tag:blogger.com,1999:blog-71540181423472919632024-03-06T05:55:42.760-08:00ROUGH DRAFTRob Hardy,
Former Poet Laureate of Northfield, MinnesotaRob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.comBlogger664125tag:blogger.com,1999:blog-7154018142347291963.post-85795010280147119082024-03-06T05:55:00.000-08:002024-03-06T05:55:07.200-08:00New Publication: "The Biographer," a short story about Mark Twain<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQNCueY2RUj7bcC8f8ibA_WosjL2pPucDq_GzHF61SC2DbqUhZ9VkRUrgrjLjaywD10s3Q0Sp9K4E_WN5UQxClSt25UCcySbG94LAd7y_v7Syk3HckrF4fo-TXaxo5O5sgNmodqFuJrM-ug7WdcTWxGNOM4KgxNRlPPx1x2bbXdxGK_HqlOZr-hUXVbUv/s1080/The%20Biographer.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQNCueY2RUj7bcC8f8ibA_WosjL2pPucDq_GzHF61SC2DbqUhZ9VkRUrgrjLjaywD10s3Q0Sp9K4E_WN5UQxClSt25UCcySbG94LAd7y_v7Syk3HckrF4fo-TXaxo5O5sgNmodqFuJrM-ug7WdcTWxGNOM4KgxNRlPPx1x2bbXdxGK_HqlOZr-hUXVbUv/s320/The%20Biographer.png" width="320" /></a></div><br />My latest story, "The Biographer," appears in <i>History Through Fiction</i>. To read it, you need to sign up and pay a one-time $5 fee that gives you access to exclusive content on the website (and helps <i>HTF</i> pay its writers). <p></p><p>The story takes place in 1908 and follows Mark Twain and his biographer, Albert Bigelow Paine, as they travel to Portsmouth, Maine, to attend the memorial service for Twain's friend and fellow writer Thomas Bailey Aldrich.</p><p>Link to sign up and read the story:</p><p><a href="https://www.historythroughfiction.com/short-stories">https://www.historythroughfiction.com/short-stories</a></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-33562576505912544322024-01-17T11:47:00.000-08:002024-01-17T11:48:11.587-08:00Publication: "Prairie Smoke" (poem) Published in The Midwest Quarterly<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqWZU6WprO60YEKhS584j7GUw5wVsapdd95vIbf7XPW0MzOAIPDrszEVqXV52mfkVXA8LRuq-zuWcwDBiSaOaS0_CclEOTitgRpymhjdZRioquwVA_gc6J4I3CQPgMrcE2QeVVQKKLdu6BJCf_daimvaTNYmn6fJDUa7rBJ330bfnHPW_S3f6VGlK9GAkU/s3841/MWQ.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3841" data-original-width="2555" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqWZU6WprO60YEKhS584j7GUw5wVsapdd95vIbf7XPW0MzOAIPDrszEVqXV52mfkVXA8LRuq-zuWcwDBiSaOaS0_CclEOTitgRpymhjdZRioquwVA_gc6J4I3CQPgMrcE2QeVVQKKLdu6BJCf_daimvaTNYmn6fJDUa7rBJ330bfnHPW_S3f6VGlK9GAkU/s320/MWQ.jpg" width="213" /></a></div><div><br /></div>My poem "Prairie Smoke" appears in the Fall 2023 issue of <i><a href="https://www.pittstate.edu/info/midwestq/index.html" target="_blank">The Midwest Quarterly</a>.</i> The issue is only available in print. <p></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-70579583358332424472023-09-14T05:02:00.002-07:002023-09-25T05:36:38.714-07:00New Publication: "Blank Page" (Short Story) in Emerald City<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AX2qVz-r-SsSYZGT4HaiM7byyADpTiBgDZRRmkrMEsx24DHGR7H9ynjutIo1iAXnrH1lNJYkAQjCh0qObPdFFFIKFayTn_AlbndhHwil0Ty6PWfc5qb63rTJK3TNcNB2i58UibFE6QbsE_u8Tu0jG3NYQs-jo74kyOlYhhKGfXTRkTArAleuYt3Q485Y/s396/Screenshot%202023-08-26%20at%204.36.02%20PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="312" data-original-width="396" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AX2qVz-r-SsSYZGT4HaiM7byyADpTiBgDZRRmkrMEsx24DHGR7H9ynjutIo1iAXnrH1lNJYkAQjCh0qObPdFFFIKFayTn_AlbndhHwil0Ty6PWfc5qb63rTJK3TNcNB2i58UibFE6QbsE_u8Tu0jG3NYQs-jo74kyOlYhhKGfXTRkTArAleuYt3Q485Y/w204-h161/Screenshot%202023-08-26%20at%204.36.02%20PM.png" width="204" /></a></div><br />My first published short story since 2004 (!) appears in the most recent issue of <i>Emerald City. </i>You can read the story here: <a href="https://www.emeraldcitylitmag.org/blankpage" target="_blank">https://www.emeraldcitylitmag.org/blankpage </a><p></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-90761017454049506442023-02-20T07:09:00.003-08:002023-02-20T07:09:59.898-08:00New Recording: "Sidereus Nuncius"<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLQTzi2bAfwRjJDXU5Kf55Y2_HDLwJhGTIMELfSyga20PA1rJvkTdPCwyggZcm-y4KhQ3Klpm-N1q33oJVH33RCUvxYAO7ZvTsZRiH_oEfgS840iY-jHrUgERsdB_QuDOzzYRiq3HzRPAst96REbNdjftDQODhJ0Na-cGzeKF4nElUQ4Q4aO1LHoytWQ/s2048/vid_horisonten.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLQTzi2bAfwRjJDXU5Kf55Y2_HDLwJhGTIMELfSyga20PA1rJvkTdPCwyggZcm-y4KhQ3Klpm-N1q33oJVH33RCUvxYAO7ZvTsZRiH_oEfgS840iY-jHrUgERsdB_QuDOzzYRiq3HzRPAst96REbNdjftDQODhJ0Na-cGzeKF4nElUQ4Q4aO1LHoytWQ/w200-h200/vid_horisonten.jpg" width="200" /></a></div><br />The new EP, <i>vid horisonten</i>, by the Finnish women's choir Akademiska Damkören Lyran features a new choral work by composer Alex Freeman that sets to music one of my poems along with several quotations from the works of Galileo. You can read more about the work <a href="https://www.lyran-rf.com/new-page-3" target="_blank">here</a>, and listen to the EP on <a href="https://open.spotify.com/album/5dP3JiKFu6Vy3mVvjfU1jD" target="_blank">Spotify</a>, <a href="https://music.apple.com/fi/album/vid-horisonten/1672603626" target="_blank">Apple Music</a>, or <a href="https://tidal.com/browse/album/277364962" target="_blank">Tidal</a>. <p></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-81339380709827659932022-12-03T07:48:00.002-08:002022-12-03T07:48:41.650-08:00New Publication: "God Wink" (Poem) in Image Journal<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8IlgTQDA5YeeNEWvK6wsrKCnToxtR9HthaV009aylHTMs-9m1HX2N3lOODY3rCYxK4uRApaCSv7UTwDQ4pEe6DSCYptO6oVNTV3lVUhQrhSh-8LVWoCIbSZq_8oBTAMAsUkJd8fEI5FdtPWGDsaSt-deYchOzwDNjBeXBnV-VPOVCsRB5apDOmF2LZQ/s2048/114-cover-for-screen-scaled.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1434" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8IlgTQDA5YeeNEWvK6wsrKCnToxtR9HthaV009aylHTMs-9m1HX2N3lOODY3rCYxK4uRApaCSv7UTwDQ4pEe6DSCYptO6oVNTV3lVUhQrhSh-8LVWoCIbSZq_8oBTAMAsUkJd8fEI5FdtPWGDsaSt-deYchOzwDNjBeXBnV-VPOVCsRB5apDOmF2LZQ/s320/114-cover-for-screen-scaled.jpg" width="224" /></a></div><br /> My poem "<a href="https://imagejournal.org/article/god-wink/" target="_blank">God Wink</a>" appears in <i>Image</i> No. 114. <p></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-59319391272902118192022-05-02T06:37:00.002-07:002022-05-02T06:37:57.410-07:00News: Collaborative Choral Music Projects<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO9Q6be19QCsOpbDv9k76uqCNEV01hQw-KHMUVsyyenFNlqghpPWFwg3W7DL2wl-FK9705fP_c_JNDdduqUg3GXUKQKuBOwoxl6mOh6HhBCXuJP__bvm5fmAGV1BTx5jAf4LQyvUwyF-B-B8B09FDPfG53Z2R2hMxMN-cqJPkXj3219_xubGIK6nbeQw/s1160/Screen%20Shot%202022-05-02%20at%208.36.06%20AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="1160" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO9Q6be19QCsOpbDv9k76uqCNEV01hQw-KHMUVsyyenFNlqghpPWFwg3W7DL2wl-FK9705fP_c_JNDdduqUg3GXUKQKuBOwoxl6mOh6HhBCXuJP__bvm5fmAGV1BTx5jAf4LQyvUwyF-B-B8B09FDPfG53Z2R2hMxMN-cqJPkXj3219_xubGIK6nbeQw/s320/Screen%20Shot%202022-05-02%20at%208.36.06%20AM.png" width="320" /></a></div><br />Here's a piece from the Carleton College news bureau about my collaboration with composer Alex Freeman on four new choral works being premiered in Finland in 2022.<p></p><p>"<a href="https://www.carleton.edu/news/stories/current-and-former-carleton-professors-premiere-new-choral-works-in-finland/" target="_blank">Current and former Carleton professors premiere new choral works in Finland</a>." Erica Helgerud '20, Carleton College News. </p><br /><p><br /></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-78137165055317248202022-04-22T06:42:00.003-07:002022-04-22T06:42:49.917-07:00Poetry Reading: Greta Hardy-Mittell and Rob Hardy at Content Bookstore<p>Rob Hardy reads from his new poetry chapbook, <i>Shelter in Place</i> (Finishing Line Press), and is joined by poet Greta Hardy-Mittell, reading from her new work. Facebook video from the reading of Thursday, April 21, 2022, courtesy of Content Bookstore. </p><iframe allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="476" scrolling="no" src="https://www.facebook.com/plugins/video.php?height=476&href=https%3A%2F%2Fwww.facebook.com%2FContentBookstore%2Fvideos%2F511900553768296%2F&show_text=false&width=267&t=0" style="border: none; overflow: hidden;" width="267"></iframe>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-31124662456696544992022-03-11T09:09:00.005-08:002022-03-11T09:09:31.131-08:00"Shelter in Place" Available Now<p> <span style="font-family: Garamond, serif; font-size: 10pt; text-align: center;">Powerful work, infused with beauty and grace from one of Minnesota’s talented poets. Rob Hardy is a treasure.