A Dizzying Range of Meaning

Poet Kit Fryatt joins host Seán Hewitt for a conversation about erasure and rearrangement, poetic edgelord and chancer Ezra Pound, and poetry’s transitional moment between the medieval and modern eras. Kit reads his poem “bodyservant” and Thomas Wyatt’s “They fle from me.”

Note: Thomas Wyatt's poem is presented in its original form.

Episode Transcript

Seán Hewitt (00:00):
The Glimpse.

Kit Fryatt (00:05):
I think it's about, you know, what is truth? You know,
truth is words. You know it's it'shot air, as Falstaff might have
said, you know. So the truth isarticulated in the same words as
flattery.

Seán Hewitt (00:21):
Welcome to The Glimpse. I'm your host. Seán
Hewitt. Kit Fryatt's dynamicblending of ancient and modern
poetry offers a road map to momentsthat seem familiar and feel a bit
uneasy. He's written four books.The latest, Book of Inversions,
co-written with Harry Gilonis, isbased on ancient and early modern
Irish originals, and will bepublished this year. He lectures at

(00:43):
Dublin City University. Kit Fryattis our guest today on The Glimpse.
Kit Fryatt is an innovator, evenwhen he is working on versions of
medieval Irish poetry, his methodis to invert, to turn the words
upside down, to generously andrichly throw the wealth of

(01:04):
language, both inherited and new,into an unlikely dance. In his
poems, experiments with form andmeaning create an immersive sense
of secretiveness and association, aplace for the mind to play. I love
them because they seem so unlike alot of poetry, these are not poems
that come with designs on us, orpoems that are content with a

(01:25):
single through line ofinterpretation. By turn satirical,
foul mouthed and tender, ancientand modern, Kit's poems work at the
cutting edge of what language cando. Kit Fryatt welcome to The
Glimpse. It's very good to have youhere.

Kit Fryatt (01:40):
Thanks very much. Thanks for having me on.

Seán Hewitt (01:41):
You're very welcome. Kit, I mentioned there in the
introduction your Book ofInversions, which I have been lucky
enough to read. I was rereading itagain recently, and in the intro to
that book, you lay out quite adefiant but playful mode of
writing, which you describe, or byway of Ezra Pound, describe as, "in

(02:02):
a way, impolite," whether that's tocritics or academics or to quote,
unquote, "respectable poetry." Iwonder if you could start by telling
us a little bit about thatimpoliteness, or impoliteness as a
way of approaching poetry?

Kit Fryatt (02:17):
Well, I have to say, first of all that Harry wrote the
introduction, really. That's almostall his work. But I'm glad you
mentioned Pound, because I thinkanyone who does that kind of
"making versions," I hesitate tosay translation, because I think
there's an expectation of, perhapslucidity. There's certainly an

(02:40):
expectation of fluency, both in thesense of knowing and being fluent
in the language from which you'remaking a version. And that's mostly
not terribly true of a lot of thework that I've done. And Pound is
the great enabler, I think inmodern times at least of that kind

(03:06):
of work, because he was famously ahuge chancer who translated out of
Chinese but didn't know Chinese.He's a difficult forebear. I think
he's certainly impolite in all thecolloquial senses, and his sort of
poetic edgelordism is often veryuncomfortable. And, you know, it
tips over from edgelordism into,you know, kind of the fascistic

(03:31):
politics that he espoused. So he'sa really problematic forebear to
have, but he is, at the same timeenormously enabling.

Seán Hewitt (03:42):
Yeah, that's the thing with modernists. A lot of them are
difficult forebears.

Kit Fryatt (03:47):
A lot of them are fascists.

Seán Hewitt (03:50):
I love the idea of him as a chancer, or as, in some ways,
poetry as benefiting from taking achance on things. You know, not
quite playing by the rules or beinga little bit playful with the
rules. I want to talk a little bitabout that you know, versions or
translations and what they're forand what draws you to them.

(04:15):
Especially, would love to knowabout your process for making
versions of poems in a languagethat maybe you don't speak like,
how do you go about that?

