Poetry For All - Episodes Tagged with “Repetition Or Refrain”

Episode 97: Donald Justice, Pantoum of the Great Depression

Joanne Diaz and Abram Van Engen — Wed, 17 Sep 2025 08:00:00 -0400

This episode begins a three-part series on the pantoum and looks at how the repetitions work especially well for a poem that dwells incessantly in memories of the past, trying to recover, trying to move forward.

For the text of the poem, see The Poetry Foundation:

https://www.poetryfoundation.org/poems/58080/pantoum-of-the-great-depression

For more on Donald Justice, see The Poetry Foundation:

https://www.poetryfoundation.org/poets/donald-justice

Episode 90: N. Scott Momaday, The Delight Song of Tsoai-talee

Joanne Diaz and Abram Van Engen — Wed, 16 Apr 2025 07:00:00 -0400

This episode explores the incantation and mystic union of Momaday's famous delight poem, ending with a recorded recitation in his own rich voice. We explain anaphora and explore its power, and we trace the links and connections from one thought to the next throughout the poem.

Special thanks to Universty of California Television (UCTV) for permission to share the audio of Momaday's reading. For the interview with Momaday from which this reading has been pulled, see "A Conversation with N. Scott Momaday -- Writer's Symposium by the Sea 2023" on Youtube. "The Delight Song of Tsoai-talee" appears in In the Presence of the Sun by N. Scott Momaday. Copyright © 2009 University of New Mexico Press, 2009.

For the text of the poem, see The Poetry Foundation here.

For more on Momaday, see his biography at the Poetry Foundation.

Episode 74: Diane Seuss, [The sonnet, like poverty]

Joanne Diaz and Abram Van Engen — Fri, 26 Jul 2024 12:00:00 -0400

This remarkable sonnet dives into issues of poverty, poetry, and grief. We talk about the pedagogy of constraint, while exploring the achievements, including the hardbitten gratitude, embedded in this poem.

Thank you to Graywolf Press for permission to read and discuss the poem. Diane Seuss's "[The sonnet, like poverty, teaches you what you can do]" was published in her collection titled frank: sonnets (Graywolf, 2021).

See the work (and buy it!) here: https://www.graywolfpress.org/books/frank-sonnets

For more on Diane Seuss, see here: https://www.poetryfoundation.org/poets/diane-seuss

For more on the Sealey Challenge, see here: https://www.thesealeychallenge.com/

Episode 60: Li-Young Lee, From Blossoms

Joanne Diaz and Abram Van Engen — Tue, 02 May 2023 09:00:00 -0400

In this episode, we explore the poetry of joy in a world of shade and death, looking to sounds and repetitions while examining how "From Blossoms" speaks back to the poem that immediately precedes it in Lee's great book Rose.

For more on Li-Young Lee, see The Poetry Foundation here.

Thanks to BOA Editions for granting us permission to read Li-Young Lee's work on our podcast. "From Blossoms" and "The Weight of Sweetness" originally appeared in Rose (BOA Editions, 1986).

Episode 59: Tichborne's Elegy

Joanne Diaz and Abram Van Engen — Fri, 07 Apr 2023 12:00:00 -0400

In this episode, we read the elegy of Chidiock Tichborne, written the night before his execution, and contemplate the power of repetitions, the balanced precision of a man facing his end, and the drumbeat of monosyllables that takes his imagination beyond the moment of his death.

Tichborne's Elegy

My feast of joy is but a dish of pain,
My crop of corn is but a field of tares,
And all my good is but vain hope of gain:
The day is past, and yet I saw no sun,
And now I live, and now my life is done.

The spring is past, and yet it hath not sprung,
My fruit is fallen, and yet my leaves are green,
The spring is past, and yet it hath not sprung,
I saw the world, and yet I was not seen:
My thread is cut, and yet it is not spun,
And now I live, and now my life is done.