</span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in; text-align: center;"><span style="font-family: Garamond, serif; font-size: 10pt;">—Cathy Wurzer, <i>Morning Edition</i> Host, Minnesota Public Radio, and Founder of the End in Mind Project<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span style="font-family: Garamond, serif;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span style="font-family: Garamond, serif;"> </span></p><p class="MsoNormal" style="margin: 0in;"></p><div class="separator" style="clear: both; font-family: Garamond, serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgI0RHsJ8a6--k0YnRuLSPxGRC480iZrKF0BXJvcUeIeH4-jvyuy1q1oXSIydBUxH3zn-nkc_Cdc59xsr1ft-PTKtPfX8Ga6Jaw0TLRRBBObBoErKFwXMLBf1NMqP2wfq-5J5hjRQquX0cgAouEgD9tHH0UCrgy3bEDv6xQdJteRnzWuRO7cEeMPVTENw=s959" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="959" data-original-width="620" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgI0RHsJ8a6--k0YnRuLSPxGRC480iZrKF0BXJvcUeIeH4-jvyuy1q1oXSIydBUxH3zn-nkc_Cdc59xsr1ft-PTKtPfX8Ga6Jaw0TLRRBBObBoErKFwXMLBf1NMqP2wfq-5J5hjRQquX0cgAouEgD9tHH0UCrgy3bEDv6xQdJteRnzWuRO7cEeMPVTENw=s320" width="207" /></a></div><br /><div><span style="font-family: inherit;">In March 2020, as the pandemic closed in, poet Rob Hardy seized the opportunity to slow down, take daily walks in the Carleton College Arboretum, and write poetry. Sixteen of the twenty-one poems in his new chapbook from Finishing Line Press, <i>Shelter in Place</i>, were written during the first six months of the pandemic. Inspired by those daily walks in the prairie and woods, and tracking the progress of the seasons, the collection captures both the anxieties and the unexpected wonders of a challenging year.<br /></span><span style="font-family: inherit;"> <br /></span><span style="font-family: inherit;">Former Winona Poet Laureate Emilio DeGrazia writes: “In this lovely small collection of poems, dread is the catalyst for new life, and absence is metamorphosed into the new small miracles present all around.”<br /></span><span style="font-family: inherit;"> <br /></span><span style="font-family: inherit;">Poems in the collection have been published in <i>Third Wednesday, Willows Wept Review</i>, and featured in the Red Wing Arts Poet-Artist Collaboration and the End in Mind Pandemic Poetry Project. The final poem in the collection is being set as a choral piece by composer Alex Freeman, and will receive its world premier in Turku, Finland, in November 2022. <br /></span><span style="font-family: inherit;"> <br /></span><span style="font-family: inherit;"><b>Rob Hardy</b> is the author of the full-length poetry collection <i>Domestication</i> (Shipwreckt Books 2017) and the chapbook <i>The Collecting Jar</i>, winner of the 2005 Grayson Books Poetry Chapbook Competition. His writing, both poetry and prose, has appeared in <i>Rattle</i>, <i>New England Review, Ploughshares, North Dakota Quarterly, West Branch, New Voices, Water-Stone Review</i>, and several anthologies, including <i>33 Minnesota Poets</i> (Nodin Press 2000) and <i>Undocumented: Great Lakes Poets Laureates on Social Justice</i> (Michigan State University Press 2019). He has served as the first Poet Laureate of Northfield, Minnesota, since 2016.<br /></span><span style="font-family: inherit;"> <br /></span><span style="font-family: inherit;"><b>Finishing Line Press</b> is a poetry publisher based in Georgetown, Kentucky. In addition to its Chapbook Series, it also publishes the New Women’s Voices Series and sponsors the Finishing Line Press Open Chapbook Competition. Other Minnesota poets published by Finishing Line Press include Diane LeBanc, Mary Moore Easter, Margaret Hasse, Bill Meissner, James Lenfestey, and Deborah Cooper. <br /></span><span style="font-family: inherit;"> <br /></span><span style="font-family: inherit;">The chapbook can be purchased for $14.99 (+ $2.99 shipping) directly from Finishing Line Press:<br /></span><span style="font-family: inherit;"> <br /></span><span style="font-family: inherit;"><a href="https://www.finishinglinepress.com/product/shelter-in-place-by-rob-hardy/" style="color: #954f72;">https://www.finishinglinepress.com/product/shelter-in-place-by-rob-hardy/<br /></a></span><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">Finishing Line Press<br /></span><span style="font-family: inherit;">P.O.Box 1626<br /></span><span style="font-family: inherit;">Georgetown, KY 40324 </span></div><div><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Copies of the chapbook will also be available at Content Bookstore in Northfield. The poet will give a reading and book signing at Content on Thursday, April 21, at 7pm.</span></div><p></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-53156210261719354292022-03-11T06:00:00.003-08:002022-03-11T06:03:08.706-08:00 New Publication: "Caesar vs. Pirates"<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi7QVP9m8zzf5WzqF-M3wz-CgrzluKqrT42bKBnoSKhDHQFME8ZHTHn8T_z3fIexs69cG24iPrJyLN2eWUXsEuUjac1EBAAGLpQWlpvvMDcH8pzxVRNhs0_An3MVGnlWc5HSkHhOWlpUunNUG9AdbCcTyP5qf8DFG9Y56s7oAEGSlY3zpUPkdY0Az9ZAg=s1754" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1754" data-original-width="1321" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi7QVP9m8zzf5WzqF-M3wz-CgrzluKqrT42bKBnoSKhDHQFME8ZHTHn8T_z3fIexs69cG24iPrJyLN2eWUXsEuUjac1EBAAGLpQWlpvvMDcH8pzxVRNhs0_An3MVGnlWc5HSkHhOWlpUunNUG9AdbCcTyP5qf8DFG9Y56s7oAEGSlY3zpUPkdY0Az9ZAg=s320" width="241" /></a></div><p><br /></p>When Julius Caesar was a young man, before he became the most powerful man in Rome, he was kidnapped by pirates in the eastern Mediterranean. My new story in the online true adventure magazine <i>Truly Adventurous</i> tells the story of how Caesar was kidnapped, how he escaped, and how he got his revenge. You can read the exciting true story here: <a href="https://medium.com/truly-adventurous/caesar-vs-pirates-3d673f3b8749">https://medium.com/truly-adventurous/caesar-vs-pirates-3d673f3b8749</a><p></p><p>You can also listen to the story read on Audm. Or listen here on Soundcloud. </p><p>If you have a Medium account, consider logging in and leaving some applause if you enjoy the story.</p><p><br /></p> <p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1220899432&color=ff5500" width="100%"></iframe></p><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/user-884905096" style="color: #cccccc; text-decoration: none;" target="_blank" title="Truly*Adventurous">Truly*Adventurous</a> · <a href="https://soundcloud.com/user-884905096/caesar-vs-pirates" style="color: #cccccc; text-decoration: none;" target="_blank" title="Caesar Vs Pirates">Caesar Vs Pirates</a></div><p></p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com1tag:blogger.com,1999:blog-7154018142347291963.post-88218219339092845252022-02-13T12:45:00.001-08:002022-02-13T12:45:42.746-08:00New Publication: Commentary on Homer's Odyssey Books 9-12 (Dickinson College Commentaries)<p><span style="font-family: inherit;"><span style="caret-color: rgb(5, 5, 5); color: #050505; white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgmJ4lkvwCZlZ-FYtAGnGY4ycnNt6-65utbVu9_Jf-RO-nPkjjIWXvUhmrdmsyDE5o_Q_7WuUpfMvoMNopGCbyBobuQDfIh6zW7QLpLC94Cylmxh2d-JRi-lUGgclAz_ozm-OSInXcFU29UTm8qDEhuiPkXQgbe6G4FvTS8sE8wdGjZMIqFL_bmX60Ahw=s300" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="225" height="247" src="https://blogger.googleusercontent.com/img/a/AVvXsEgmJ4lkvwCZlZ-FYtAGnGY4ycnNt6-65utbVu9_Jf-RO-nPkjjIWXvUhmrdmsyDE5o_Q_7WuUpfMvoMNopGCbyBobuQDfIh6zW7QLpLC94Cylmxh2d-JRi-lUGgclAz_ozm-OSInXcFU29UTm8qDEhuiPkXQgbe6G4FvTS8sE8wdGjZMIqFL_bmX60Ahw=w185-h247" width="185" /></a></span></div><span style="font-family: inherit;">Today is publication/launch day for an exciting project I've been working on since the summer of 2020: a commentary on <a href="https://blogs.dickinson.edu/dcc/2022/02/13/new-at-dcc-homer-odyssey-9-12/" target="_blank">Books 9-12 of Homer's <i>Odyssey</i></a><i> </i>for