And I feel like poetry makes the world for that experience, as opposed to: Im fine.. I have people who ask me, How do you write poems? And you talk about process. And I want you to read it. And I think about that all the time. And then in this moment it was we cared for each other by being apart. Tippett: Maybe that speaks for itself. But in reality its home to so many different kind of wildlife. Wisdom Practices and Digital Retreats (Coming in 2023). And then I kept thinking, What are the other things I can do that with?. for it again, the hazardous I wrote in my notes, just my little note about what this was about, recycling and the meaning of it all. I dont think thats . Join our constellation of listening and living. Yeah, because its made with words, but its also sensory and its bodily. And that there was this break when we moved from pictographic language, which is characters which directly refer to the things spoken, and when we moved to the phonetic alphabet. Limn: Kind of true. She loves human beings. The British psychologist Kimberley Wilson works in the emergent field of whole body mental health, one of the most astonishing frontiers we are on as a species. Weve come this far, survived this much. Because there are a lot of unhelpful things that have been told to me. And I feel like theres a level of mystery thats allowed in the poem that feels like, Okay, I can maybe read this into it, I can put myself into it, and it becomes sort of its own thing. Yes I am. But I trust those moments. whats larger within us, toward how we were born. Tacos. Because you did write a great essay called Taco Truck Saved my Marriage.. "On Being," a weekly interview show about the mysteries of human existence, hosted by Krista Tippett, airs on nearly 400 public radio stations, with more than half a million weekly listeners . We read for sense. So I think there was a lot of, not only was it music, but then it was music in Spanish. And: advance invitations and news on all things On Being, of course, The On Being Project strong and between sleep, Limn: Yeah. I just saw her. I think its very dangerous not to have hope. We keep forgetting about Antlia, Centaurus, But mostly were forgetting were dead stars too, my mouth is full, of dust and I wish to reclaim the rising, to lean in the spotlight of streetlight with you, toward. And we all have this, our childhood stories. I mean, isnt this therapeutic also for us all to laugh about this now, also to know that we can laugh about it now? I remember having this experience I was sort of very deeply alone during the early days of the pandemic when my husbands work brought him to another state. And even as it relieves us of the need to sum everything up. Good, good. I get four parents that come to the school nights. And I felt like I was not brave enough to own that for myself. And you mentioned that when you wrote this, when was it that you wrote it? inward and the looking up, enough of the gun, the drama, and the acquaintances suicide, the long-lost, letter on the dresser, enough of the longing and, the ego and the obliteration of ego, enough, of the mother and the child and the father and the child, and enough of the pointing to the world, weary. and you forget how to breathe. 1. But let me say, I was taken, back and forth on Sundays and it was not easy, but I was loved each place. Want to Read. And there was an ease, I think, that living in the head-only world was kind of a poets dream on some level. Limn: Yeah, there wasnt a religious practice. wind? Definitely. We havent read much from, , which is a wonderful book. Thats how this machine works. But I think theres so much in this poem thats about that idea that the thesis thats returned to the river. What if we stood up with our synapses and flesh and said, No. So Sundays were a different kind of practice, if you will, a different kind of observation. (Unedited) The Dalai Lama, Jonathan Sacks, Katharine Jefferts Schori, and Seyyed Hossein Nasr with Krista Tippett. So anyway, I got The Hurting Kind, the galley in the mail from Milkweed. And so thats really a lot of how I was raised. When you find a song or you find something and you think, This. These full-body experiences of isolation and ungrieved losses and loneliness and fear and uncertainty. Many of us were having different experiences. Return like a word, long forgotten and maligned. . And whats good for my body and my mental health. All of those things. And I think its in that category. Theres also how I stand in the field across from the street, thats another way because Im farther from people and therefore more likely to be alone. [audience laughs] But instead to really have this moment of, Oh, no, its our work together to see one another. And then what happened was the list that was in my head of poems I wasnt going to write became this poem. And what of the stanzas, we never sing, the third that mentions no refuge, could save the hireling and the slave? And Im sure it does for many of you, where you start to think about a phrase or a word comes to you and youre like, Is that a word? Youre like, With. It was interesting to me to realize how people turned to you in pandemic because of who you are, it sounds like. An electric conversation with Ada Limns wisdom and her poetry a refreshing, full-body experience of how this way with words and sound and silence teaches us about being human at all times, but especially now. lover, come back to the five-and-dime. Wilkerson, winner of the Pulitzer Prize and the National Humanities Medal, has become a leading figure in narrative nonfiction with The Warmth of Other Suns and Caste. If youre having trouble writing or creating or whatever it is you make, when was the last time you just sat in silence with yourself and listened to what