This week, the editors review three poems by Nick Lantz: “An Urn for Ashes,” “Starvation Ranch,” and “Ghost as Naked Man.” As a child, Nick Lantz was obsessed with paranormal phenomenon and the unexplained, from cryptids to aliens to ghosts…
For the first and possibly only time, we were in a recording studio within Drexel University’s LeBow College of Business, which made us feel like we were on an episode of The View. This week, the editors review three poems by Nick Lantz: “An Urn for Ashes,” “Starvation Ranch,” and “Ghost as Naked Man.”
As a child, Nick Lantz was obsessed with paranormal phenomenon and the unexplained, from cryptids to aliens to ghosts. These days, he tells people he’s writing a book of poems about ghosts, though that’s only sort of true. His fourth book, You, Beast, won the Brittingham Prize and was published by University of Wisconsin Press in 2017. He was also the recipient of a 2017 NEA fellowship for his poetry. He lives in Huntsville, Texas, where he teaches at Sam Houston State University and edits the Texas Review.
“An Urn for Ashes” gets us started off on our a conversation on past lives and reincarnation. Lantz’s impressive use of language and imagery draws up ideas of present beings possessing remnants of those far in the past. Moving on to “Starvation Ranch,” the editors reflect on what memory and recollection look like in the modern era. The poem layers alluring images that are beautifully constructed and give us a front seat in recounting many summers past. The final poem, “Ghost as Naked Man” offers a reimagined commentary on gender as a social construct. Seemingly in conversation with other works on the topic, the poem conveys frustration and destruction, then pride, as expressions of manhood. It also brings to mind Ada Limón’s “After the Storm,” published in Issue 66 of Painted Bride Quarterly. Listen in for our takes on these poems and the verdicts!
Let us know what what you think about this episode, ghosts, red paint, and more on Facebook and Twitter using #WeAreStardust!
Present at the Editorial Table:
Kathleen Volk Miller
Tim Fitts
Sharee DeVose
Jason Schneiderman
Marion Wrenn
Samantha Neugebauer
Production Engineer:
Joe Zang
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The atoms that made up
Julius Caesar’s body,
burned on a pyre,
spread by wind and time,
have since dispersed
far and wide,
and statistically speaking
you have in you
some infinitesimal bit
of carbon or hydrogen
from his hand or tongue,
or maybe some piece
of the foot that, crossing
a river, turned a republic
into an empire.
But that means you
carry with you also
the unnamed dead,
the serfs and farmers,
foot soldiers and clerks,
and their sandals
and the axles of chariots
and incense burned
at an altar and garbage
smoking in a pit outside
a great city at the center
of an empire, that you
are a vessel carrying
the ashes of many empires
and the ashes of people
burned away by empires,
their sweet, unheard melodies.
And look how finely wrought
you are, how precise
your features, your very form
a kind of ceremony
for transporting the dead
through the living world.
Episode 124: Pinpricks of Process
Episode 123: The Catholic Episode
Episode 122: Concrete Poetry & Champagne
Episode 121: The Tie Breakers Episode
Episode 120: On Seeing & Being Seen
Episode 119: Line Breaks & The Iambic Lilt
Episode 118: Making Words New
Episode 27: Suicides and Skeleton Jazz (REISSUE)
Episode 19: The Dinosaur-Robot Episode (REISSUE)
PBQ Summer Teaser Episode
Episode 117: This Episode Smells Delicious
Episode 116: Finding Flow
Episode 115: We’re Obsessed
Episode 114: The Swirl
Episode 113: The Call of the Wild
Episode 112: Letting Go of Meaning
Episode 111: What Lingers
Episode 110: The Logic of Heartbreak (or Caveats Rock)
Episode 109: The Gigue is Up
Episode 108: #Mood (or the Murmurations)
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