the Dickinson College Commentaries series (DCC). The commentary is a collaboration with Chris Francese at Dickinson College and our Oberlin professor, mentor, and friend, the great classicist Tom Van Nortwick. I contributed the grammatical notes and Tom wrote the brilliant interpretive essays. Even if you don't read ancient Greek, Tom's essays will give you a deeper understanding and appreciation of Homer's art, as well as a sense of why, after sitting in a classroom listening to this man talk about ancient literature, I had to become a classics major. </span><p></p><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto"><span style="font-family: inherit;">This is my second DCC commentary, following a commentary on Selections from Bede's Ecclesiastical History (2017). And the Homer team is currently hard at work on a DCC commentary on Books 5-8 of the Odyssey. </span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="caret-color: rgb(5, 5, 5); color: #050505; margin: 0.5em 0px 0px; white-space: pre-wrap; word-wrap: break-word;"><div dir="auto"><span style="font-family: inherit;">One of the greatest pleasures of creating this commentary, aside from working with Tom and Chris, was reading the text with students from Dickinson and Carleton in June, July, August, and December 2021. The students carefully read through the text and commentary with special attention to the vocabulary lists, helping to create (at least for these four books) what I think is the best Homeric lexicon available.</span></div></div>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-68967535404419840112021-12-28T07:06:00.002-08:002021-12-28T07:06:19.178-08:00NEW PUBLICATION: "An Attention to What Continues: Two Books on Herbaria"<p>In the December 2021 issue of <i>The Critical Flame</i>: "<a href="http://criticalflame.org/an-attention-to-what-continues-two-books-on-herbaria/" target="_blank">An Attention to What Continues: Two Books on Herbaria</a>." A meditation on the the collection, mounting, and exchange of botanical specimens, in the form f a review of Helen Humphreys' <i>Field Study: A Meditation on a Year at the Herbarium</i> (2021) and Barbara M. Thiers' "<i>Herbarium: The Quest to Preserve and Classify the World's Plants </i>(202). </p>Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-39129432485791255402021-11-11T06:24:00.004-08:002023-05-25T09:30:56.289-07:00"Old Greek" in the Garden<br /><br />In the 1830s, a boy in Connecticut named Edward North was exploring the woods around his schoolhouse and absorbing the lessons and the pedagogical styles of a succession of young teachers who seemed to change with the seasons. The young woman, the embodiment of Beautiful Goodness, who left the twelve-year old boy broken-hearted when at the end of a summer term she left to be married. The angry and vengeful young man who succeeded her. And the next young man, as different from his predecessor “as light from darkness, as the milk of human kindness from the gall of vindictive wrath.” In a memoir of his school days, North wrote:<br /><br /><blockquote>Wholly unselfish, he forgot himself in the great work that was given him to do. Untrammeled by printed text-books, he found a larger library in the ancient forest that surrounded the schoolhouse… [B]y the sorcery of a rare personal magnetism he converted his classes into eager, insatiate searchers after knowledge. He went with them on scientific explorations in the woods and fields. He taught them how to know a tree by its bark and leaf, the bird by its plumage and song, the fish by its shape and habit. Each boy and girl in that wide-awake school had at home a growing collection of plants, or minerals, or shells, or birds’ eggs, or insects, or woods, all neatly and accurately labeled, and yielding more of genuine joy to their owners than their fathers ever knew from gathered crops or bank shares and mortgages.</blockquote><br />From that unnamed teacher, North absorbed a lesson that would stay with his for the rest of his life, and that he would pass along to the hundreds of students who sat in his classroom during his nearly sixty years as a teacher. Even for a student of ancient Greek, as he would become, the outdoors was a classroom, and nature taught lessons that could not be learned from a printed text. <br /><br />Edward North was born in Berlin, Connecticut, in 1820. His father was a farmer. His uncle, Simeon North, was a professor of ancient languages at Hamilton College, in Clinton, New York, and from 1839 to 1857 the college’s fifth president. From his schoolhouse in the Connecticut woods, Edward North followed his uncle to Hamilton, where he studied Latin and Greek, graduating with the class of 1841, and where, after a short stint as a school teacher and law student, he returned as a professor of Greek. He taught at Hamilton for fifty-seven years. His students affectionately called him “Old Greek.”<br /><br />At Hamilton, one of North’s closest friends was Professor Oren Root, a professor of mathematics and geology, who shared with him a love of nature study. “We were alike in our love of trees and birds and rare plants,” North recalled when Root died in 1881. In his diaries, North recorded walks with Root when they “botanized” together, often gathering specimens of wild plants to transplant in their gardens. Their first outing together, when North was a student and Root was a young tutor, was to find a tree growing in the wild along Oriskany Creek and transplant it on campus. <br /><br /><blockquote>“After dinner I went down to the banks of the Oriskany in Marcus Lathrop’s meadow,” he wrote in his diary on May 12, 1852. “I brought home roots of the clematis, Jack-in-the-pulpit, wake-robin, meadow violet, etc., also bladder-nut, buttonwood, and wild plum. Cherry blossoms are out.”</blockquote><br />North’s great passions were teaching Greek and gardening. He had a special fondness for trees, and earned a local reputation for his skill in grafting and growing pears. One of his favorite college traditions at Hamilton was the annual planting of the class tree. In 1841 he was granted the honor of choosing his own class tree, and chose an American chestnut which he had himself “raised from the seed.” He especially loved the chestnut because it reminded him of “the dear old woods of Connecticut” where he spent his childhood. <br /><br />It should not be surprising that Professor North’s favorite Greek author was Theocritus. To North, Theocritus was a “thoughtful lover of his books [and] his rural haunts,” an ancient Greek poet in whom he may have recognized something of himself. According to his successor as professor of Greek, Edward Fitch, “his study of Theocritus showed whither his mind and taste led him.” <br /><br />In a lecture on Greek gardening which he often gave in his classes at Hamilton, Professor North wrote: “The genuine scholar is one who likes to keep his thoughts busy not alone with words, but with what the words stand for. He likes to look for something beyond the dry husks and outward integuments of ancient learning. To the genuine scholar, whatever pertains to the landscape scenery and the rural life of the Greeks appeals with a singular fascination.” To truly understand and appreciate a classical author, the student had to understand and appreciate the landscape in which they lived. And that understanding and appreciation could not come from books alone, it had to come from direct experience of nature. Without that direct experience, ancient literature became “a dry husk,” an exsiccata, like a page in an herbarium. North concludes that “a true and wholesome scholarship and culture will keep itself in close communion with nature, and will strive to advance in the knowledge of men and books, without becoming estranged from trees and landscapes.” <br /><br />In a lecture titled “Why We Study the Classics,” North makes an explicit connection between philology, the study of the classical languages, and botany, the study of plants. “The student sits down to a difficult passage in his Greek author,” he writes. “He carefully examines the original text, and brings to its rendering his best powers and resources. Here is a word he never encountered before, a new acquaintaince