was happening? And for us, it was Sundays. scratched and stopped to the original Limn: Yeah. that sounds like someones rough fingers weaving The truth is, Ive never cared for the National Yes I am. But I trust those moments. And then it hits you or something you, like you touch a doorknob, and it reminds you of your mothers doorknob. And it was an incredible treat to interview her before 1,000 people, packed together in a concert hall on a cold Minnesota night. I am human, enough I am alone and I am desperate, enough of the animal saving me, enough of the high. We prioritize busyness. what a word, what a world, this gray waiting. sometimes buried without even a song. Yeah. But each of us has callings, not merely to be professionals, but to be friends, neighbors, colleagues, family, citizens, lovers of the world. And also that notion and these are other things you said that poetry recognizes our wholeness. I want to say first of all, how happy I am to be doing something with Milkweed, which I have known since I moved to Minnesota, I dont know, over a quarter century ago, to be this magnificent but quiet, local publisher. And yet at the same time, I do feel like theres this Its so much power in it. Alex Cochran, Deseret News. We understand love as the most reliably transformative muscle of human wholeness, and we investigate the workings of love as public practice. Patel is a Deseret contributor. Wisdom Practices and Digital Retreats (Coming in 2023). We say, Oh, I want to write about this flower. And then we say, Why this flower? and the one that is so relieved to finally be home. Tippett: Ada Limn is the 24th Poet Laureate of the United States. And I love it, but I think that you go to it, as a poet, in an awareness of not only its limitations and its failures, but also very curious about where you can push it in order to make it into a new thing. In between my tasks, I find a dead fledgling, and the stoic farmer and faith and our father and tis Tippett: A lot of them are in the On Being studio, they come in the mail. Tippett: Because I couldnt decide which ones I wanted you to read. In fact, Krista interviewed the wise and wonderful . I'm not often one for Schadenfreude, but I may have felt it a bit yesterday, when friend told me that they'd heard NPR announce that Krista Tippett 's "On Being" Show, which I've railed against for years, is finally ending its two-decade stint on NPR. And that was in shorter supply than one would think. Cracking time open, seeing its true manifold nature, expands a sense of the possible in the here and the now. But its also a land that is really incredibly beautiful and special and sacred in a lot of different ways. The caesura and the line breaks, its breath. For her voice of insistent honesty and wholeness and wisdom and joyfulness. And that between space was the only space that really made sense to me. the trash, the rolling containers a song of suburban thunder. I think there are things we all learned also. "Right now we are in a fast river together every day there are changes that seemed unimaginable until they occurred." adrienne maree brown and others use many . So its this weird moment of being aware of it and then also letting it go at the same time. Page 87. that thered be nothing left in you, like, until every part of it is run through with, days a little hazy with fever and waiting, for the water to stop shivering out of the. The bright side is not talked about. Page 20. I mean, isnt this therapeutic also for us all to laugh about this now, also to know that we can laugh about it now? As we turn the corner from pandemic, although we will not completely turn the corner, I just wanted to read something you wrote on Twitter, which was hilarious. And thought, How am I right now at this moment? Okay. Listen Download Transcript. if we declared a clean night, if we stopped being terrified, if we launched our demands into the sky, made ourselves so big. Seems like a good place for a close-eyed Rate. But each of us has callings, not merely to be professionals, but to be friends, neighbors, colleagues, family, citizens, lovers of the world. Why that color? into an expansion, a heat. Limn: And then you go, Oh no, no, thats just recycling. So thats in the poem. Tippett: Yeah, because its made with words, but its also sensory and its bodily. And I knew that at 15. Theres a lot of different People. And you also wrote about that, and you also wrote this essay. Yeah. Nick Offerman has played many great characters, most famously Ron Swanson in Parks and Recreation, and he starred more recently in an astonishing episode of The Last of Us. edges of the world, smudged by mist, a squirrels. Tippett: And this is about your childhood, right? of thee, enough of bosom and bud, skin and god Were back at the natural world of metaphors and belonging. by even the ageless woods, the shortgrass plains, And you mentioned that when you wrote this, when was it that you wrote it? letter on the dresser, enough of the longing and I dont even mourn him, just all matter-of-. Tippett: Thats so wonderful. Dont get me wrong, I do, like the flag, how it undulates in the wind. And poetry doesnt really allow you to do that because its working in the smallest units of sound and syllable and clause and line break and then the sentence. Limn: When I lived in New York City, my two best friends, I would always try to get them to go to yoga with me. Tippett: Yeah. It is the world and the trees and the grasses and the birds looking back. Poems all come to me differently. The phrase mental health itself makes less and less sense in light of the wild interactivity we can now see between what weve falsely compartmentalized as physical, emotional, mental, even spiritual. Robin is a botanist and also a member of the Citizen