<p>Craig Morgan Teicher joins Kevin Young to read and discuss Forrest Gander’s poem “<a href="https://www.newyorker.com/magazine/2018/04/16/son">Son</a>” and his own poem, also titled “<a href="https://www.newyorker.com/magazine/2017/08/28/son-craig-morgan-teicher">Son</a>.” Teicher is a poet and critic whose collection "The Trembling Answers" received the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets.  His latest book is "We Begin in Gladness: How Poets Progress."</p>

<p><span>Deborah Landau joins Kevin Young to read and discuss Anne Sexton's poem "<a href="https://www.newyorker.com/magazine/1965/08/07/little-girl-my-stringbean-my-lovely-woman">Little Girl, My Stringbean, My Lovely Woman</a>" and her own poem "<a href="https://www.newyorker.com/magazine/2015/01/26/solitaire-4">Solitaire</a>." Landau's poetry collections include “<a href="https://www.amazon.com/Uses-Body-Deborah-Landau/dp/155659481X/ref=sr_1_1?ie=UTF8&amp;qid=1543610260&amp;sr=8-1&amp;keywords=deborah+landau">The Uses of the Body</a>” and “<a href="https://www.amazon.com/Last-Usable-Lannan-Literary-Selections/dp/1556593341/ref=sr_1_3?ie=UTF8&amp;qid=1543610260&amp;sr=8-3&amp;keywords=deborah+landau">The Last Usable Hour</a>,” both Lannan Literary Selections; the recipient of a Guggenheim Fellowship and the Robert Dana Anhinga Prize for Poetry, she directs the creative writing program at New York University.</span></p>

<p>Kaveh Akbar joins Kevin Young to read and discuss Ellen Bryant Voigt’s poem "<a href="https://www.newyorker.com/magazine/2011/02/14/groundhog">Groundhog</a>" and his own poem "<a href="https://www.newyorker.com/magazine/2017/06/05/what-use-is-knowing-anything-if-no-one-is-around">What Use is Knowing Anything If No One Is Around</a>". Akbar is the author of the poetry collection “Calling a Wolf a Wolf,” as well as the recipient of a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship, a Pushcart Prize, and the 2018 Levis Reading Prize.</p>

<p>Nick Flynn joins Kevin Young to read and discuss Zoë Hitzig’s poem “<a href="https://www.newyorker.com/magazine/2017/03/20/objectivity-as-blanket">Objectivity as Blanket</a>" and his own poem “<a href="https://www.newyorker.com/magazine/2018/06/18/the-king-of-fire">The King of Fire.</a>” Flynn's latest poetry collection is “My Feelings"; he will publish two new books, "Stay" and "I Will Destroy You," in 2019. Flynn has received the Erikson Institute Prize for Excellence in Mental Health Media, as well as awards and fellowships from PEN, the Guggenheim Foundation, and the Library of Congress.</p>

<p><span>Catherine Barnett joins Kevin Young to read and discuss Wislawa Szymborska's poem "Maybe All This" (translated, from the Polish, by Clare Cavanagh and Stanislaw Barańczak) and her own poem "Son in August." Barnett is the author of the poetry collections "Into Perfect Spheres Such Holes Are Pierced," "The Game of Boxes," and "Human Hours," out in September.</span></p>

<p>Nicole Sealey joins Kevin Young to read and discuss Ellen Bass' poem "<a href="https://www.newyorker.com/magazine/2017/10/16/indigo">Indigo</a>" and her own poem “<a href="https://www.newyorker.com/magazine/2016/08/08/a-violence-by-nicole-sealey">A Violence</a>." Sealey<span> is the executive director at the Cave Canem Foundation and the author of the poetry collection "Ordinary Beast."</span></p>

<p>Tiana Clark joins Kevin Young to read and discuss Natasha Trethewey's poem "Repentance," and her own poem, "Nashville." Tiana Clark is the author of the chapbook "Equilibrium," which won the 2016 Frost Place Chapbook Prize. Her first full-length book of poems, "I Can't Talk About the Trees Without the Blood," winner of the Agnes Lynch Starrett Prize, will be published in September. Natasha Trethewey won the 2007 Pulitzer Prize in poetry for her collection "Native Guard," and was the United States Poet Laureate from 2012 to 2014. Her most recent book is "Thrall."</p>

