Yorker, The Atlantic, The Yale Review, and many other literary magazines, and he is the recipient of Ruth Lilly and Wallace Stegner fellowships. To learn more about Richie, visit his website (https://www.richiehofmann.com/). To learn more about Richie Hofmann's poetry and process, read Jesse Nathan's interview with Richie Hoffman in McSweeney's (https://www.mcsweeneys.net/articles/richie-hofmann). Richie Hofmann photo credit: Marcus Jackson 21st century, eros and desire, free verse, guest on the show, intimacy, lgbtqia month, night, sonnet In this episode, we are delighted to have Richie Hofmann as our guest. Richie Hofmann is the author of two collections: Second Empire and A Hundred Lovers. His poetry has appeared in The New Yorker, The Atlantic, The Yale Review, and many other literary magazines, and he is the recipient of Ruth Lilly and Wallace Stegner fellowships.

To learn more about Richie, visit his website.

To learn more about Richie Hofmann's poetry and process, read Jesse Nathan's interview with Richie Hoffman in McSweeney's.

Richie Hofmann photo credit: Marcus Jackson

]]> In this episode, we are delighted to have Richie Hofmann as our guest. Richie Hofmann is the author of two collections: Second Empire and A Hundred Lovers. His poetry has appeared in The New Yorker, The Atlantic, The Yale Review, and many other literary magazines, and he is the recipient of Ruth Lilly and Wallace Stegner fellowships.

To learn more about Richie, visit his website.

To learn more about Richie Hofmann's poetry and process, read Jesse Nathan's interview with Richie Hoffman in McSweeney's.

Richie Hofmann photo credit: Marcus Jackson

]]> Episode 57: Edna St. Vincent Millay, She had forgotten how the August night https://poetryforall.fireside.fm/57 f1897a32-32de-4b24-b625-3c2d78503a8a Tue, 14 Feb 2023 10:00:00 -0500 Joanne Diaz and Abram Van Engen full 5 Joanne Diaz and Abram Van Engen Edna St. Vincent Millay was the emblem of the "New Woman" and one of the most important American poets of the twentieth century. In this episode, we focus on a sonnet that showcases how Millay approached desire and eros in her poetry. 23:46 no She called herself Vincent, she smoked cigarettes, and she wore shimmery golden evening gowns when she read her poetry to sold-out crowds. Edna St. Vincent Millay was the emblem of the "New Woman" and one of the most important American poets of the twentieth century...but in years after her death, her literary reputation suffered, and only recently have critics and historians revisited and properly celebrated her work. In this episode, we focus on a sonnet that showcases the ways in which Millay approached desire and eros in her poetry. To learn more about Edna St. Vincent Millay and her life and times, take a look Burning Candles: The Life of Edna St. Vincent Millay, an informative documentary available on YouTube: https://www.youtube.com/watch?v=i9ItdEiBR-o&t=2901s Here is the poem: She had forgotten how the August night Was level as a lake beneath the moon, In which she swam a little, losing sight Of shore; and how the boy, who was at noon Simple enough, not different from the rest, Wore now a pleasant mystery as he went, Which seemed to her an honest enough test Whether she loved him, and she was content. So loud, so loud the million crickets’ choir. . . So sweet the night, so long-drawn-out and late. . . And if the man were not her spirit’s mate, Why was her body sluggish with desire? Stark on the open field the moonlight fell, But the oak tree’s shadow was deep and black and secret as a well. We so admire the podcast Poem Talk. In this episode, Al Filreis, Elisa New, Jane Malcolm, and Sophia DuRose offer a close reading of two more poems by Edna St. Vincent Millay: https://www.poetryfoundation.org/podcasts/155947/biologically-speaking-a-discussion-of-love-is-not-all-and-i-shall-forget-you-presently-by-edna-st-vincent-millay photo by Carl Van Vechten 20th century, eros and desire, modernism, night, repetition or refrain, rhymed verse, sonnet, summer, women's history month She called herself Vincent, she smoked cigarettes, and she wore shimmery golden evening gowns when she read her poetry to sold-out crowds. Edna St. Vincent Millay was the emblem of the "New Woman" and one of the most important American poets of the twentieth century...but in years after her death, her literary reputation suffered, and only recently have critics and historians revisited and properly celebrated her work.

In this episode, we focus on a sonnet that showcases the ways in which Millay approached desire and eros in her poetry.

