Sometimes we glimpse that everything's okay just as it is. Everything's fine.
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Five students from five different continents tell us how they adapted to a brand new culture when they first came to study abroad.
A reading of poetry for "How To Cure A Ghost," Fariha Róisín will also provide directives and questions on How and Why do we heal?
When we’re upset with someone, we’re often afraid to say anything. We tell ourselves, “Oh, it’s just a small matter; it’s not important.” But the accumulation of many small issues can create an explosive situation, and can even cause relationships to break.
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“IT’S SUCH A SLOW JOY,” says poet Jane Hirshfield, about the work of revising a poem. We’ve just left the trailhead for a hike on what she calls the “hem” of Mount Tamalpais.
Jane Hirshfield says environmental concerns began creeping into her poetry as early as her 1988 collection “Of Gravity & Angels,” when she was composing “poems of shared-fate awareness, and poems of the relationship of the biological and human worlds which don’t put human well-being above...
Writer Kim Rosen raises questions about Zen, openness, and the “desperation” of the creative process.
In this edition of "The Writing Life," poet Michael Collier speaks with poet, essayist and translator Jane Hirshfield about her work and the necessity of poetry in the world. Ms. Hirshfield begins by reading "The Poet," which she often uses as an opening poem in her readings.
The Beauty opens with a series of dappled, ranging “My” poems—“My Skeleton,” “My Corkboard,” “My Species,” “My Weather”—in which Hirshfield uses materials both familiar and unexpected to explore the magnitude, singularity, and permeability of our shared existence.
This groundbreaking anthology presents the spiritual life of women throughout history as recorded in their poems, prayers, and songs.
A Gate Enables passage between what is inside and what is outside, and the connection poetry forges between inner and outer lives is the fundamental theme of these nine essays.