<p>Ada Limón and Natalie Diaz join Kevin Young to discuss their collaborative poetry project, “Envelopes of Air,” a series of eight poems written in correspondence between the two poets, currently featured on <a href="https://www.newyorker.com/magazine/poems/envelopes-of-air-ada-limon-and-natalie-diaz-forge-a-bond-amid-the-shifting-landscape-of-contemporary-america">newyorker.com</a>. Below, Limón and Diaz reflect on the project’s origins, context, and process.</p> <p>“The original context for the poems was quite simple really: to write poem-letters to each other. We wanted to collaborate somehow and I was originally scared Natalie was going to ask me to draw or something. But instead, we began these poem-letters. Natalie and I both travel a lot, with my home base being in Lexington, Kentucky, most of the time, and hers in Tempe, Arizona. We soon realized that the poems were giving us a new, intimate way of thinking on the page—a reader that knows you, a reader with some shared history, a poet reader, a woman reader, a brown-woman reader. In terms of symbolism, both green and red play important roles in the work (the red of the desert and the green of the Bluegrass and spring). You can see those colors moving through the poems, winding around the words. Also, when we talk about Kimmerer and sweetgrass, it’s in reference to the book “<a href="https://www.amazon.com/Braiding-Sweetgrass-Indigenous-Scientific-Knowledge/dp/1571313567/">Braiding Sweetgrass</a>." (That has proven to be important to both of us.) I have planted sweetgrass in my raised beds. (It’s come back and is thriving this year!)</p> <p>Also, I might add, that we both talk about our inner selves—our own anxiety, insomnia, health concerns—things we might not always share in other poems, because we are truly writing to one another, someone we trust, someone that we can recognize ourselves in, mirror and be seen. She has become an essential person for me to write to, for me to listen to. Of course, there’s more and I could go on, but I also don't want to say too much. I think the main thing is: these are real letters, and real poems, at the same time.”</p> <p>-Ada Limón</p> <p>“What is interesting about the poems as well is that we never had any context outside of the poems. They were their own space, a third space, maybe, of Ada’s and my friendship. We met sometimes in person, crossing paths at events, and we never discussed the poem-letters. They were that intimate time and space for us, of a poem, of a letter, of a room that was a new room for us to inhabit, individually, as we moved toward or away from ourselves and one another, and together, as we became a new space for each other to fill with words.</p> <p>These poems are in some ways very different than anything I’ve ever written—I’ve written about dark and bright emotionalities before, but this is a new, more vulnerable, more open field of myself that I found through my correspondence with Ada. We borrow one another’s phrases and language at times, we incorporate friends and lovers, we thread through what we are reading and what is happening in our lives and our worlds, like any letter would. Ada is one of the most important audiences I have written for, because I love her, she is my friend, and I also admire her as a poet and thinker and person. In some ways, I have risked more of myself in these poems than in other poems I have written. She has become one of the beloveds I write toward, as are my family, my friends, my lovers, my peoples and communities.”</p> <p>-Natalie Diaz</p>

<p>Marie Howe joins Kevin Young to read and discuss Lucie Brock-Broido's poem "<a href="https://www.newyorker.com/magazine/2016/09/26/the-american-security-against-foreign-enemies-act">The American Security Against Foreign Enemies Act</a>" and her own poem "<a href="https://www.newyorker.com/magazine/2008/01/14/the-star-market">The Star Market</a>."</p>

<p>Meena Alexander joins Kevin Young to read and discuss Gerald Stern’s poem “<a href="https://www.newyorker.com/magazine/2018/02/05/adonis">Adonis</a>," and her own poem “<a href="https://www.newyorker.com/magazine/2018/02/12/kochi-by-the-sea">Kochi by the Sea</a>.”</p>

<p><span>Terrance Hayes joins Kevin Young to read and discuss Matthew Dickman's poem "<a href="https://www.newyorker.com/magazine/2010/04/05/fire-12" target="_blank">Fire</a>" and his own poem “<a href="https://www.newyorker.com/magazine/2010/11/29/new-york-poem" target="_blank">New York Poem</a>."</span></p>

<p>David Lehman joins Kevin Young to read and discuss John Ashbery's Poem "<a href="https://www.newyorker.com/magazine/1975/01/20/worsening-situation">Worsening Situation</a>," and his own poem "<a href="https://www.newyorker.com/magazine/1991/09/23/stages-on-lifes-way">Stages on Life's Way</a>."</p>

