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All answers, of course, are functions of the question, so...take this list with a grain of salt.

[Do you get any reception here?]

When gaining a foothold among the establishment, it is important the so called "outsiders" or mavericks have a figure fully anchored within the establishment who can be "acceptable."

A poet CAN be taught to twist his pain into clever metaphor and image, but at the same time, must have healthy relationship to his sanity.

Why do we make lists?

Mary Karr and Christopher Robinson discuss Czeslaw Milosz's poems "On Prayer" and "And Yet the Books."

I’ve never seen Evan Hansen wear a cowboy hat, but his pensive look in this picture displays the same concern he shows in his poetry for people and the tremendous, unspeakable burdens they carry on a daily basis.

[Big Badness by Mark Bibbins]

To help get my mind around what Synetic Theater was trying to do with their adaptation of Bulgakov’s oppression-defying, faith-affirming romp The Master and Margarita, I turned to Linda Hutcheon’s helpful study of postmodern adaptations.

In the full complexity of human constructs piety is the rhetoric of conflicting and supposedly coherent values.

History as a subject reads best when it is both documented and re-imagined

Brian Kalkbrenner's Foul Feelings is the closest thing in English, spiritually, to haiku that I can possibly think of.

[The Case of Archie 12 & 10]

The chickens are purifying their system, purging it of corruption. Meanwhile, the chickens who willfully refuse to answer the bell are seen as impious, as negative, as renegades.

We all have our ways of dealing with the unknown, I guess. Apparently cartographers used to write “Here be dragons” on sections of uncharted territory, especially oceans.

I'll read a poem about death, sadness, and strife, and in some cases, the suffering of the speaker, and then meet and converse with the contented and well-adjusted poet.