Kit Fryatt (04:27):
So it's quite frequently collaborative. I've done
this sort of work with KimberlyCampanello, for example. A
sequence that appears in bodyservant is the result of
collaboration on Stephen Fowler's"Yes, but are We Enemies?" project
with Kim. And I found both inworking with Kimberly and working

(04:49):
with Harry, that they're much morescholarly than I am. I really am a
chancer. So under Harry'sinfluence, I spend a lot more time
with the dictionary. I spend quitea lot of time with various English
and Irish dictionaries. I spendsome time with the existing
versions, the existingtranslations, James Carney, Jeffrey

(05:13):
Squires, and I talk to people whodo have a real fluency in Irish,
and then I ignore them. Becausethey tell me, you can't possibly
say that. And so, yeah, it's quitean organic process. I think, in the

(05:33):
sense that I don't have a setprocess, I think a lot of the
versions have come out of differentcircumstances. I think for me, one
of the reasons I do this is that itgives me something to work with. To
start with, I'm very bad at thatromantic thing, inspiration. So a

(06:01):
lot of what I do comes out ofalready existing text.

Seán Hewitt (06:04):
I wonder what it is about the medieval that attracts
you. You know, is there somethingabout the sensibility of the
medieval, whether that's Irish orEnglish?

Kit Fryatt (06:14):
Well, those would be very different sensibilities. I
think, yes. I think so, what is it?I think it's always seemed to me
that the medieval world is a veryliving one to me. You know, I look
back and I see people who are aliveto me, who are sort of present. And

(06:41):
I think there's something aboutlanguage, perhaps before and at that
early modern period of change is anextraordinary mixture of the poised
and formal and very pithy anddirect, yeah, I just felt like I

(07:04):
can sort of feel people speakingthrough that language.

Seán Hewitt (07:10):
Yeah, I think that's exactly right. You know that the
idea of a poised and formal andpithy and direct kind of intention
with each other, or maybe not evenintention, but one of them allowing
or giving way to to the other issomething I really enjoy about
medieval poetry as well. Andthere's a way that the poems

(07:31):
Can feel so different when you lookat them, because you know the
spelling is strange, or somethingabout the syntax might be off. But
when you start to speak them, theycome alive because you realize
something about the language, oryou begin to hear them. And in that
way, it's kind of like unlocking asort of life.

Kit Fryatt (07:53):
Yes, yeah, very much.

Seán Hewitt (07:55):
That is kind of secret as well, which I love, that that
feeling. All right, you're going toread the title poem from your
collection, bodyservant. Do youwant to tell us a little bit about
the poem before you read it? Orwould you prefer to plow straight
in? Yeah,

Kit Fryatt (08:08):
I'll say a little bit. It's sort of a composite, I
suppose, of two medieval figureswho were contemporaries overlapping
and sort of two medieval placesthat I'm particularly interested
in, the medieval, Gaelic world andthe the Occitan world of the

(08:30):
troubadours. So the the earlierfigure is that of Giraut de
Bornelh, the troubadour, possiblythe most famous of troubadour poems
"Reis glorios." It's often calledan Obaid or an Alba, and it is a
dawn poem. And the second figure inthe composite is a slightly later

(08:53):
12th and early 13th century figureMuireadhach Albanach Ó Dálaigh, who
is the founder of a great dynastyof poets. He was a murderer. He
killed a tax collector. He was acrusader as well. And so the figure
that I imagine the poem is spokenfrom the point of view of a

(09:17):
servant, a bodyservant. The figurethat I imagine is somebody like
Muireadhach, but that all kind ofgets mixed up with the relationship
between two men in "Reis glorios,"which doesn't get remarked on a
great deal.
So this is bodyservant. I sleep atthe foot of the stair the rough

(09:42):
nights of the bed I know hissleeping breath and its feint
perhaps he knows mine his lungs arecongested he is close to sixty and
I am past this year the middle oflife. the fair hair he cut the

(10:02):
night before we started for Cairo,a four years' pelt that would not
shame the Magdalen is gone as hesaid it would be a stringy tonsure
when an attack wakes him I bringmilk and ale we have both killed

(10:23):
men that he might live to this passtheir grey shades stand between us
so he seems insubstantial hesuffers as tall men do worst with
his knees, his back in the morningshe is agile like an anvil as the
mounting block he refuses he andhis wife had eleven children and

(10:48):
some of them live far away hemisses her hand beneath his head he
says to put my hand under his headwould be worth the ransom of the
son of the king of Cairo but I'venever been lucky there was a lady

(11:09):
the guest of many important men hevisited her when she stayed with
them then I watched till dawn Iknew her name but never her face
she was a grey shape in thoughtlike a place where a painter meant
to fill in one of the three Marys,a grey form lying on the body I

(11:32):
know better than my own its scarfurrows turn and turn about the
body to which I attribute everyscar on my own lying on a grey
form, until I called out my finefriend, here comes the dawn chief
glory glorious lord here comes thedawn.