To learn more about Edna St. Vincent Millay and her life and times, take a look Burning Candles: The Life of Edna St. Vincent Millay, an informative documentary available on YouTube: https://www.youtube.com/watch?v=i9ItdEiBR-o&t=2901s

Here is the poem:

She had forgotten how the August night
Was level as a lake beneath the moon,
In which she swam a little, losing sight
Of shore; and how the boy, who was at noon
Simple enough, not different from the rest,
Wore now a pleasant mystery as he went,
Which seemed to her an honest enough test
Whether she loved him, and she was content.
So loud, so loud the million crickets’ choir. . .
So sweet the night, so long-drawn-out and late. . .
And if the man were not her spirit’s mate,
Why was her body sluggish with desire?
Stark on the open field the moonlight fell,
But the oak tree’s shadow was deep and black and
secret as a well.

We so admire the podcast Poem Talk. In this episode, Al Filreis, Elisa New, Jane Malcolm, and Sophia DuRose offer a close reading of two more poems by Edna St. Vincent Millay: https://www.poetryfoundation.org/podcasts/155947/biologically-speaking-a-discussion-of-love-is-not-all-and-i-shall-forget-you-presently-by-edna-st-vincent-millay

photo by Carl Van Vechten

]]> She called herself Vincent, she smoked cigarettes, and she wore shimmery golden evening gowns when she read her poetry to sold-out crowds. Edna St. Vincent Millay was the emblem of the "New Woman" and one of the most important American poets of the twentieth century...but in years after her death, her literary reputation suffered, and only recently have critics and historians revisited and properly celebrated her work.

In this episode, we focus on a sonnet that showcases the ways in which Millay approached desire and eros in her poetry.

To learn more about Edna St. Vincent Millay and her life and times, take a look Burning Candles: The Life of Edna St. Vincent Millay, an informative documentary available on YouTube: https://www.youtube.com/watch?v=i9ItdEiBR-o&t=2901s

Here is the poem:

She had forgotten how the August night
Was level as a lake beneath the moon,
In which she swam a little, losing sight
Of shore; and how the boy, who was at noon
Simple enough, not different from the rest,
Wore now a pleasant mystery as he went,
Which seemed to her an honest enough test
Whether she loved him, and she was content.
So loud, so loud the million crickets’ choir. . .
So sweet the night, so long-drawn-out and late. . .
And if the man were not her spirit’s mate,
Why was her body sluggish with desire?
Stark on the open field the moonlight fell,
But the oak tree’s shadow was deep and black and
secret as a well.

We so admire the podcast Poem Talk. In this episode, Al Filreis, Elisa New, Jane Malcolm, and Sophia DuRose offer a close reading of two more poems by Edna St. Vincent Millay: https://www.poetryfoundation.org/podcasts/155947/biologically-speaking-a-discussion-of-love-is-not-all-and-i-shall-forget-you-presently-by-edna-st-vincent-millay

photo by Carl Van Vechten

]]> Episode 56: Queen Elizabeth, On Monsieur's Departure https://poetryforall.fireside.fm/56 efb6ae5e-f65e-4d7c-82d0-0ed427eceb06 Tue, 31 Jan 2023 12:00:00 -0500 Joanne Diaz and Abram Van Engen full 5 Joanne Diaz and Abram Van Engen Queen Elizabeth I (1533-1603) was one of the longest-reigning monarchs in all of British history, but she was also a gifted poet. In this episode, we discuss "On Monsieur's Departure," a poem that is inspired by Petrarchan conventions and gives insight into the public and private selves of a powerful queen. 18:46 no Queen Elizabeth I (1533-1603) was one of the longest-reigning monarchs in all of British history, but she was also a gifted poet. In this episode, we discuss "On Monsieur's Departure," a poem that is inspired by Petrarchan conventions and gives insight into the public and private selves of a powerful queen. (For the text of the poem, scroll to the bottom.) In this episode, we attempt to describe the magnificence of some of Queen Elizabeth's portraiture. To learn more, visit the National Portrait Gallery of London (https://www.npg.org.uk/collections/research/programmes/making-art-in-tudor-britain/case-studies/the-queens-likeness-portraits-of-elizabeth-i): To learn more about Petrarch and his poems that were such an enormous influence on English poets of the sixteenth century, please read this book (https://www.hup.harvard.edu/catalog.php?isbn=9780674663480&content=toc), which provides Petrarch's original poems in Italian and Robert Durling's stunning translations into English. To learn more about what it meant to "fashion a self" in the Renaissance, see Stephen Greenblatt's foundational work on this idea (https://press.uchicago.edu/ucp/books/book/chicago/R/bo3680145.html) . On Monsieur’s Departure BY QUEEN ELIZABETH I I grieve and dare not show my discontent, I love and yet am forced to seem to hate, I do, yet dare not say I ever meant, I seem stark mute but inwardly do prate. I am and not, I freeze and yet am burned, Since from myself another self I turned. My care is like my shadow in the sun, Follows me flying, flies when I pursue it, Stands and lies by me, doth what I have done. His too familiar care doth make me rue it. No means I find to rid him from my breast, Till by the end of things it be supprest. Some gentler passion slide into my mind, For I am soft and made of melting snow; Or be more cruel, love, and so be kind. Let me or float or sink, be high or low. Or let me live with some more sweet content, Or die and so forget what love ere meant. 16th century, eros and desire, love, rhymed verse, women's history month Queen Elizabeth I (1533-1603) was one of the longest-reigning monarchs in all of British history, but she was also a gifted poet. In this episode, we discuss "On Monsieur's Departure," a poem that is inspired by Petrarchan conventions and gives insight into the public and private selves of a powerful queen.