I sought my death, and found it in my womb,
I looked for life, and saw it was a shade,
I trod the earth, and knew it was my tomb,
And now I die, and now I was but made;
The glass is full, and now the glass is run,
And now I live, and now my life is done.

For more on Tichborne, see The Poetry Foundation: https://www.poetryfoundation.org/poets/chidiock-tichborne

See also all the related content at The Poetry Foundation

Episode 57: Edna St. Vincent Millay, She had forgotten how the August night

Joanne Diaz and Abram Van Engen — Tue, 14 Feb 2023 10:00:00 -0500

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 51: Martín Espada, Jumping Off the Mystic Tobin Bridge

Joanne Diaz and Abram Van Engen — Mon, 10 Oct 2022 10:00:00 -0400

To learn more about Martín Espada, click here.

To read the poem, click here.

This is the first poem that appears in Floaters, the winner of the 2021 National Book Award. To purchase a copy of the book, click here.

Photo credit: Lauren Marie Schmidt (cropped to fit dimensions)

Episode 50: Rafael Campo, Primary Care

Joanne Diaz and Abram Van Engen — Mon, 26 Sep 2022 10:00:00 -0400

In this episode, we discuss how Rafael Campo, a practicing physician, uses blank verse to explore the experience of illness and suffering.

Thanks to the Georges Borchardt, Inc. for granting us permission to read this poem. You can find "Primary Care" in Alternative Medicine (Duke University Press, 2013).

Links:

Episode 49: Lisel Mueller, When I am Asked

Joanne Diaz and Abram Van Engen — Mon, 12 Sep 2022 12:00:00 -0400

In this episode, we closely read Lisel Mueller's "When I am Asked" in order to better understand grief as a deep source of artistic expression. We look at language as a source of connection and hope, even in the midst of sorrow and solitude. With this poem about the making of poetry (an_ ars poetica_), we come to see how one artist turned to the intricacies of language in the face of a nature that seemed indifferent to her loss.

"When I Am Asked" appears in Alive Together: New and Selected Poems, published by Louisiana State University Press (1996). Thanks to LSU Press for granting us permission to read this poem on the podcast.

For the text of the poem, click here: "When I Am Asked"

Note: When out of copyright, we reproduce the text of the poem ourselves. When still in copyright, we link to the text of the poem elsewhere.

For more on Lisel Mueller, see the Poetry Foundation.

Episode 47: Walt Whitman, Leaves of Grass

Joanne Diaz and Abram Van Engen — Fri, 22 Apr 2022 12:00:00 -0400

In this episode, Christopher Hanlon joins us to discuss an excerpt from Walt Whitman's Leaves of Grass. We discuss the poem's prophetic voice, its patterns of repetition, the connective tissue that binds his ideas and invites readers in, and the cultural context in which Whitman produced his work.

To read the text of this poem, click here or see below:

To learn more about Walt Whitman and his work, visit the Walt Whitman Archive, a magnificent compendium of information about Whitman's life, cultural context, and editions of Leaves of Grass.

To learn more about scholar Christopher Hanlon, click here.

Text from Leaves of Grass:

A child said What is the grass? fetching it to me with full hands;
How could I answer the child? I do not know what it is any more than he.
I guess it must be the flag of my disposition, out of hopeful green stuff woven.

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropt,
Bearing the owner's name someway in the corners, that we may see and remark, and say Whose?

Or I guess the grass is itself a child, the produced babe of the vegetation.

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same.

And now it seems to me the beautiful uncut hair of graves.

Tenderly will I use you curling grass,
It may be you transpire from the breasts of young men,
It may be you are from old people, or from offspring taken,
It may be if I had known them I would have loved them, soon out of their mothers' laps,
And here you are the mothers' laps.

This grass is very dark to be from the white heads of old mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

O I perceive after all so many uttering tongues,
And I perceive they do not come from the roofs of mouths for nothing.