Seán Hewitt (11:59):
Thank you very much. I loved hearing you you read that
poem. I want to draw listenersattention to how it looks on the
page as well, because it's maybesomething that they won't imagine,
although I think you could hear itquite, quite well in your reading
there that it moves all the wayfrom the left to the right hand

(12:19):
margin, sometimes in steps, if thatmakes sense, the lines step across
the page, and sometimes the linesare right aligned, as I do. There's
like a small stanza that is rightaligned rather than left aligned.
You tell us a little bit about, youknow, how you arrived at that form
before we talk about the poemitself, if that makes sense.

Kit Fryatt (12:42):
Yeah, it just happened, I think, and can't be very
illuminating about it. It sort ofmoved itself. It tossed and turned
across the page. In that way youknow that, that sometimes you just
know how something's going tospread itself out across the page.
When I see slightly unusualalignments on the page,

(13:07):
particularly, I suppose, when I seethings that are aligned in columns
or things that are indented thesame amount, I always want there to
be a kind of vertical axis on whichyou can read that as well. So I try
to do that. The little bit abouthair, Muireadhach is obsessed with

(13:28):
hair. He's one of poetry's greattrichomoniacs. John Milton is the
other one, I think. And he wroteabout cutting off his hair before
he goes on crusade. And he writesabout the Virgin Mary's hair in
great detail. So I wanted that towork a little bit, sort of a little

(13:48):
bit vertically, as if, almost as ifit is hair as well.

Seán Hewitt (13:54):
Yeah, there are moments in that poem, and I think
we've had a bit of an insight intointo how it was put together, but
there are moments that are almostseem to me like little holes in the
poem or something to look throughinto another bit of a story that's
then not fully given. And you know,there's backstory kind of glinting

(14:15):
through the poem. And I wonder, areerasures or rearrangements
important to the drafting of apoem?

Kit Fryatt (14:24):
Yeah, I think so. I mean there, I suppose the erasure
is, is the lady herself, when I waswriting that I was thinking about
and looking at something else Ilove, are the wall paintings in
medieval churches, very few ofwhich survive in Ireland, by the

(14:44):
way, more survive in England andstill more, in continental Europe.
But there's one I was looking at apicture of in an English church,
which I think was probably meant tobe a scene of the rolling away of
the stone from Christ's tomb. Andat some point, the painter had

(15:04):
meant to put in the three Marys,but he never did. So that was one
thing I was thinking of in terms oferasure. And the other, I suppose,
is that in "Reis glorios," theimportant thing is the relationship
between two men. And I think thismakes Ezra Pound very jumpy when he

(15:27):
translates it, and he adopts a veryuncertain tone. Giraut begins every
stanza with "bel campanho," "finefriend, beautiful friend," even.
And then there's the refrain, "Etades sera l'alba" and "here comes
the dawn." And Pound does away withthat he's very nervous about the

(15:51):
whole thing. This is a poem about aman waiting, standing watch for his
friend who is getting up toadulterous shenanigans inside, but
the relationship is between thesetwo men, and the watcher addresses
his friend as this beautifulcompanion. Says he's the best, he's
the greatest companion he's everhad. It's a real it's a real David

(16:14):
and Jonathan poem actually, it's areal sort of surpassing the love of
women kind of thing and Pound can'ttake that at all.

Seán Hewitt (16:20):
Now, you can feel that coming through in your own poem as
well. I think you know that there'sa lovely lift at the end that "my
fine friend, chief glory, gloriousLord," you know, and it kind of
reminds me of something youwere saying before about that. You
know, there's a sort of formalityor reserve that seems to heighten

(16:45):
the directness of the poem, if thatmakes sense. You know, there's
something about the language herethat feels formal, but in feeling
formal actually admits more eroticpotential, perhaps than, than it
were if, if it were solely direct,solely. You know, sometimes we

(17:06):
expect intimacy to be given to us,or the erotic to be given to us in
a sort of unabashed way. Butsometimes when it's bashed, when
it's reserved and in some way,shrouded in formal language, it

(17:26):
sometimes is even more erotic, orhas more potential for this sort of
intimacy, because it seemssecretive or subtle. And there's
something in that kind ofsecretiveness that that makes us
lean in and listen in a differentway. Okay, Kit, I could talk to you

(17:47):
a long time about the medievalworld. I think it's time for a
break, and when you come back,you're going to read one of my
favorite poems. I'm so glad you'vechosen it. It is a poem by Thomas
Wyatt, and it's, I think, a verysecretive and erotic poem. Okay, so

(18:09):
we'll take a break and then we'llcome back.