<p>Tracy K. Smith joins Kevin Young to read and discuss Matthew Dickman’s poem “<a href="https://www.newyorker.com/magazine/2015/10/12/minimum-wage">Minimum Wage</a>," and her own poem “<a href="https://www.newyorker.com/magazine/2017/11/06/declaration">Declaration</a>.” </p>

<p>Charles Simic joins Paul Muldoon to read and discuss Sharon Olds’ poem “Her Birthday as Ashes in Seawater,” and his own poem “The Infinite.”</p>

<p>Danielle Chapman joins Paul Muldoon to read and discuss Zbigniew Herbert's poem "Mr. Cogito Laments the Pettiness of Dreams," and her own poem "The Tavern Parlor."</p>

<p>Stephen Mitchell joins Paul Muldoon to read and discuss Richard Wilbur's poem "<a href="http://www.newyorker.com/magazine/1957/08/17/two-voices-in-a-meadow">Two Voices in a Meadow</a>," and his own translation of "<a href="http://www.newyorker.com/magazine/2013/09/23/the-death-of-argos">The Death of Argos</a>," from Homer’s <em>Odyssey</em>.</p>

<p>Erica Jong joins Paul Muldoon to read and discuss John Updike's poem "The City Outside," and her own poem "Dear Keats."</p>

<p>Lia Purpura joins Paul Muldoon to read and discuss Carl Phillip's poem "White Dog," and her own poem "First Leaf."</p>

<p>Tom Sleigh joins Paul Muldoon to read and discuss Seamus Heaney’s poem “<a href="http://www.newyorker.com/magazine/2009/02/09/in-the-attic">In the Attic</a>” and his own poem “<a href="http://www.newyorker.com/magazine/2017/01/16/the-fox">The Fox</a>.”</p>

<p><span>Andrew Motion joins Paul Muldoon to read and discuss Alice Oswald’s poem “</span><a href="http://www.newyorker.com/magazine/2016/07/25/evening-poem-by-alice-oswald">Evening Poem</a><span>” and his own poem “</span><a href="http://www.newyorker.com/magazine/2017/04/17/waders">Waders</a><span>.”</span></p>

<p>Mary Karr joins Paul Muldoon to read and discuss Terrance Hayes’s poem “<a href="http://www.newyorker.com/magazine/2016/07/11/ars-poetica-with-bacon-by-terrance-hayes">Ars Poetica with Bacon</a>” and her own poem “<a href="http://www.newyorker.com/magazine/2014/09/22/face-2">Face Down</a>.”</p>

<p><span>Kevin Young joins Paul Muldoon to read and discuss John Berryman’s poem “</span><a href="http://www.newyorker.com/magazine/1958/08/16/a-sympathy-a-welcome">A Sympathy, A Welcome</a><span>” and his own poem “</span><a href="http://www.newyorker.com/magazine/2015/01/26/oblivion">Oblivion</a><span>.”</span></p>

<p><span>Brenda Shaughnessy joins Paul Muldoon to read and discuss C.D. Wright's poem, “</span><a href="http://www.newyorker.com/magazine/2007/07/02/like-a-prisoner-of-soft-words">Like a Prisoner of Soft Words</a><span>,” and her own poem “</span><a href="http://www.newyorker.com/magazine/2015/07/20/i-have-a-time-machine">I Have a Time Machine</a>."</p>

<p>Parker Henry joins Paul Muldoon to read and discuss fact checking poetry for <em>The New Yorker</em>.</p>

<p>Jonathan Galassi joins Paul Muldoon to read and discuss Frederick Seidel’s “Poem by the Bridge at Ten-Shin,” and his own poem “Lunch Poem for F.S.”</p>

<p>Amit Majmudar joins Paul Muldoon to read and discuss Christopher Reid’s “The Confusions,” and his own poem “Invocation.”</p>

<p>Eileen Myles joins Paul Muldoon to read and discuss James Schuyler’s “White Boat, Blue Boat,” and her own poem “Dissolution.”</p>

<p>Joyce Carol Oates joins Paul Muldoon to read and discuss John Updike's “A Lightened Life,” and her own poem “This Is the Season.”</p>

<p>Billy Collins joins Paul Muldoon to read and discuss Eamon Grennan’s “Sea Dog,” and his own poem “Table Talk.”</p>