I wish I could translate the hints about the dead young men and women,
And the hints about old men and mothers, and the offspring taken soon out of their laps.
What do you think has become of the young and old men?
And what do you think has become of the women and children?

They are alive and well somewhere,
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the end to arrest it,
And ceas'd the moment life appear'd.

All goes onward and outward, nothing collapses,
And to die is different from what any one supposed, and luckier.

Episode 46: Lucille Clifton, spring song

Joanne Diaz and Abram Van Engen — Wed, 13 Apr 2022 11:00:00 -0400

Lucille Clifton (1936-2010) was one of the most powerful poets of the twentieth century. This joyful poem caps a sequence of sixteen poems called "some jesus," which walks through biblical characters (beginning with Adam and Eve) and ends on four poems for Holy Week and Easter. She wrote other poems on the Bible as well, including "john" and "my dream about the second coming," which reimagine a way into biblical characters to make their stories fresh.

Clifton wrote from the perspective of a Black woman and many of her most famous poems address race and gender. Clear-eyed about struggles and hardships, insistent in her calls for justice and equality, Clifton's poetry carries a consistent joy and hope, which is apparent (and abundant) in "spring song."

Clifton's poetry was known for its lean style, paring everything down to its essential elements. In addition to award-winning collections of poetry, Clifton also wrote sixteen books for children (and had six children herself).

For the text of "spring song," and for a recording of Lucille Clifton reading it, see The Poetry Foundation.

For more on Lucille Clifton see her biography at The Poetry Foundation.

For an introduction to Lucille Clifton, see the poem sampler "Lucille Clifton 101" by Benjamin Voigt.

Links:

Episode 43: Margaret Noodin, What the Peepers Say

Joanne Diaz and Abram Van Engen — Wed, 02 Mar 2022 15:00:00 -0500

In this episode, Margaret Noodin joins us to discuss her poem "What the Peepers Say." In our conversation, we talk about Margaret's writing in both Anishinaabemowin and English, her attention to sounds and rhythms, and what the peeper--a tiny springtime frog--can teach us about presence and listening.

Margaret Noodin is the author of two bilingual collections of poetry in both Anishinaabemowin and English: Weweni and What the Chickadee Knows. She is a professor of English and American Indian Studies at the University of Wisconsin–Milwaukee, where she also serves as director of the Electa Quinney Institute for American Indian Education.

To learn more about Ahishinaabemowin, visit ojibwe.net.

To hear the sound of the spring peeper, click on this link.

Photo of Margaret Noodin © Troye Fox.

Episode 42: Robert Hayden, Frederick Douglass

Joanne Diaz and Abram Van Engen — Wed, 23 Feb 2022 16:00:00 -0500

To read Hayden's poem, click here.

Thanks to W.W. Norton & Company for granting us permission to read this poem. Reginald Dwayne Betts's introduction to the Collected Poems of Robert Hayden is very moving, as is the afterword by Arnold Rampersad.

For a series of insightful observations about Hayden's sonnet, see Ross Gay, Aracelis Girmay, Aimee Nezhukumatathil, Patrick Rosal, and Ira Sadoff, "Poets Respond: A Discussion of "Frederick Douglass" by Robert Hayden." American Poetry Review, 38.3 (2009): 25-28.

For a helpful close reading of the poem, see Fred M. Fetrow, "Robert Hayden's 'Frederick Douglass': Form and Meaning in a Modern Sonnet." CLA Journal 17.1 (September 1973): 78-84.

Episode 39: Paul Laurence Dunbar, We Wear The Mask

Joanne Diaz and Abram Van Engen — Wed, 02 Feb 2022 15:00:00 -0500

This week, Rafia Zafar joins us to discuss "We Wear the Mask" by the great poet and writer Paul Laurence Dunbar (1872-1906). Rafia leads us in a discussion of Dunbar's fame and influence while opening up broader themes of African American history and literature.