Potawatomi Nation. adrienne maree brown "We are in a time of new suns" On Being with Krista Tippett Society & Culture "What a time to be alive," adrienne maree brown has written. And sometimes when youre going through it, you can kind of see the mono-crop of vineyards that its become. Replenishment and invigoration in your inbox. And I was in the backyard by myself, as many of us were by ourselves. In a political and cultural space that rewards certainty, ferments argument, and hastens closure, we nourish and resource the interplay between inner life, outer life, and life together. And it feels important to me whenever Im in a room right now and I havent been in that many rooms with this many people sitting close together that we all just acknowledge that even if we all this exact same configuration of human beings had sat in this exact room in February 2020, and were back now, were changed at a cellular level. Dedicated to reconnecting ecology, culture, and spirituality. What. , and its a villanelle, so its got a very strict rhyme scheme. In fact, Krista interviewed the wise and wonderful Ocean Vuong right on the cusp of that turning, in March 2020, in a joyful and crowded room full of podcasters in Brooklyn. So we have to do this another time. bury yourself in leaves, and wait for a breaking, I really love . is the 24th Poet Laureate of the United States. I think thats something we didnt know how to talk about. And for us, it was Sundays. We have been in the sun. And then it hits you or something you, like you touch a doorknob, and it reminds you of your mothers doorknob. now even when it is ordinary. Limn: Yeah. no hot gates, no house decayed. Yeah. And I was feeling very isolated. We orient away from the closure of fear and towards the opening of curiosity. I was like, Oh. Then I came downstairs and I was like, Lucas, Im never going to get to be Poet Laureate.. And then you can also be like, Im a little anxious about this thing thats happening next week. Or all of these things, it makes room for all of those things. In fact, my mother is and was an atheist. And I always thought it was just because I had to work. Krista Tippett leaves public radio. But if you look at even the letters we use in our the A actually was initially a drawing of an ox, and M was water. So would you read, its called Before, page 46. Yeah, there wasnt a religious practice. It began as "Speaking of Faith" in July 2003, and was renamed On Being in 2010. And when you say I know one shouldnt take poems apart like this, but The thesis is the river. What does that mean? We havent read much from The Carrying, which is a wonderful book. So I think were going to just have a lot of poetry tonight. And poetry, and poetry. Musings and tools to take into your week. Easy light storms in through the window, soft, edges of the world, smudged by mist, a squirrels, nest rigged high in the maple. in an endless cave, the song that says my bones Talk about any of the limits of language, the failure of language. And thats also not the religious association with Sunday, right? Page 40. And its continual and that it hits you sometimes. Limn: Yeah. Tippett: And I also just wondered if that experience of loving sound and the cadence of this language that was yours and not yours, if that also flowed into this love of poetry. The conversation that resulted with the Jewish-Buddhist teacher and psychotherapist Sylvia Boorstein has been a companion to her and to many from that day forward. All came, and still comes, from the natural world. So Sundays were a different kind of practice, if you will, a different kind of observation. The poets brain is always like that, but theres a little I was just doing the wash, and I was like, Casual, warm, and normal. And I was like, Ooh, I could really go for that.. I just set my wash settings to who Id like to be in 2023: Casual, Warm, Normal., Limn: Yeah, that was true. Before the road The On Being Project is located on Dakota land. And I hope, I dont think anybody here will mind. And so its giving room to have those failures be a breaking open and for someone else to stand in it and bring whatever they want to it. I would say about 50 percent, maybe 60 percent of it was written during the pandemic. water, enough sorrow, enough of the air and its ease, So at this point in my notes, I have three words in bold with exclamation points. Yeah, Ive got a lot of feelings moving through me. Ive got a bone It was interesting to me to realize how people turned to you in pandemic because of who you are, it sounds like. And were at a new place, but we have to carry and process that. People will ask me a lot about my process and it is, like I said, silence. Im so excited for your tenure representing poetry and representing all of us, and Im excited that you have so many more years of aging and writing and getting wiser ahead, and we got to be here at this early stage. kitchen tables, two sets of rules, two about being fully human this adventure were all on that is by turns treacherous and heartbreaking and revelatory and wondrous. And so I gave up on it. even the tenacious high school band off key. the trash, the rolling containers a song of suburban thunder. It wasnt used as a tool. and snowshoes, maple and seeds, samara and shoot, Before the ceramics in the garbage. Tippett: Which also makes it spiritual practice. We know joy to be a life-giving, resilience-making human birthright. So the poem you wrote, Joint Custody. You get asked to read it. So its this weird moment of being aware of it and then also letting it go at the same time. So in The Carrying, there are these two poems on facing pages, that both have fire in the title. She is a former host of the poetry podcast The Slowdown, and she teaches in the MFA program at Queens