Kit Fryatt (18:11):
Okay, fantastic.

Cathy & Peter Halstead (18:23):
We hope you're enjoying this second season
of The Glimpse. It's just one smallpart of the Adrian Brinkerhoff
Poetry Foundation. We're thefounders Peter and Cathy Halstead.
Our goal is to make great poetrymore accessible to everyone, and we
do that in a variety of ways,through partnerships, our film

(18:45):
series, this podcast and ourwebsite, brinkerhoffpoetry.org. We
hope these works will lure you intoa parallel universe, the way a
Möbius strip brings you intoanother dimension without leaving
the page you're on. Thank you somuch for listening.

Seán Hewitt (19:06):
Welcome back, everyone. So Kit, the poem you've
chosen for us is one of myfavorites. It's Thomas Wyatt's.
"They fle from me." For those ofour listeners who haven't read
Wyatt before, can you tell useither a little bit about him or
about the poem?

Kit Fryatt (19:22):
Yeah, okay. So Thomas Wyatt was born in the early 16th
century, 1503 or 1504 and he was acourtier at the court of Henry the
Eighth a very dangerous place tobe. Somehow, he survived to die

(19:43):
young, nonetheless, he diessuddenly after a lot of kind of
diplomatic toing and froing, he washe had a fairly thankless
diplomatic career, but he's knownperhaps most for his activities at
the court of Henry the Eighth.He's an interesting figure because

(20:06):
he managed to make the transitionfrom Catherine of Aragon to Anne
Boleyn. He was also very close toAnne Boleyn, and he spent some time
in prison, possibly at the time ofAnne's execution. There's a phrase
in one of his poems which is oftentaken to indicate that he witnessed

(20:29):
the execution of Anne Boleyn andher supposed lovers, whilst himself
being in prison. So his poems areoften read in that dark, paranoid
atmosphere of the Reformationcourt of Henry the Eighth as that

(20:50):
cataclysm was happening. You knowthat that thing, which means that
we can't go back in some ways, toto that medieval world?

Seán Hewitt (21:00):
Yeah, they're so evocative of that, that world and
time they seem to have a kind ofcandlelit, shrouded darkness around
them. Would you read? "They flefrom me."

Kit Fryatt (21:17):
They fle from me that sometyme did me seke With naked
fote stalking in my chambre. I havesene theim gentill, tame and meke
That nowe are wyld and do notremembre That sometyme they put
theimself in daunger To take bredat my hand; and nowe they raunge
Besely seking with a continuellchaunge. Thancked be fortune it

(21:43):
hath ben othrewise Twenty tymesbetter, but ons in speciall, in
thyn arraye, after a pleasauntgyse, When her lose gowne from her
shoulders did fall And she mecaught in her armes long and small,
Therewithall, swetely did me kysse,And softly said, "dere hert, howe

like you this?" It was no dreme (22:03):
I lay brode waking. But all is torned
thorough my gentilnes into astraunge fasshion of forsaking; And
I have leve to goo of hergoodeness, and she also to vse new
fangilness. But syns that I sokyndely ame served, I would fain

(22:29):
knowe what she hath deserved.

Seán Hewitt (22:33):
Thank you very much. One of the things you know I love
about Wyatt is there is a sort ofalmost codedness or something to
the poems that leaves you unsurequite exactly what is going on. And
I think the first thing about thispoem that I still have a question

(22:55):
about is, right at the beginning,"they fle from me." You know, he
doesn't really tell us who who"they" are. It seems in my head
there, they appear like deer orcreatures or animals. You know that
they they once took bread from hishand, the line. "That nowe are wyld

(23:18):
and do not remembre/ That sometymethey put theimself in daunger /To
take bred at my hand." You know thisadmission that the speaker of the
poem is quite a threateningcharacter in some sense. You know,
if these are wild creatures, theyput themselves in danger to be near
him. And the idea of you yourselfbeing a danger is quite startling

(23:42):
admission.

Kit Fryatt (23:43):
Yeah, yeah.

Seán Hewitt (23:44):
In that poem, you know, you spoke about the proximity
to the court here, and thispoem comes with its rumors attached
to it. Now as we as we have it, andI'm right, I think in remembering
that there is a rumor that this isa poem about Anne Boleyn. Have you
heard this?

