how the wind shakes a tree in a storm Weve come this far, survived this much. We nurture virtues that build muscle memory towards sustained new realities including generous listening, embodied presence, and transformative relationship across backgrounds and lived experience. rolling their trash bins out, after all of this is over? by being seen. But we dont need to belabor that. I mean, I do right now. I really love . Tippett: I love that. 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. of the world is both gaze We are in the final weeks as On Being evolves to its next chapter in a world that is evolving, each of us changed in myriad ways we've only begun to process and fathom. And I think its in that category. And for a long time Sundays kind of unsettled me, even as an adult. Limn: And to feel that moment of everyone recognizing what it is to kind of look out for one another and have to do that in the antithesis of who we are, which was to separate. I love it that youre already thinking that. [laughs] And I think Id just like to end with a few more poems. On Being is an hour-long radio show and podcast, hosted by Krista Tippett. In generational time, they are stitching relationship across rupture. The Pause is our Saturday morning ritual of a newsletter. And then thats also the space for us to sort of walk in as a reader being like, Whats happening here? Yeah. Her volume The Carrying won the National Book Critics Circle Award for Poetry, and her volume Bright Dead Things was a finalist for the National Book Award. But I love it. even the tenacious high school band off key. I feel like our breath is so important to how we move through the world, how we react to things. So I feel like the last one Id like for you to read for us is A New National Anthem, which you read at your inauguration as Poet Laureate. Wisdom Practices and Digital Retreats (Coming in 2023). Transcription by Alletta Cooper Krista Tippett: I really believe that poetry is something we humans need almost as much as we need water and air. And that is so much more present with us all the time. Limn: and you forget how to breathe. Our closing music was composed by Gautam Srikishan. Tippett: I also think aging is underrated. What a time to be alive, adrienne maree brown has written. Why are all these blank spaces? It has silence built all around it. She trained as a doctor in a generation that understood death as a failure of medicine. And to not have that bifurcated for a moment. Is where that poem came from. 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. The caesura and the line breaks, its breath. Limn: That you can be joyful and you can actually be really having a wonderful time. If you live, Many of us were having different experiences. what you would miss. the nectar lovers, and we is so bright and determined like a flame, It began as "Speaking of Faith" in July 2003, and was renamed On Being in 2010. Ive got a bone Limn: And hes like, Are you trying to ask me what the weather is? [laughter] Im like, Yes. On Being with Krista Tippett. Replenishment and invigoration in your inbox. like something almost worth living for. teeth right before they break Limn: And I would just have these whole moments when people would be like, Oh, and then well meet in person. And I was like, [sharp breath] I dont want you to witness my body. To be made whole/ by being not a witness,/ but witnessed. Can you say a little bit about that? [laughter] I was so fascinated when I read the earlier poem. 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. The Osprey Foundation a catalyst for empowered, healthy, and fulfilled lives. And then it hits you or something you, like you touch a doorknob, and it reminds you of your mothers doorknob. And then a trauma of the pandemic was that our breathing became a danger to strangers and beloveds. Something I remember reading is that you grew up in an English-speaking household, but your paternal grandfather spoke Spanish and that you just loved to listen to him. Our conversations create openings. 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. Every Thursday a new discovery about the immensity of our lives and frequent special features like poetry, music and Q + A with Krista. And then I would say in terms of the sacred, it was always the natural world. So I think thats where, for me, I found any sort of sense of spirituality or belonging. 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. Its a source of a spiritual thoughtfulness that runs through this conversation with Krista. The great eye. Jen Bailey, and so many of you. But I want you to read it second, because what I found in Bright Dead Things, which was a couple of years before that, certainly pre-pandemic, in the before times, was the way you wrote, a way that you spoke of the same story of yourself. In between my tasks, I find a dead fledgling, I dont even mourn him, just all matter-of-, fact-like take the trowel, plant the limp body, thing, forever close-eyed, under a green plant, in the ground, under the feast up above. Tippett: Yeah, it was completely unnatural. 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. Yes. I guess maybe you had to quit doing that since you had this new job. I dont even mourn him, just all matter-of-. Theres this poem which Ive never heard anybody ask you to read called Where the Circles Overlap, . Henno Road, creek just below, of dust and I wish to reclaim the rising. This is like a self-care poem. I write. Good conflict. Technology and vitality. 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. And I think most poets are drawn to that because it feels like what were always trying to do is say something that cant always entirely be said, even in the poem, even in the completed poem. Shes written six books of poetry, most recently, won the National Book Critics Circle Award for Poetry, and her volume, . squeal with the idea of blissful release, oh lover, Tippett: Something I remember reading is that you grew up in an English-speaking household, but your paternal grandfather spoke Spanish and that you just loved to listen to him. Its a prose poem. And so I think my investigation or my curiosity is not so much talking about poetry, but about where poetry comes from in us and what poetry works in us. And this poem was basically a list of all the poems I didnt think I could write, because it was the early days of the pandemic, and I kept thinking, just that poetry had kind of given up on me, I guess. And you could so a lot of what he knew in Spanish and remembered in Spanish were songs. I think its very dangerous not to have hope. And I think it was that. Krista Tippett (2) Rsultats tris par. And I think for all of us, kind of mark this, which is important. "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 . And so I gave up on it. Musings and tools to take into your week. Tippett: 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 also that phrase, as Ive aged. You say that a lot and I would like to tell you that you have a lot more aging to do. Alex Cochran, Deseret News. 