<p>Jana Prikryl joins Paul Muldoon to read and discuss Anne Carson’s “Stanzas, Sexes, Seductions,” and her own poem “Thirty Thousand Islands.”</p>

<p>Nick Laird joins Paul Muldoon to read and discuss Elizabeth Bishop's “The Moose,” and his own poem “Feel Free.”</p>

<p>Monica Youn joins Paul Muldoon to read and discuss Afaa Michael Weaver's "Passing Through Indian Territory," and her own poem “Goldacre.”</p>

<p>Andrea Cohen joins Paul Muldoon to read and discuss Philip Levine's "The Mercy," and her own poem “Major to Minor.”</p>

<p>Stephen Dunn joins Paul Muldoon to read and discuss Donald Justice's "There is a gold light in certain old paintings," and his own poem “History.”</p>

<p>J. D. McClatchy joins Paul Muldoon to read and discuss James Merrill's "164 East 72nd Street," and his own poem “CaĞaloĞlu.”</p>

<p>Ellen Bass joins Paul Muldoon to read and discuss Adam Zagajewski’s “Try to Praise the Mutilated World,” and her own poem “Reincarnation.”</p>

<p>Meghan O'Rourke joins Paul Muldoon to read and discuss John Ashbery's "Tapestry,” and her own poem “Apartment Living."</p>

<p>Calvin Trillin joins Paul Muldoon to read and discuss Ogden Nash's "Autres Bêtes, Autres Mœurs” and his own poem "Oh, Y2K, Yes Y2K, How Come It Has to End This Way?"</p>

<p>Rosanna Warren joins Paul Muldoon to read and discuss Ellen Bryant Voigt’s “Bear,” and her own poem “Man in Stream.”</p>

<p>Sophie Cabot Black joins Paul Muldoon to read and discuss Donald Hall’s “The Ship Pounding,” and her own poem “Chemotherapy.”</p>

<p>Matthea Harvey joins Paul Muldoon to read and discuss W. S. Merwin’s “Vixen,” and her own poem “Everything Must Go.”</p>

<p>Michael Robbins joins Paul Muldoon to read and discuss “Myrtle,” by John Ashbery, and his own poem “Country Music.”</p>

<p>Ada Limón joins Paul Muldoon to read and discuss Jennifer L. Knox’s “Pimp My Ride” and her own poem “State Bird.”</p>

<p>Robert Pinsky joins Paul Muldoon to read and discuss Elizabeth Bishop’s “At the Fishhouses” and a poem of his own.</p>

<p>Major Jackson joins Paul Muldoon to read and discuss Derek Walcott’s “In Italy” and a poem of his own.</p>

<p>Rowan Ricardo Philips joins Paul Muldoon to read and discuss Nick Laird’s “Feel Free” and a poem of his own.</p>

<p>Timothy Donnelly joins Paul Muldoon to read and discuss Yusef Komunyakaa’s “Fortress” and a poem of his own.</p>

<p>Stephen Burt joins Paul Muldoon to read and discuss Liz Waldner’s “Sad Verso of the Sunny _______.”</p>

<p>Maureen McLane joins Paul Muldoon to read and discuss Liz Waldner’s “The Sovereignty and the Goodness of God, Together with the Faithfulness of His Promises Displayed.”</p>

<p>James Richardson joins Paul Muldoon to read and discuss W. S. Merwin’s “A Single Autumn.”</p>

<p>Rae Armantrout joins Paul Muldoon to read and discuss Susan Wheeler’s “The Split.”</p>

<p>Lucie Brock-Broido reads and discusses with host Paul Muldoon a poem by Franz Wright and poem of her own.</p>

<p>Jennifer Michael Hecht reads Lucie Brock-Broido.</p>

<p>Yusef Komunyakaa reads a poem by Marilyn Hacker, as well as one of his own poems, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>

<p>Anna McDonald reads a poem by Kathleen Graber, as well as one of her own poems, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>

<p>Michael Dickman reads Ellen Bryant Voigt and his own work, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>

<p>Sharon Olds reads Rodney Jones and her own work, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>

<p>John Ashbery reads Charles Simic and his own work, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>

<p>Tracy K. Smith reads a poem by Kevin Young and her own work, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>

<p>Philip Levine reads a poem by Ellen Bass and his own work, and has a discussion with the New Yorker poetry editor, Paul Muldoon.</p>