(For the text of the poem, scroll to the bottom.)

In this episode, we attempt to describe the magnificence of some of Queen Elizabeth's portraiture. To learn more, visit the National Portrait Gallery of London:

To learn more about Petrarch and his poems that were such an enormous influence on English poets of the sixteenth century, please read this book, which provides Petrarch's original poems in Italian and Robert Durling's stunning translations into English.

To learn more about what it meant to "fashion a self" in the Renaissance, see Stephen Greenblatt's foundational work on this idea .

On Monsieur’s Departure
BY QUEEN ELIZABETH I

I grieve and dare not show my discontent,
I love and yet am forced to seem to hate,
I do, yet dare not say I ever meant,
I seem stark mute but inwardly do prate.
I am and not, I freeze and yet am burned,
Since from myself another self I turned.

My care is like my shadow in the sun,
Follows me flying, flies when I pursue it,
Stands and lies by me, doth what I have done.
His too familiar care doth make me rue it.
No means I find to rid him from my breast,
Till by the end of things it be supprest.

Some gentler passion slide into my mind,
For I am soft and made of melting snow;
Or be more cruel, love, and so be kind.
Let me or float or sink, be high or low.
Or let me live with some more sweet content,
Or die and so forget what love ere meant.

]]> Queen Elizabeth I (1533-1603) was one of the longest-reigning monarchs in all of British history, but she was also a gifted poet. In this episode, we discuss "On Monsieur's Departure," a poem that is inspired by Petrarchan conventions and gives insight into the public and private selves of a powerful queen.

(For the text of the poem, scroll to the bottom.)

In this episode, we attempt to describe the magnificence of some of Queen Elizabeth's portraiture. To learn more, visit the National Portrait Gallery of London:

To learn more about Petrarch and his poems that were such an enormous influence on English poets of the sixteenth century, please read this book, which provides Petrarch's original poems in Italian and Robert Durling's stunning translations into English.

To learn more about what it meant to "fashion a self" in the Renaissance, see Stephen Greenblatt's foundational work on this idea .

On Monsieur’s Departure
BY QUEEN ELIZABETH I

I grieve and dare not show my discontent,
I love and yet am forced to seem to hate,
I do, yet dare not say I ever meant,
I seem stark mute but inwardly do prate.
I am and not, I freeze and yet am burned,
Since from myself another self I turned.

My care is like my shadow in the sun,
Follows me flying, flies when I pursue it,
Stands and lies by me, doth what I have done.
His too familiar care doth make me rue it.
No means I find to rid him from my breast,
Till by the end of things it be supprest.

Some gentler passion slide into my mind,
For I am soft and made of melting snow;
Or be more cruel, love, and so be kind.
Let me or float or sink, be high or low.
Or let me live with some more sweet content,
Or die and so forget what love ere meant.