to be cultivated by consulting his lexicon. He takes it to pieces, as a botanist would analyze a strange plant, and examines its constituent parts.” On another occasion, he reverses the simile, saying that the botanist approaches the study of a plant “with the gifts of a lexicographer.” <br /><br />North’s interest in both plants and language is primarily in cultivation. He is a horticulturalist. The purpose of his botanizing expeditions is to bring back wild plants to cultivate in his garden. Likewise, the purpose of studying the Greek language is the cultivation of the student’s mind. In a lecture to college parents, he compares the teacher to the nurseryman who grafts his pears to produce better fruit. <br /><br /><blockquote>The nurseryman will point you to long, straight rows of pear trees, that have been raised from the seed. If he lets them them keep to their native individuality and come into bearing, one in a thousand may chance to be a good pear. The rest will be as chance decides, bad or indifferent. The nurseryman preferred a profitable certainty to a lottery with so many blanks. He grafts the seedlings, and makes it sure that every one that lives will be a Bartlett or a Flemish Beauty. So it is with your sons and daughters.</blockquote><br />He had a special fondness for a row of non-native Lombardy poplars on College Hill that most people at the college found ugly and wanted to remove. He records in his journal that the founder of the college, on a fund raising trip to Philadelphia in 1793, was told that “if he wished his new institution to thrive, he must root out the native, uncultivated trees, and introduce the classic poplar which the Augustan poets had immortalized.” Elsewhere in his journal, he records the observation of another professor that the poplars “looked like Hebrew and Greek scholars, all hirsute and rigid with roots, idioms, and dialects.” <br /><br />Like the Lombardy poplars and the Bartlett and Flemish Beauty pear trees, the classics were an introduced species, native to other landscapes, and valuable for the culture they import. His first argument for the study of Greek and Latin is that it enables the student to understand and appreciate the English language, which the ancient languages have “polished, enlarged, and greatly enriched.” Again, he turns to the language of horticulture to speak of the cultivation of the English language:<br /><br /><blockquote>From its unrhythmical rudeness and stiff unaccommodating barrenness, as wielded by Chaucer and his contemporaries, its gradual changes and successive accretions have made it what we now boast it to be—a language unsurpassed for influence of idiom, for flexibility and stateliness of rhythm, by having grafted upon its vigorous Saxon roots the graceful suppleness of the Greek, with the compact energy and melody of the Latin.</blockquote><br />The English language was like Professor North’s garden, where introduced and native species grew side by side and were often grafted one to the other. <br /><br /><a href="https://www.blogger.com/#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguHHgm5-TWSJf-SlD89G2ywixQFgId2rv6UKiezEnhNsNps_PejVsS9iTbUhTrV7HTeGFxdzj7s1R7dUSedBikFPMbumICvO0KCktpo0oPRFjytSAJXW-RSOEM7lcUGiFG4ZI7Cuoq_v4Y/s320/Screen+Shot+2021-11-11+at+8.18.43+AM.png" /></a><br /><br /><br /><br /><br /><br /> Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-46165985788454714822021-11-09T23:29:00.010-08:002023-05-25T06:15:54.563-07:00Wild Sarsaparilla—Hepatica—Mullein<br />The older I grow, the more do I love spring and spring flowers. Is it so with you? While at home there were several pleasure parties of which I was a member, and in our rambles we found many and beautiful children of spring, which I will mention and see if you have found them, —the trailing arbutus, adder's tongue, yellow violets, liver-leaf, blood-root, and many other smaller flowers.<br />—Emily Dickinson to Abiah Palmer Root, May 16, 1848<br /><br /><br />In the mid-1840s, as <a href="https://www.blogger.com/#">Dr. Mead</a> was collecting and exchanging plant specimens with his botanical correspondents, Emily Dickinson was collecting and pressing flowers for her own personal herbarium. Like Dr. Mead, she also exchanged plants with her correspondents. In May 1845, when she was fifteen, she wrote to her school friend Abiah Root: “My plants look finely now. I am going to send you a little geranium leaf in this letter, which you must press for me. Have you made an herbarium yet? I hope you will if you have not, it would be such a treasure to you; ’most all the girls are making one. If you do, perhaps I can make some addition to it from the flowers growing around here.” In the same letter, she tells her friend that she received from Miss Adams, “a beautiful little bunch of pressed flowers which I value very much as they were from her.” <br /><br />Unlike Dr. Mead, Emily Dickinson’s interest in plants was not primarily scientific. Flowers for her were expressions of friendship and affection, and like her poems were offerings of her self. The poems she sent to friends were often accompanied by flowers or small bouquets. Flowers had personal associations for her, evoking memories or providing inspiration or providing a connection with absent friends. In another letter to Abiah, from May 1852, Dickinson recalls an occasion at school when Abiah arrived for an assembly “bedecked with dandelions.” She writes: “Oh, Abiah, you and the early flower are forever linked to me; as soon as the first green grass comes, up from a chink in the stones peeps the little flower, precious ‘leontodon,’ and my heart fills toward you with a warm childlike fullness! Nor do I laugh now; far from it, I rather bless the flower which sweetly, slyly too, makes me come nearer you.”<br /><br />In her herbarium, although most of the specimens are labeled with the correct scientific name, the plants are arranged not according to genus or any discernible scientific criterion. They seem to be arranged more for artistic effect, or based on associations—like the association of the dandelion with her friend Abiah—known only to herself. On the page, her arrangments of plants are like her poems—the striking images and unexpected juxtapositions, the simplicity and mystery. <br /><br />On <a href="https://www.blogger.com/#">one page</a>, three entirely unrelated plants: wild sarsaparilla (aralia nudicaulis), hepatica (hepatica americana), and common mullein (verbascum thapsus). The plants are members of different families, bloom at different times of the year, and are found in different settings—wild sarsaparilla and hepatica are woodland species, but mullein grows in open areas. At the top of the page, she has arranged three stalks from the wild sarsaparilla, each with three flower clusters at the top. The three stalks are crossed like swords. The hepatica in the lower left has three flowers and one three-lobed leaf. The page seems to be arranged according to groups of three—except for the mullein, of which there is only a single flower and a single leaf. <br /><br />I have spent a long time looking at this page. It’s impossible to know what these individual flowers meant to Emily Dickinson, or why she chose to place them together on the same page. One of the things that strikes me is that she didn’t scorn common weeds like mullein. Like the dandelion, which reminded her of her friend Abiah, even a weed like mullein may have had special associations for her. They were in any case part of the landscape of home, familiar fellow inhabitants of the area around Amherst and South Hadley where she did her collecting. Her arrangement of the mullein is particularly striking. A mullein plant in the field is often two meters tall, a single stalk dense with velvet leaves terminating in a long spike of densely-packed yellow flowers that pop unevenly into bloom. I have never found it particularly attractive or interesting. But Emily Dickinson took a single leaf and a single flower, and arranged them in a way that doesn’t at all suggest a mullein. It’s as if she had made something new of them, or at least made me look at mullein differently.