We Wear the Mask
BY PAUL LAURENCE DUNBAR

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

For more on Paul Laurence Dunbar, visit The Poetry Foundation.

For more on Rafia Zafar, see her personal website at Washington University in St. Louis.

Youtube has a brief clip from the Library of America hosting Kevin Young's discussion of "We Wear the Mask."

Elizabeth Alexander also discusses this poem for the Library of America.

For more on the poetic form of the rondeau, see the Academy of American Poets.

Links:

Episode 23: Langston Hughes, "Johannesburg Mines"

Joanne Diaz and Abram Van Engen — Fri, 21 May 2021 11:00:00 -0400

In this episode, we discuss social poetics, the poetry of witness, and the way poets can speak of the failure of language and the need for silence in the face of trauma. "The worst is not, so long as we can say, 'This is the worst.'"

For the text of Langston Hughes's poem "Johannesburg Mines," see here.

For more on Langston Hughes, see the Poetry Foundation.

For more on social poetics, see Mark Nowak's book by that name.

For more on the poetry of witness, see Sandra Beasley's essay "Flint and Tinder."

For Anna Akhmatova's "Instead of a Preface" in her great work Requiem as an alternative approach, see here.

Thanks to Harold Ober Associates, Inc., for granting us permission to read this poem on our podcast.

Links:

Episode 11: Alberto Ríos, When Giving Is All We Have

Joanne Diaz and Abram Van Engen — Tue, 17 Nov 2020 11:00:00 -0500

In this episode, we think with the inaugural state poet laureate of Arizona, Alberto Ríos, about the meaning of giving. Why do we give? What is giving? And what are its consequences? Ríos wrote this poem for a broad audience and has shared it with many different groups. It is, on the one hand, a very simple and accessible poem, easy to understand. And it is also, on the other hand, filled with rich layers, structures, images, and contexts. We explore here how simplicity and complexity work together.

For the full text of the poem, see here.

For more on Alberto Ríos, see the Poetry Foundation here.

Thanks to Copper Canyon Press for granting us permission to read this poem in this episode. You can find "When Giving Is All We Have" in A Small Story about the Sky: https://www.coppercanyonpress.org/books/a-small-story-about-the-sky-by-alberto-rios/

Links:

When Giving Is All We Have by Alberto Ríos - Poems | poets.org — inaugural state poet laureate of Arizona
Alberto Ríos | Poetry Foundation

Episode 9: Anne Bradstreet, In Memory of My Dear Grandchild Elizabeth Bradstreet

Joanne Diaz and Abram Van Engen — Tue, 27 Oct 2020 11:00:00 -0400

This week we read Anne Bradstreet's elegy for her grandchild Elizabeth and draw out the multiple voices (both faith and doubt, both grief and consolation) and the tensions and deep emotions in the work of this talented Puritan poet--the first woman from British North America to publish a book of poems.

"In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665 Being a Year and a Half Old"

Farewell dear babe, my heart's too much content,
Farewell sweet babe, the pleasure of mine eye,
Farewell fair flower that for a space was lent,
Then ta'en away unto eternity.
Blest babe why should I once bewail thy fate,
Or sigh the days so soon were terminate;
Sith thou art settled in an everlasting state.

By nature trees do rot when they are grown.
And plums and apples thoroughly ripe do fall,
And corn and grass are in their season mown,
And time brings down what is both strong and tall.
But plants new set to be eradicate,
And buds new blown, to have so short a date,
Is by His hand alone that guides nature and fate.

For more on Anne Bradstreet, please see the Poetry Foundation.

For an essay on Anne Bradstreet's art, please see this short piece by Kevin Prufer.

For an essay on Anne Bradstreet's publication of The Tenth Muse (the first published book by a woman from British North America) and her ambitions as a poet, see this piece by Charlotte Gordon.

For an understanding of Puritan spirituality, please see this short review essay by Abram Van Engen.

Links: