September 6, 2013

It’s our anniversary month here at Going Public! Let’s kick it off with a bit of Amy Lowell, some gorgeous new Michael Daigle, and of course, our continuing journey with Tom Jones. Come on in…the audio’s fine 😉

 

 

Strain (full version), by Amy Lowell

Read by Xe Sands

Xe  writes…

First, let’s just pretend that it was an intentional choice to only record the first half of “Strain” back in July. Please? Thank you.

This is such a powerful piece…my god, but Lowell’s words just vibrate with longing and loathing and shame and grace and anguish and I can’t help but be amazed by it.

To feel so deeply is a gift, always a gift. Sometimes, it’s an unwanted gift, but if you’re blessed and cursed with it, relish it, treasure it, throw things at it if you need to, but never denounce it because you are experiencing the world in a way, on a level that many others never will.

Lowell’s words, her “strain” is for you, then. They are visceral, they demand – not ask.

 

 

 

When All the World Is Liquid , by Michael Daigle

Read by Diane Havens

Diane writes…

A poem of love and loss by Michael Stephen Daigle.

 

 

 

Tom Jones – Book 6, Chapter 1, by Henry Fielding

Read by Mark Turetsky

Mark  writes…

Book 6 Chapter 1 of Tom Jones.

This is part of an ongoing project in which I will record and post one chapter per week of Henry Fielding’s Tom Jones over the course of four years.

Another new book, another discursive chapter from Henry Fielding. This one deals with love (maybe it’s a hint about the content of this book? I’m only kidding, of course it is). Here Fielding compares declarations that there is no love in the world to declarations that there is no God, and no goodness in humanity. In each case, he dismisses the argument by stating that if one can’t find evidence within one’s own mind, one can’t conclude that it doesn’t exist in anyone else’s. He compares the mind of those who can’t conceive of love or of God to a jakes (an outdoor toilet), so, you know, he might be showing his own bias, just a bit.

Anyway, he returns to a food metaphor, much like the one he used in the very first chapter of book one. Here he points out the absurdity of comparing sensory input from one sense and translating it into another.

You can’t equate love to sirloin.

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