<br /><br />The single flower and single leaf, abstracted from a plant that contains a multitude of leaves and flowers, reminds me of the poet’s interest in singularity, and her fondness for the word “one.” Often, as I walk in the prairie, I think of her lines: “To make a prairie it takes a clover and one bee. / One clover and a bee.” Although an actual prairie, like a mullein plant, contains multitudes, Dickinson focuses on a single clover and a single bee. In another poem, she writes that “the soul selects her own society”—<br /><br />I’ve known her from an ample nation<br />Choose one;<br />Then close the valves of her attention<br />Like stone. <br /><br />With this poem in mind, I imagine young Emily Dickinson choosing one leaf and one flower from the “ample nation” of the mullein to press and mount in her herbarium. I look again at the three stalks of the wild sarsaparilla, each with three flower clusters made of dozens of individual flowers, and at the three flowers of the hepatica. There seems to be a kind of floral subtraction at work. I think of how, at the time when she made her herbarium, she was often surrounded by her school friends, and how in years to come she would retreat into solitude. <br /><br />I realize I’m reading an entire biography into a single page of dried flowers, but “revery alone will do,/If bees are few.” <br /><br />Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-406327836803668152021-11-09T08:03:00.010-08:002022-01-13T10:21:12.869-08:00 Mead’s Sedge (Carex meadii Dewey)<br /><br />Between March and September 2020, I walked every morning in the prairie and woods of the Cowling Arboretum. When I started, the leaves of hepatica were just unfurling from the ground at my feet. On April 1 the first flowers appeared. First hepatica, then Dutchman’s breeches, trout lily, and rue anemone. In the prairie, the pasqueflowers appeared on April 5, then nothing but brown for a month until the prairie smoke bloomed in early May. Every morning I walked though the woods and out onto the prairie, out around Kettle Hole Marsh where in late March the chorusing frogs found their voices, then back through the empty campus. I kept track of the date on which each new flower began to bloom. Beginning around the 20th of April there was something new almost every day until the beginning of August. <br /><br />I grew up among the remnants of the eastern deciduous forest, and from my mother I had learned to identify trillium, jack-in-the-pulpit, and Dutchmen’s breeches. I knew the woodland flowers by heart. But in June, when the action moved from the woods to the prairie, I began to put names to plants I had never known before. I downloaded the iNaturalist app on my phone and took a picture of every unfamiliar plant I saw. I began to memorize the prairie as I had memorized the woods.<br /><br />I still have a long way to go. I’ve begun to distinguish between the four species of aster in the local prairie, and the six species of goldenrod. But the species of sedge are still largely a mystery to me. 16 species have been identified in the Arboretum where I took my walks, and there are likely to be more: the genus Carex includes roughly 600 separate North American species. My list for 2020 includes just one, Mead’s sedge (carex meadii), which I identifed on May 24.<br /><br />Mead’s sedge is named for Samuel Barnum Mead (1799-1880), a physician who in 1833 settled in Augusta, Illinois. The year before Dr. Mead arrived in Illinois, the poet William Cullen Bryant had visited the state, and had found inspiration in the prairies, “boundless and beautiful,” “with flowers whose glory and whose multitude rival the constellations.” Surveying the prairies that covered most of Hancock County, Illinois, Dr. Mead immediately set to work cataloguing the plants he found there, including the two species that bear his name, Mead’s Sedge (carex meadii) and Mead’s Milkweed (asclepias meadii). In 1846, Dr. Mead published in The Prairie Farmer a 12-page “Catalogue of plants growing spontaneously in the state of Illinois, the principal part near Augusta, Hancock County.” The list includes 12 species of goldenrod and 42 species of sedge. <br /><br /><br /><a href="https://www.blogger.com/#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwkXcK5lS3NYrjAvpbRAILykdNPugJNFkknaF9vUZXyBOvxiVmBA2lva-Rs7eJyLBRYsaxBJIwjjmjVX-A1KF5U8VRwy7DtXSqY7Dbd4gtpipQtiBbPWPqq8r6Xbcp7U7thj2rfQrJlJNF/s320/SBMead.jpg" /></a><br />Dr. Samuel Barnum Mead<br /><br /><br />The herbarium at Brown University includes a specimen of Mead’s sedge collected by Dr. Mead near Augusta. Through Dr. Mead’s frequent correspondence with other botanists, the specimen found its way to the physician and botanist Henry Parker Sartwell (1792-1867), who included it in his Carices Americae Septentrionalis exsiccatae. The two-volume work, published in 1848 and 1850, was a collection of actual dried plants in the genus Carex, accompanied by printed labels, available to subscribers who wanted to add examples of the species to their collections. One of the subscribers to Sartwell’s volume was Rhode Island wool merchant and amateur botanist Stephen Thayer Olney (1812-1878), who later bequeathed his collection to Brown. <br /><br />On the sheet from the Brown herbarium, there are two small plants that Mead carefully removed from the prairie to preserve as much of the root structure as possible. The roots are dark gray, the faded color of Illinois soil. A cluster of grass-like leaves rises above the roots, ranging in color from raw umber to straw to gray with a hint of green. Two thin gray-green stalks extend above the leaves, terminating in the seed heads, like underdeveloped heads of wheat. After removing them from the soil, Mead would have laid the specimens between sheets of paper and placed them in a plant press to dry before mounting them, labeling them, and sending them to their destination. <br /><br />In the nineteenth century, thousands of plant specimens were dispersed throughout the country through a network of amateur and professional botanists. In May 1844, Dr. Mead wrote to the botanist John Torrey: “I have been exceedingly busy in collecting plants for 2 yrs., in order to obtain by exchange one specimen of all N. American plants. I have collected & distributed about ten thousand specimens within 2 years & I have already collected a thousand or more this spring.” Many of the correspondents with whom Mead exchanged plant specimens were also physicians, who were drawn to botany during their medical training, which included the study of medical botany, the identification of plants with pharmacological uses. Dr. Mead sent specimens to Dr. P.D. Knieskern in New Jersey, whose botanical collection was later acquired by Rutgers, to Dr. George Engelmann in St. Louis, whose collection went to the Missouri Botanical Garden, to Dr. Joseph Barratt in Connecticut, whose collection went to Wellesley College, and to Dr. Charles Wilkins Short in Louisville, Kentucky, whose collection of more than 15,000 specimens went to the Philadelphia Academy of Natural Sciences. <br /><br />“I have received some 800 species from Dr. Engelmann & he has promised more as he is in my debt,” Dr. Mead wrote in a letter to John Torrey in July 1844. “I have sent Dr. Short already about two thousand specimens.” <br /><br />Samuel Barnum Mead died at the age of 81 after falling out of an apple tree. At his death, Dr. Mead’s personal herbarium included more than 10,000 specimens, including every species growing in Hancock County, and nearly every species in the state of Illinois. Specimens that he collected and exchanged with other botanists are included in herbaria throughout the United States, including 140 in the collection of the New York Botanical Garden. <br /><br />Meanwhile, the prairie itself was disappearing under the plow. Since the beginning of the nineteenth century, 99% of the original tallgrass prairie has disappeared. In Hancock County, Illinois, the original prairie that Mead explored is long gone. The restored Minnesota prairie I pass through on my walks contains only a small fraction of the species present in the original prairie. But some of those plants from the original prairie still exist, mounted on sheets of paper. <br /><br /><br /><a