Kit Fryatt (24:01):
Yeah, it's very difficult to know with Wyatt, it's
difficult to know when he wrote thepoems that he did. It's odd. I love
these poems. I'm not terriblyinterested in connecting them to
the court politics or thepersonalities of the time. And I
sort of realized this when wadingthrough biographies of Wyatt, I'm

(24:24):
actually not interested in this.What interests me, I think, is that
that cataclysm of the Reformationthat you know, in 1516 if you like,
just before you know, Luther posted the 95 Theses, England is
the most pious Catholic countryin Western Europe, and known for
their their piety, and 20 yearslater, for reasons which don't have

(24:49):
a great deal to do with religiousconviction, they're going through
this cataclysm a few yearslater, you know, another 20 years
and the fabric of Catholicism isbeing destroyed. And I think Wyatt
fascinates me in that sense,because he straddles an old world
and and a new in terms of his courtaffiliations and in terms of his

(25:14):
religious ones, he seems to havebeen quite a convinced Evangelical,
but he's very very secularalso. When he writes to his son,
there's not very much,there's only the merest sort of,
kind of conventional nods atreligion, which suggests, again,
that he wasn't, you know, kind ofone of the new hot, gossiping kind

(25:36):
of Protestants, either that kind ofinterests me.

Seán Hewitt (25:39):
Yeah. But there's something about these poems that
seems quite surprisingly secular. Iremember when I read this at
university, it was after a longterm of medieval poetry in which
I'd I had to kind of marshal anarmory of biblical knowledge to

(26:00):
kind of access what, what was goingon in these poems. And then when we
arrived at Wyatt, I felt a sort ofmodernity in them, because, because
they seemed so secular, which isstrange, considering the world that
they came out of. This poem, seemsto me, in a way, that many of
Wyatt's poems do to be about changeor changeableness, you know, here

(26:27):
he, he starts off with variousvisions of different times. You
know, it encapsulates a lot in thispoem. We have kind of an aftermath.
Then we have this one specialmoment, and then we have this, this
phrase that I got stuck on thefirst time I read this poem, which
is her right "to vse newfangilnes," which again, points

(26:53):
towards not necessarily fickle,fickleness, but a changed method.
You know, these characters seemlike people who have methods and
designs on each other. You know,they seem deliberate in the way
that they go about conducting anaffair, which, which I think kind

(27:13):
of leads into the sexiness ofof the poem that they they know
what they're they're doing in thesecond stanza. What struck me this
time when you were reading,it was the the erotics of the poem
seem surprising to me in thatsecond stanza, because it is the
woman that that catches thespeaker, and "When her lose gowne

(27:36):
from her shoulders did fall and shecaught me in her armes, long and
small." That idea originally, wehave an image of a man as predator,
or as potential predator, thesewild animals that might be put
themselves in danger to come nearhim. And then in the second stanza,

(27:58):
he is happy to be caught. You know,there is a sense of abandoning one
version of a character and one kindof gender relation in in that
stanza, do you think that's that'strue?

Kit Fryatt (28:12):
Yeah, I think so. The first stanza casts the speaker as
Huntsman, and I think the reason wethink of deer is perhaps because of
who so is to hunt. Yeah, and, youknow, we think of him as kind of
the huntsman of that poem. He'salso sort of self deprecating about
his abilities when he actuallycatches up to the deer, then she is

(28:37):
marked out not as not for his use.I was just thinking, as we were
saying, how secular he is, but he'salso an interpreter of the Psalms,
and then they're very, verysophisticated interpretations. I
think he's, yeah, he's, he's aninnovator. I think that that idea
of change is not something that'sjust happening around him, it's

(28:59):
something that he is doing, bothin, you know, in in all the new
things that he brings into Englishpoetry. But here as well, that
change between the the huntsman ofthe first stanza and then he
suddenly, he is sort of enmeshedin, in a net, yeah, is one of the

(29:22):
one of the changes and yeah,nothing is stable in this world.
Everything is transitory andmutable.

Seán Hewitt (29:29):
Yeah, mutable seems to be the word that encapsulates so
much about this poem. You know,when I was reading this, and I
should say the version that youread from them was kept in its
original spelling, and to me, thatadds a sort richness that is lost
when it's glossed into modernspelling. Um, why did you send us

(29:53):
the original version?