]]> Episode 6: Jen Bervin, Nets https://poetryforall.fireside.fm/6 8c263901-1c92-4a2b-8825-e8d4380cdf64 Tue, 06 Oct 2020 11:00:00 -0400 Joanne Diaz and Abram Van Engen full 1 Joanne Diaz and Abram Van Engen In this episode we learn about erasure poetry and poetic tradition by looking at Jen Bervin's incredible book NETS, created from the sonnets of Shakespeare. 19:13 no In this episode we learn about erasure poetry and poetic tradition by looking at Jen Bervin's incredible book NETS, composed of erasure poems created from the sonnets of Shakespeare. The erasures are extraordinary--short and moving--and you'll never see Shakespeare the same way again. We also discuss poetic traditions, and the idea of writing into and over top of what has come before. For an important essay on the political implications of erasure poetry, please see "The Near Transitive Properties of the Political and Poetical: Erasure (http://www.thevolta.org/ewc28-ssharif-p1.html)" by Solmaz Sharif. For more on Jen Bervin, please visit her website: http://jenbervin.com/ Special thanks this week to Ugly Duckling Presse for giving us permission to read Bervin's poetry aloud. "18" "63" and "64" by Jen Bervin were first published in Nets (Ugly Duckling Presse, 2009). To purchase Nets please visit Ugly Duckling Presse (https://uglyducklingpresse.org/publications/nets/). 21st century, erasure, eros and desire, grief and loss, intimacy, women's history month In this episode we learn about erasure poetry and poetic tradition by looking at Jen Bervin's incredible book NETS, composed of erasure poems created from the sonnets of Shakespeare. The erasures are extraordinary--short and moving--and you'll never see Shakespeare the same way again. We also discuss poetic traditions, and the idea of writing into and over top of what has come before.

For an important essay on the political implications of erasure poetry, please see "The Near Transitive Properties of the Political and Poetical: Erasure" by Solmaz Sharif.

For more on Jen Bervin, please visit her website: http://jenbervin.com/

Special thanks this week to Ugly Duckling Presse for giving us permission to read Bervin's poetry aloud. "18" "63" and "64" by Jen Bervin were first published in Nets (Ugly Duckling Presse, 2009).

To purchase Nets please visit Ugly Duckling Presse.

Links:

]]> In this episode we learn about erasure poetry and poetic tradition by looking at Jen Bervin's incredible book NETS, composed of erasure poems created from the sonnets of Shakespeare. The erasures are extraordinary--short and moving--and you'll never see Shakespeare the same way again. We also discuss poetic traditions, and the idea of writing into and over top of what has come before.

For an important essay on the political implications of erasure poetry, please see "The Near Transitive Properties of the Political and Poetical: Erasure" by Solmaz Sharif.

For more on Jen Bervin, please visit her website: http://jenbervin.com/

Special thanks this week to Ugly Duckling Presse for giving us permission to read Bervin's poetry aloud. "18" "63" and "64" by Jen Bervin were first published in Nets (Ugly Duckling Presse, 2009).

To purchase Nets please visit Ugly Duckling Presse.

Links:

]]> Episode 4: Shakespeare, Sonnet 18 https://poetryforall.fireside.fm/4 2894d036-d0b3-4e4e-a25f-68e7a6c0d18a Tue, 22 Sep 2020 09:00:00 -0400 Joanne Diaz and Abram Van Engen full 1 Joanne Diaz and Abram Van Engen In this episode we introduce listeners to one of the most resilient forms in English-language poetry: the sonnet. And we do it with one of the most famous sonnets Shakespeare wrote. 16:12 no In this episode we introduce listeners to one of the most resilient forms in English-language poetry: the sonnet. And we do it with one of the most famous sonnets Shakespeare wrote. For the sonnet in full, see https://www.poetryfoundation.org/poems/45087/sonnet-18-shall-i-compare-thee-to-a-summers-day For helpful works on Shakespeare's sonnets, see: Stephen Booth's edition of Shakespeare's Sonnets (https://www.amazon.com/Shakespeares-Sonnets-Yale-Nota-Bene/dp/0300085060) and Helen Vendler's edition of Shakespeare's Sonnets (https://www.amazon.com/Art-Shakespeares-Sonnets-Helen-Vendler/dp/0674637127). 17th century, eros and desire, love, rhymed verse, sonnet, summer In this episode we introduce listeners to one of the most resilient forms in English-language poetry: the sonnet. And we do it with one of the most famous sonnets Shakespeare wrote.

For the sonnet in full, see https://www.poetryfoundation.org/poems/45087/sonnet-18-shall-i-compare-thee-to-a-summers-day

For helpful works on Shakespeare's sonnets, see:

Stephen Booth's edition of Shakespeare's Sonnets

and

Helen Vendler's edition of Shakespeare's Sonnets.

]]> In this episode we introduce listeners to one of the most resilient forms in English-language poetry: the sonnet. And we do it with one of the most famous sonnets Shakespeare wrote.

For the sonnet in full, see https://www.poetryfoundation.org/poems/45087/sonnet-18-shall-i-compare-thee-to-a-summers-day

For helpful works on Shakespeare's sonnets, see:

Stephen Booth's edition of Shakespeare's Sonnets

and

Helen Vendler's edition of Shakespeare's Sonnets.

]]>