href="https://www.blogger.com/#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3Z_BzI92GJpW-PYMqJlpC9P6a76oQy5NxlZF5evOg4pamERbnCAnEwsN_UKGffqQVUZpVXnEogt6HuPldc3jIRiOg8C_Qaw82hl_GVpV8Lad-bgHlUUIiUvfY7iiEOHMzoK5s6N1rPql/s320/Carex+Meadii.png" /></a><br />A specimen of Mead's Sedge (Carex meadii) in the <a href="https://www.blogger.com/#">Brown University Herbarium</a>. The specimen was collected by Samuel Barnum Mead and sent to H.P. Sartwell (ca. 1845). <br /><br /><br /><br /><br />Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-80664761425029707812021-10-27T18:44:00.003-07:002022-01-13T10:30:51.113-08:00Pre-Order SHELTER IN PLACE (coming February 2022)Preorder<br /><i><b>Shelter in Place</b></i><br />a new poetry chapbook by Rob Hardy<br />forthcoming from Finishing Line Press<br />February 2022<br /><br /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaXKDFHtEDwx617j6RaLbWh9cS8a2_EwKsap-q0XQ__xxtVICNtUdaZ45C6pWvQfJlYurFTEhw_CF4xxiOMSxH-gPeKsZBJSa3xSK5uo43eiM_Ju9pR6HDPkMoUwrMB240E4rWJq4QllXs/s320/Shelter_Cover_1MB.png" /><br /><br />Available for preorder at:<br /><br /><a href="https://www.blogger.com/#">https://www.finishinglinepress.com/product/shelter-in-place-by-rob-hardy/</a><br /><br />Or send your shipping address along with a check or money order ($14.99 + $2.99 shipping per book) made payable to:<br /><br /><blockquote>Finishing Line Press<br />Post Office Box 1626<br />Georgetown, KY 40324</blockquote><br />Powerful work, infused with beauty and grace from one of Minnesota’s talented poets. Rob Hardy is a treasure.<br />–Cathy Wurzer, Morning Edition Host, Minnesota Public Radio, and Founder of the End in Mind Project<br /><br />When the future, especially under the influence of pandemic, “feels like unclaimed baggage,” Rob Hardy shows us “it’s hard to let go of absence.” In this lovely small collection of poems, dread is the catalyst for new life, and absence is metamorphosed into the new small miracles present all around.<br />–Emilio DeGrazia, author of What Trees Know<br /><br />Slender in size, Hardy’s new collection is weighty in its felicitous and fearless examination of the present moment. Shelter in Place offers “singing in the wake of the storm/a fugue of chromatic juncos,” which transitions to the beautiful fragility of aftermath, when “winter’s white tune/is taken up by the wild plum.” Hardy uses elegance and restraint to rein in a wild inventiveness of observations, at once sensitive and learned, about human nature and the natural world. Shelter in Place will long delight readers with its lucidity, poignancy, humor, and humanity.<br />–Leslie Schultz, author of Concertina<br /><br /><b>Rob Hardy</b> is the author of Domestication: Collected Poems 1996-2016 (Shipwreckt Books) and the chapbook The Collecting Jar (Winner of the 2005 Grayson Books Poetry Chapbook Competition). Since 2016 he has served as the first Poet Laureate of Northfield, Minnesota. <br /><br />“Rob Hardy’s poems reacquaint readers with the archetypal depth of the familiar.”<br />—Scott Slovic, University of Idaho, former editor, Interdisciplinary Studies in Literature and the Environment<br /><br /><br />Cover art: Matt Klooster (<a href="https://www.blogger.com/#">https://kloosterart.com</a>)Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-5833363368570669342020-05-25T10:55:00.000-07:002020-05-25T10:55:03.298-07:00New Publication: Athens 415: The City in Crisis<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial, Helvetica, sans-serif;">Clara Shaw Hardy. <a href="https://www.press.umich.edu/9991016/athens_415" target="_blank"><i>Athens 415: The City in Crisis</i>.</a> With translations by Robert B. Hardy. Ann Arbor: University of Michigan Press, 2020. </span><div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Publisher's description: </span><span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif;">On a summer night in 415 BCE, unknown persons systematically mutilated most of the domestic “herms”—guardian statues of the god Hermes—in Athens. The reaction was immediate and extreme: the Athenians feared a terrifying conspiracy was underway against the city and its large fleet—and possibly against democracy itself. The city established a board of investigators, which led to informants, accusations, and flight by many of the accused. Ultimately, dozens were exiled or executed, their property confiscated.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This dramatic period offers the opportunity to observe the city in crisis. Sequential events allow us to see the workings of the major institutions of the city (assembly, council, law courts, and theater, as well as public and private religion). Remarkably, the primary sources for these tumultuous months name conspirators and informants from a very wide range of status-groups: citizens, women, slaves, and free residents. Thus the incident provides a particularly effective entry-point into a full multifaceted view of the way Athens worked in the late fifth century.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Designed for classroom use, <i style="box-sizing: border-box;">Athens 415 </i>is no potted history, but rather a source-based presentation of ancient urban life ideal for the study of a people and their institutions and beliefs. Original texts—all translated by poet Robert B. Hardy—are presented along with thoughtful discussion and analyses by Clara Shaw Hardy in an engaging narrative that draws students into Athens’ crisis.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://contentbookstore.com/?q=h.tviewer&using_sb=status&qsb=keyword&qse=pcnHywdd5a8IvXL5IGNaaw" target="_blank">Order <i>Athens 415</i> from Content Bookstore</a></span></div>
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Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-45051686912555847002020-05-13T14:30:00.002-07:002020-05-13T14:31:31.782-07:00New Publication: Poems from the Lockdown<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "arial" , "helvetica" , sans-serif;">My poem "Crossing the Delaware" is included in the anthology <i>Poems from the Lockdown</i> (<a href="http://willowdownbooks.com/" target="_blank">Willowdown Books</a> 2020), edited by Trevor Maynard. The anthology includes 146 poems by 115 poets from 10 different countries, all in response to the new realities of life in the time of Covid-19. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Available on <a href="https://www.amazon.com/Poems-Lockdown-Trevor-Maynard/dp/B0875YYF7X/ref=sr_1_1?crid=UFXQKTD4QUSF" target="_blank">Amazon</a>.com and <a href="https://www.amazon.co.uk/Poems-Lockdown-Trevor-Maynard/dp/B0875YYF7X/ref=sr_1_1?crid=M7RTIDZWGAJ2" target="_blank">Amazon</a>.co.uk</span><br />
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Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-39076447725165869212019-03-08T07:13:00.001-08:002019-03-08T07:28:56.203-08:00Poetry Review: Leila Chatti<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="text-align: left;">
<span style="font-family: inherit;">In late 2018, I conducted a survey about the Northfield Poet Laureate program, soliciting feedback on previous programming and suggestions for additional programming. One suggestion was that I post occasional reviews and recommendations of poetry books. I read poetry slowly, and even more slowly find the words to talk about it. But here's a first attempt. </span><br />
<span style="font-family: inherit; text-indent: 48px;"><br /></span>
<b><span style="font-family: inherit; text-indent: 48px;">Leila Chatti. </span><i style="font-family: inherit; text-indent: 48px;">Tunsiya/Amrikiya </i><span style="font-family: inherit; text-indent: 48px;">(Bull City Press) and <i>Ebb</i> (Akashic Books/New Generation African Poets). </span></b><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In October 2017, Leila Chatti drove up
from Madison, where she was spending a year as a fellow at the University of
Wisconsin, to give a reading in Northfield. Leila is not only one of
the most brilliant young poets I know, she is also incredibly generous and kind
and receptive to the people and the world around her. I had the feeling, when I
was with her, of being with someone who was more awake than I was, and who