Kit Fryatt (29:56):
Um, yeah, for precisely that reason. I don't think he's,
he's not quite modern. And and mostanthologists make a decision right
about when, when to startmodernizing. And sometimes it
happens from after Chaucer, youknow, after Middle English.
Sometimes it happens withShakespeare, sometimes it happens
with Milton. But I think even well,almost well into the 18th century,

(30:20):
modernization often takes somethingaway, some kind of texture from
writing of all kinds. Yeah, and Ithink, you know, even a text like
the the one I sent you haspunctuation added. There's no
punctuation in these poems asthey're written in the manuscripts,
and that that brings with it a kindof an even more dizzying kind of

(30:41):
range of meaning, because the onlyresource for pause, for, you know,
kind of breaking, is the line breakitself. There's no internal
punctuation at all. Thecapitalization is is wild and
sparse. You know, that's somethingI'm really, really interested in,

(31:03):
is the line and the line break aspoetry is really, poetry is really
chief resource. Yeah, that's whatpoetry is.

Seán Hewitt (31:13):
Yeah, you know, in some ways, putting it into modern
spelling and even punctuating it iskind of putting manners onto a poem
that that is so much livelierwithout those those impositions,
one of the things that I love aboutthis poem is the the kind of quite
startling insistence on truth,which seems strange almost, but you

(31:38):
know, when you get to The start ofthe third stanza. And I think even
the stresses here are interesting.There "was no dreme: I lay brode
waking." You know, even the "I laybrode waking," you have to kind of
stress every bit of that. So it'spulling your attention to the fact
that this is not made up. It's nota it's not a facet of the

(32:02):
imagination. Why do you thinkthat's so important to Wyatt or to

Kit Fryatt (32:07):
Um, I think because, I mean, he, he lived in a world which
this poem?
was continually being pulledbetween kind of truth and
necessity. I think we're still verymuch in in the world of of the
court, which is haunted by thespecter of flattery. Fauvel, as you

(32:33):
know, the medieval, you know, theMiddle English word is and and you
have to do a certain amount ofthat, you know, you have to tell
all these, these kind of politicuntruths, but at the same time, you
have to preserve yourself frombeing thought of as a flatterer. I

(32:54):
mean, Wyatt was known even amongpeople who are very proficient at
playing this game, as someone whowas eloquent, who was a brilliant
speaker, and yet he failed atalmost every juncture. He failed in
his, in his diplomatic missions, orwe can think of him as a great
success as well. I mean somebody,somebody else who, who was perhaps

(33:17):
less adept at verbal games wouldprobably have have gone to the
scaffold, which he didn't.

Seán Hewitt (33:29):
So, yeah. I mean, it's a language and rhetoric as a life
or death situation sometimes inthat, in that instance.

Kit Fryatt (33:37):
Yeah, yeah. And I think it's about, you know, what is
truth? You know, the truth iswords. You know, it's, it's hot
air, as Falstaff might have said,you know. So the truth is
articulated in the same words asflattery. Words are all we've got.
Yeah, which is sort of thepredicament of the poet.

Seán Hewitt (34:01):
Yeah, words alone are certain, good or not as the case
may be. Kit all right, thank you somuch for talking with me.

Kit Fryatt (34:11):
Thank you so much, Seán and it's been a great pleasure and
great privilege. Thank you.

Seán Hewitt (34:15):
Thanks for joining us today. I'm your host. Seán Hewitt.
Kit's poem, "bodyservant," from hisbook bodyservant, published in 2018
was aired with permission fromShearsman Books. Thomas Wyatt's
poem, "They fle from me" is in thepublic domain. Coming up next week,

(34:38):
poet Martina Evans weighs in on thepower of a cat and why Frank
O'Hara's poem, "A True Account ofTalking to the Sun at Fire Island,"
inspired some of her work. Makesure to subscribe to The Glimpse
wherever you get your podcasts. Youcan also find episodes on our
website,Brinkerhoffpoetry.org/podcast, We'd

(34:58):
also love to hear from you. Drop usan email at the glimpse poetry
[e-mail] The Glimpse isa production of the Adrian
Brinkerhoff Poetry Foundation. I'myour host, Seán Hewitt. Our senior
producer is Jennifer Wolfe, KatYore is our technical director and
mixing engineer. EditorialDirector. Amanda Glassman is our

(35:19):
curator and production coordinator,Amy Holmes is the foundation's
Executive Director, and our cofounders are Cathy and Peter
Halstead. Thanks for listening.