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. And theyre like, Oh, I didnt know that was a thing. [laughs]. We can forget this. Supporting organizations and initiatives that uphold a sacred relationship with life on Earth. Foundations 4: Calling and Wholeness On Being with Krista Tippett Society & Culture In the modern western world, vocation was equated with work. Its so interesting because I feel like one of the things as you age, as an artist, as a human being, you start to rethink the stories that people have told you and start to wonder what was useful and what was not useful. 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. I write the year, seems like a year you Tippett: The thesis. should write, huge and round and awful. What was it? Im really glad youre enjoying it because theres many more decades. And place is always place. This is a moving and edifying conversation that is also, not surprisingly, a lot of fun. So I want to do two more, also from The Carrying. Becoming Wise: An Inquiry into the Mystery and Art of Living. Few books have been more eagerly passed from hand to hand with delight in these last years than Robin Wall Kimmerers Braiding Sweetgrass. Tippett: And then Joint Custody from The Hurting Kind. Right. On her show she promoted her new book, Einstein's God, and if the show is any indication, this new enterprise promises to be a fun fest for people inclined . Its got breath, its got all those spaces. Easy light storms in through the window, soft, edges of the world, smudged by mist, a squirrels, nest rigged high in the maple. just the bottlebrush alive And I knew that at 15. Dont get me wrong, I do, like the flag, how it undulates in the wind. Limn: Yeah. But I want you to read it second, because what I found in. Maybe that speaks for itself. Where being at ease is not okay. And I am so thrilled to have this conversation with Ada Limn to be part of our first season. I dont know why this, but this. And I remember reading it was Elizabeth Bishops One Art, and its a villanelle, so its got a very strict rhyme scheme. Tippett: And poetry is absolutely this is not something I knew would happen when I started this but poetry now is at the heart of On Being, its woven through everything. From Feb 2: three months of soaring conversations to live and grow with with an eye towards emergence. Image by Danyang Ma, All Rights Reserved. several years later and a changed world later. inward and the looking up, enough of the gun, 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. Exit 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. This definitely speaks to that. I think we all came a little bit more alive. 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. I am too used to nostalgia now, a sweet escape. I will trust the world and I will feel at peace. And this time, what came to me as I stood and looked at the trees was that Oh, it isnt just me looking. of age. I mean, even that question you asked, What am I supposed to do with all that silence? Thats one way to talk about the challenge of being human and walking through a life. Because how do we care for one another? Tippett: And then a trauma of the pandemic was that our breathing became a danger to strangers and beloveds. And poetry, and poetry. The On Being Project is located on Dakota land. and the one that is so relieved to finally be home. Limn: It is still the wind. But in reality its home to so many different kind of wildlife. And what of the stanzas, we never sing, the third that mentions no refuge, could save the hireling and the slave? I grew up in Glen Ellen in Sonoma, California, born and raised. Can you locate that? Limn: Yeah. hoping our team wins. And yet at the same time, I do feel like theres this Its so much power in it. What is the thesis word or the wind? Limn: Yeah, there wasnt a religious practice. This is a gift. And that reframing was really important to me. I feel like theres so many elements to that discovery. And then I would say in terms of the sacred, it was always the natural world. And I was in the backyard by myself, as many of us were by ourselves. And when people describe you as a poet, theyll talk about things about intimacy and emotional sincerity and your observations of the natural world. Im like, Yes. 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? I never go there very much anymore. During her 20-plus years as host of public radio's "On Being" show which aired on some 400 stations across the country Krista Tippett and her beautifully varied slate of guests . We know joy to be a life-giving, resilience-making human birthright. And then what we find in the second poem is a kind of evolution. Can you locate that? Kind of true. Out here, theres a bowing even the trees are doing. I am too used to nostalgia now, a sweet escape, of age. and then, I am human, enough I am alone and I am desperate, enough of the animal saving me, enough of the high. In me, a need to nestle deep into the safekeeping of sky. You said there in a place, as Ive aged, I have more time for tenderness, for the poems that are so earnest they melt your spine a little. I feel like the short poem, maybe read that one, the After the Fire poem is such a wonderful example of so much of what weve been talking about, how poetry can speak to something that is impossible to speak about. and snowshoes, maple and seeds, samara and shoot, enough chiaroscuro, enough of thus and prophecy, and the stoic farmer and faith and our father and tis, of thee, enough of bosom and bud, skin and god. The Hearthland Foundation. I mean, isnt this therapeutic also for us all to laugh about this now, also to know that we can laugh about it now? Kalliopeia Foundation. 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. Dr. Rachel Naomi Remen is one of the wise people in our world. When you find a song or you find something and you think, This. 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. Its repeating words. Theres whole books about how to breathe. So you grew up in Sonoma, California, but my sense is that its not the land of Zinfandel and Pinot Noir that immediately comes to mind now when someone says Sonoma. bury yourself in leaves, and wait for a breaking, We point out the stars that make Orion as we take out And it wasnt until really, when I was writing that poem that the word came to me. Sylvia gifts us this teaching: that nurturing childrens inner lives can be woven into the fabric of our days and that nurturing ourselves is also good for the children and everyone else in our lives. The fear response, the stress response, it had so many other kinds of ripple effects that were so perplexing. Our younger listeners have asked to hear adrienne maree browns voice on On Being, and here she is, as we enter our own time of evolution. [Music: Molerider by Blue Dot Sessions]. Okay. And I was feeling very isolated. Okay. But then I just examine all the different ways of being quiet. the collar, constriction of living. We are located on Dakota land. Yeah. But when we talk about the limitations of language in general, I find language is so strange. We practice moral imagination; we embrace paradoxical curiosity; we sit with conflict and complexity; we create openings instead of seeking answers or providing reductive simplicity. These are heavier, page 86 and page 87. 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