metabolized experience more easily and naturally into words.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">From time to time a poet speaks to me from
somewhere outside my own experience and makes me fall head over heels into a
new world. This happened in 2014 when I read Leila’s first published poem. The
poem was called “<a href="https://www.rattle.com/14-sunday-school-3-days-late-by-leila-chatti/" target="_blank">14, Sunday School, 3 Days Late</a>.” The poet’s voice, her
experience, her world, her use of language—all of it captivated me, and left me
wanting more. Fortunately, there was more. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Going back to that first poem after
reading more of her work, I realized that that small, seven-line poem displays
much of what I love about Leila’s poetry. She is physically present in her
poetry as a woman who feels pleasure and pain, who bleeds, who often has to
push back against a culture that tells her to feel shame. Leila is Muslim,
Arab, a dual citizen of Tunisia and the United States, and her poetry reflects
those complex identities and conflicted histories in a way that is—here comes
that word—accessible. What I mean is this: her poems open a door, and provide
access to an intimate space in which difference is what we share and the
distance between us is what draws us together.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In “Dressing Before a Mirror in Morning,”
she begins—</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I look at myself</span><br />
<span style="font-family: inherit;">because it is what you would do, it makes
me</span><br />
<span style="font-family: inherit;">feel close to you.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Here she summons the other through
contemplation of the self. The line endings shift from “myself” to “me” to
“you”—from the first person reflexive to the second person. The line break in the
second line (“it makes me”) acknowledges that we are in part a creation of the
gaze of others. But in this case, she imagines her own gaze as the other’s. The
poem is a mirror that makes us see identity as difference, self as other.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Similes abound in Leila Chatti’s
poetry—the word “like” that implies similarity but also admits of difference.
In “Khouya,” which she glosses as Tunisian Arabic for “my brother,” she writes:</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I just don’t see it, how anyone could</span><br />
<span style="font-family: inherit;">look through hate like a scope at boys</span><br />
<span style="font-family: inherit;">so like my brother…</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">First, notice the complications of the
gaze: she can’t see how anyone could look through hate. Second, notice the
repetition of the word “like,” first in a simile (“hate like a scope”) and then
in recognition of the similarity between her brother and the boys who become
victims of police violence. Likeness is complicated: the difference between the
poet’s recognition of the familiar and beloved and law enforcement’s racial
profiling is a matter of the lens through which the gaze is filtered. The poet makes a strong case for love as the filter through which we should see those different from ourselves.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In another poem, “Homophones,” she
explores the resonances of different words that sound alike, both English
homophones and words in Tunisian that sound like unrelated English words. She
begins—</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In English, </span><i style="font-family: inherit;">alter</i><br />
<span style="font-family: inherit;">and </span><i style="font-family: inherit;">altar </i><span style="font-family: inherit;">are so
similar</span><br />
<span style="font-family: inherit;">they are easily confused.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Again, what interests her is the
coexistence of similarity and difference, the creative tension between like and
unlike out of which her poetry arises.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">America is both her home and a place where
she is often looked upon as a stranger. She belongs and doesn’t belong, is both
like and unlike the people around her. This is the hook on which her
imagination catches and weaves itself into poetry.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Leila Chatti’s first
full-length poetry collection, </span><i style="font-family: inherit;">Deluge</i><span style="font-family: inherit;">,
will be published in 2020 by Copper Canyon Press.</span></div>
</div>
Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-1040659595042388372018-12-28T12:15:00.003-08:002018-12-28T12:15:44.537-08:00New Publication: The Long Sunset: R.C. Sherriff and the Excavation of Angmering Roman Villa<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YkHhhQx_R4z8eil-qm7q-1IvHywJLgxfNxvLPqOAgtK69Y4H3hPXcpPjG2lqma820HnDUfigJl2195LdsQD01S2fJxsXFGCCotFFkoCXFGEdvIWRhhyphenhyphenF5ftcQkgu4zQfUfQ6plybS7Y1/s1600/Arion26.2_Cover-copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="381" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YkHhhQx_R4z8eil-qm7q-1IvHywJLgxfNxvLPqOAgtK69Y4H3hPXcpPjG2lqma820HnDUfigJl2195LdsQD01S2fJxsXFGCCotFFkoCXFGEdvIWRhhyphenhyphenF5ftcQkgu4zQfUfQ6plybS7Y1/s200/Arion26.2_Cover-copy.jpg" width="127" /></a></div>
In the 1930s, R.C. Sherriff made a small fortune as a successful playwright (<i>Journey's End</i>), novelist (<i>The Fortnight in September</i>), and Academy Award-nominated screenwriter (<i>Goodbye, Mr. Chips</i>). In 1937, he had enough money to fulfill his childhood dream of excavating the ruins of a Roman settlement. He spent three summers participating in the excavation of Angmering Roman villa in coastal Sussex, under the supervision of archaeologist Leslie Scott. This essay, in <i>Arion</i>, tells the interwoven stories of Sherriff, Scott, and the Roman villa they brought to light in the years before the start of World War II. </div>
Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-62580441163981167182018-11-29T08:14:00.001-08:002018-12-28T12:16:51.654-08:00New Publication: "An Open House" at CriticalRead.org<div dir="ltr" style="text-align: left;" trbidi="on">
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<img border="0" data-original-height="659" data-original-width="968" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9jn38DlPP9yLdFyAKAsW8X5Gi1CFxHRrsTfXKvhEkTgHRsWhi21-Vk1qU0aaI2ik6mppHk1HmTnjH5nMRJxI2WiQjg60PCCam9lKgIMFXe2eNQGNx2iAbfxsDP5aLV7G8sdzucNOQV7KC/s400/openhouse.jpeg" width="400" /></div>
You can find my essay on Susan Glaspell's play <i>Inheritors</i> online <a href="http://www.criticalread.org/an-open-house" target="_blank">HERE</a> on the Critical Read website. </div>
Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-53285519913924506452018-05-21T04:59:00.004-07:002018-05-21T04:59:52.150-07:00New Poem: "Phrasebook"<div dir="ltr" style="text-align: left;" trbidi="on">
My poem "<a href="http://ergon.scienzine.com/article/poetry/phrasebook" target="_blank">Phrasebook</a>" has been published online in <i>Ergon: Greek/American Arts and Letters</i>. </div>
Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-78425284629425259182017-11-18T06:22:00.001-08:002017-11-18T06:24:14.626-08:00Public Poetry at the Northfield Public Library<div dir="ltr" style="text-align: left;" trbidi="on">
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In early August, the director of the Northfield Public Library, Teresa Jensen, asked me to write a poem to be displayed prominently in the atrium of the Northfield Public Library. She wanted something that would capture the essence of the library as a place of knowledge and stories, a community gathering place, and a democratic institution. I wrote a poem in five stanzas of four lines each. The first four stanzas consist of three lines in English and a concluding line in Spanish. The final stanza translates each of the Spanish lines into English.<br />
<br />
On Friday, November 17, 2017, the poem was installed at the public library. The plastic films were designed, created, and installed by Graphic Mailbox in Northfield. Here's the Northfield Public Library's Facebook post unveiling the new poem:<br />