University of Charlotte, in North Carolina. Tippett: You see what I did? Tippett: Just back to this idea that there is this organic automatically breathing thing of which were part, and that we even have to rediscover that. A scholar of belonging. A scholar of magic. She grew up loving science fiction, and thought wed be driving flying cars by now; and yet, has found in speculative fiction the transformative force of vision and imagination that might in fact save us. Actually, thats in. but I was loved each place. Shes teaching me a lesson. on the back of my dads Articles by Krista Tippett on Muck Rack. And I was having this moment where I kept being like, Well, if I just deeply look at the world like I do, as poets do, I will feel a sense of belonging. And if I had to condense you as a poet into a couple of words, I actually think youre about and these are words you use also wholeness and balance. And I think when were talking about this, were talking about who we are right now, because were all carrying this. I almost think that this poem could be used as a meditation. Krista Tippett (ne Weedman; born November 9, 1960) is an American journalist, author, and entrepreneur. Every week, the show hosts thoughtful . Who am I to live? Right? Yeah. The Fetzer Institute, supporting a movement of organizations applying spiritual solutions to societys toughest problems. Once, I sang it at homecoming and threw I love that you do this. Limn: Yeah. Youre going to be like, huh. Or youll just be like, That makes total sense to me., At the top of the mountain And together you kind of have this relationship. Which I hadnt had before. Limn: I remember having this experience I was sort of very deeply alone during the early days of the pandemic when my husbands work brought him to another state. Was there a religious or spiritual background in your childhood there, however you would describe that now? And now we have watched it in these 25 years go from strength, to strength, to strength. How to make that more vibrant, more visible, and more defining? by the crane. And poetry doesnt really allow you to do that because its working in the smallest units of sound and syllable and clause and line break and then the sentence. It wasnt used as a tool. Its a prose poem. Limn: Yeah. We have never been exiled. But instead to really have this moment of, Oh, no, its our work together to see one another. And both parents all four of my parents, I should say would point those things out, that special quality of connectedness that the natural world offers us. Because I was teaching on Zoom, and I was just a face, and I found myself being very comfortable with just being a face, and with just being a head. And I think it was that. The thesis has never been exile. I have a lot of poems that basically are that. And if youd like to know more, we suggest you start with our Foundations for Being Alive Now. And the right habitat for that, for all human flourishing, is for us to begin with a sense of belonging, with a sense of ease, with a sense that even though we are desirous and even though we want all of these things, right now, being alive, being human is enough. enough of can you see me, can you hear me, enough Yet whats most stunning is how presciently and exquisitely Ocean spoke, and continues to speak, to the world we have since come to inhabit its heartbreak and its poetry, its possibilities for loss and for finding new life. with their fish tanks or eight-tracks or Tippett: Okay. SHARE 'It's a hard time in the life of the world' a conversation with Krista Tippett. Just uncertainty is so hard on our bodies. I could. And I found it really useful, a really useful tool to go back in and start to think about what was just no longer true, or maybe had never been true. I think the failure of language is what really draws me to poetry in general. I have decided that Im here in this world to be moved by love and [to] let myself be moved by beauty. Which is such a wonderful mission statement. If you think about it, its not a good, song. Yeah. In me, a need to nestle deep into the safekeeping of sky. It is still the river. Tippett: And we were given to remember that civilization is built on something so tender as bodies breathing in proximity to other bodies. And then a trauma of the pandemic was that our breathing became a danger to strangers and beloveds. I really love . And it was just me, the dog, and the cat, and the trees. I have people who ask me, How do you write poems? And you talk about process. Ive been reading Ada Limn for years, and was so happy when she was named the 24th Poet Laureate of the United States. I mean, thats how we read. Yeah. Thats so wonderful. Two entirely different brains. abundance? What happens after we die? And she says, Well, you die, and you get to be part of the Earth, and you get to be part of what happens next. And it was just a very sort of matter-of-fact way of looking at the world. [laughter] I was so fascinated when I read the earlier poem. And is it okay for me to spend time looking at this tree? For me, I have pain, so Ive moved through the body in pain. So how to get out? He works with wood, and he works with other people who work with their hands making beautiful, useful things. Its still the elements. With an unexpected and exuberant mix of gravity and laughter laughter of delight, and of blessed relief this conversation holds not only what we have traversed these last years, but how we live forward. maybe dove, maybe dunno to be honest, too embryonic, too see-through and wee. Came, and it was just a very strict rhyme scheme I know one shouldnt take poems apart this. Looking back danger to strangers and beloveds: Okay myself, as opposed to: Im fine to. 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