<br />
<br /></div>
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<br />
<a name='more'></a><br />
<br />
And here's the text of the poem:<br />
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">This is
where we come for windows on another world,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">and where
we find mirrors to look at ourselves. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">This is
the house we have built to house our histories. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span lang="ES"><span style="font-family: inherit;">Esta es la puerta que se abre a nuestra vida común.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here is
the end of our search, and the start of our journey.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here is
the map and the transport and the destination,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">here the
main-traveled roads and the road not taken. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span lang="ES"><span style="font-family: inherit;">Aquí está el camino que hacemos caminando juntos.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here the
stars are named, and still retain their mystery.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here
there are dragons curled over their hoard of words.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here is
what we know, and what can only be imagined. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Este es
el lugar donde se reúnen todas nuestras historias.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">This is
where we compose the poetry of a more perfect union<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">and learn
to harmonize with the better angels of our nature. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here is
our faith in each other and our common purpose. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span lang="ES"><span style="font-family: inherit;">Este es un lugar de bienvenida a todas y todos.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">This is
the door that opens on our common life.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">Here is
the road that we make by traveling together. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: inherit;">This is
the gathering of all our stories. <o:p></o:p></span></div>
<div style="text-align: left;">
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Thanks to Mar Valdecantos for making corrections to my Spanish. </div>
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Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-72152194404792731272017-11-03T13:37:00.001-07:002017-11-03T13:37:26.244-07:00New Publication: Commentary on Selections from Bede's Historia Ecclesiastica<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHBwdPKR9pRR-tQsyNd0ZB5tr6DSNS3H4uM5eTrQHDIxC670iBbk4dXTT_FQW8dvbY3PY_-iC59sP-qOqC9faiOfPKOZunK6L43lyhuC1OEqZFDzdMo06eB-8vSg2HZButhZ2Z5m03pUM/s1600/Scribe%252C+Possibly+Bede.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="640" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHBwdPKR9pRR-tQsyNd0ZB5tr6DSNS3H4uM5eTrQHDIxC670iBbk4dXTT_FQW8dvbY3PY_-iC59sP-qOqC9faiOfPKOZunK6L43lyhuC1OEqZFDzdMo06eB-8vSg2HZButhZ2Z5m03pUM/s320/Scribe%252C+Possibly+Bede.jpeg" width="320" /></a></div>
In 2014, I started work on a commentary on <a href="http://dcc.dickinson.edu/bede-historia-ecclesiastica/intro/preface" target="_blank">Selections from Bede's </a><i><a href="http://dcc.dickinson.edu/bede-historia-ecclesiastica/intro/preface" target="_blank">Historia Ecclesiastica</a> </i>for the Dickinson College Commentaries series. Three years later, the commentary has gone live on the DCC website. The commentary, with grammatical and historical notes, vocabulary lists, and accompanying maps, images, and essays, is accessible for free by anyone who wants to read Bede's wonderful Latin and learn about Anglo-Saxon Christianity. The commentary would not have been possible without the contributions of Austin Mason (Carleton College) and Christopher Francese (Dickinson College). Other contributors include: Bret Mulligan (Haverford College), Sasha Mayn (Carleton College ’18), Bard Swallow (Carleton College ’18), Martha Durrett (Carleton College ’18), William North (Carleton College), and the participants in the 2016 Dickinson College Latin Workshop.</div>
Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-39912547823015343622017-08-31T14:52:00.001-07:002017-08-31T14:52:15.988-07:00Two New Online Publications<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: large;">Two of my very brief essays were published online this summer. The first was the essay "<a href="https://www.thecommononline.org/telephone/" target="_blank">Telephone</a>," which appeared in June in the online version of <i>The Common</i>, in the journal's "Dispatches" section. The second, "<a href="http://www.riverteethjournal.com/blog/2017/08/21/metaphor-lesson" target="_blank">Metaphor Lesson</a>," appeared in August in the online version of <i>River Teeth Journal</i>, in the journal's "Beautiful Things" section. </span></div>
Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0tag:blogger.com,1999:blog-7154018142347291963.post-16409952519210222992017-07-07T13:56:00.000-07:002017-07-07T13:56:04.466-07:00Now Available: Aeschylus, Oresteia: An Adaptation<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFydATz3NQafObd3J5CSLZb8IBniXffPu0E6UomDBvXgAFk82lTAEVEVbgjb2lrm93dT7EKGqnvjSn9XUEtqOHiQzDqXIXRDjeBkGAnrkKaYDroBTob85ZUVDrI3XlCXar-gRD_tAnXXG/s1600/Oresteia_Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFydATz3NQafObd3J5CSLZb8IBniXffPu0E6UomDBvXgAFk82lTAEVEVbgjb2lrm93dT7EKGqnvjSn9XUEtqOHiQzDqXIXRDjeBkGAnrkKaYDroBTob85ZUVDrI3XlCXar-gRD_tAnXXG/s320/Oresteia_Cover.jpg" width="200" /></a><span style="font-size: large;">Now available from Hero Now Theatre: <a href="https://heronowtheatre.org/store" target="_blank">Aeschylus, <i>Oresteia</i>: An Adaptation by Rob Hardy</a>. Paperback. 72pp. $16.95</span><br />
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<span style="font-size: large;">In his adaptation of Aeschylus's classic drama, first performed at Carleton College’s Weitz Center Theater in May 2012, Rob Hardy delivers the essence of this famous trilogy in a single play that speaks forcefully to today’s audiences. </span></div>
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<span style="font-size: large;">In lean, lyrical poetry, Hardy’s Aeschylus highlights all the glory of the original, including epic tales of lust, war, family strife, and revenge; choruses that echo the religious influences behind Greek drama; and Aeschylus's pride in Athenian law, philosophy, and oratory. </span></div>
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<span style="font-size: large;">In his <i>Oresteia</i> Aeschylus gave Athenians reason to believe that institutionalized justice, not revenge, would tame the savagery of human beings. His message resonates in our time, and Hardy’s accessible adaptation is a steadfast modern guide to this ancient wisdom. </span></div>
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<b><span style="font-size: large;">“A heady bouquet of new wine drawn from an old wineskin.” </span></b></div>
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<b><span style="font-size: large;">—Eric Dugdale (Gustavus Adolphus College), reviewing the 2012 Carleton College production in <i>Didaskalia: The Journal for Ancient Performance </i></span></b></div>
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<span style="font-size: large;">The book comes with an introduction by Professor of Classics (Emeritus) Thomas Van Nortwick, of Oberlin College, describing the political, social, and aesthetic context of the trilogy, and offering high praise for Hardy’s adept, graceful adaptation. Hardy has added numerous explanatory notes to help the non-specialist with unfamiliar names and concepts, and a map shows the location of important place-names mentioned in the play.
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Rob Hardyhttp://www.blogger.com/profile/05166703109489177628noreply@blogger.com0