Now, we’re not obsessed with cleanliness any more than anyone else. Tippett: And the language of energy — and you use a lot of energy metaphors and imagery for how you work with words and how words work in us. Vuong reads with precision: he embraces the quiet between words in such a way that every sound is allowed to reverberate. Curiosities. He is the author of the poetry collection Night Sky with Exit Wounds, which won the T.S. Tippett: Right. Tippett: I’m Krista Tippett, and this is On Being. So I thought — by the time I was in college, I was like, I gotta figure this out. And the last voice that you hear singing at the end of our show is Cameron Kinghorn. He is the author of the poetry collection Night Sky with Exit Wounds, which won the T.S. I owned that place. It was so surreal. So this conversation holds a last memory before the world shifted on its axis. You think it’s a clear pane of glass. I think it’s the mythos of capitalism — that you’re always supposed to be producing; this anxiety of being productive and quantifying your self-worth through page counts and word counts. I just wanted to note this: the picture on the cover of Night Sky with Exit Wounds, it looks like such a happy picture of a little boy and two women who love them; you imagine one of them is his mother. And you walk, and you walk, and things build up in you. Pádraig Ó Tuama. It is distributed to public radio stations by PRX. Bodies that look like me. Written and read by Tippett: He was a Zen Buddhist without knowing it. You can always listen again, and hear the unedited version of every show we do on the On Being podcast feed — wherever podcasts are found. I was surrounded by storytellers, by survivors and storytellers. He was three years older than you, and you’d grown up together. And what an honor and a delight to be up here with Ocean Vuong …. And so what you have, by the time someone tells a story, is a masterclass of form, technique, concision, imagery — even how to pause, which you don’t really get on the page — arguably, you do, in poetry, with the line break. Krista interviewed the writer Ocean Vuong on March 8 in a joyful room full of podcast makers at On Air Fest in Brooklyn. He is the author of the poetry collection Night Sky with Exit Wounds, which won the T.S. Don’t say that there. I saw it with my own eyes. Ocean Vuongis an assistant professor of English in the MFA Program at the University of Massachusetts Amherst. He is the author of the poetry collection Night Sky with Exit Wounds, which won the T.S. None of us would have guessed that within a handful of days such an event would become unimaginable. Stay up to date with our latest podcasts, writings, live events, and more. And the Lilly Endowment, an Indianapolis-based, private family foundation dedicated to its founders’ interests in religion, community development, and education. Staff: The On Being Project is Chris Heagle, Lily Percy, Laurén Dørdal, Erin Colasacco, Kristin Lin, Eddie Gonzalez, Lilian Vo, Lucas Johnson, Suzette Burley, Zack Rose, Serri Graslie, Nicole Finn, Colleen Scheck, Christiane Wartell, Julie Siple, and Gretchen Honnold. Tippett: I’m Krista Tippett, and this is On Being. But I don’t think energy dies. Eliot Prize and the Whiting Award; and a novel, On Earth We're Briefly Gorgeous. Tippett: Let’s set the story straight here. I think this is why the work of Toni Morrison’s Beloved was so important to me, because I saw in Beloved a first-generation testimony, in the character, Sethe, leaving the South and creating Beloved, her daughter — to save her daughter. It’s just …. I think it’s often something that those in the center, those in power, never know — that before you leave the house, in order to achieve yourself — one sends one’s children to school in order to fulfill their dreams. And this is what these women were giving me. And then, after that, we never saw bodies come home from war again. And for a long time in our species, we had been carrying it. The On Being Project is located on Dakota land. I love this room, and I love the energy in it that you all are bringing. To see American literature hold the testimony of first-generation survival, to live on both sides of death and life in one short period of time, half of one’s life, felt so powerful to me, and I learned so much from that book. Are you OK?” And she said, “No, I just never thought I’d live to see all these old white people clapping for my son.”. We police access to ourselves. And I think, for me, whatever my mother presented to me, those early mornings in front of the altar, is still true. But I think part of my education with the history of Vietnam and America’s involvement in it became something very different from what was given to me in the textbooks. I’m really excited. So I almost had this arrogant gaze to it. And it’s very interesting, because when we got to the Vietnam War, it was like two pages. Ocean Vuong is an assistant professor of English in the MFA Program at the University of Massachusetts Amherst. And so my grandmother and my mother and my aunt would tell stories to recalibrate their past, to make sense of their past. Ocean Vuong, Written by Ocean Vuong is an assistant professor of English in the MFA Program at the University of Massachusetts Amherst. Tippett: Yeah, even that notion that language is clear, even this presumption that we walk around making, that what we mean when we use any word transmits perfectly to another. We don’t know how to say goodbye, either. Special. You don’t wake up at 11 —. It doesn’t access. And so I think — I always bring this back to my students, as well. Eliot Prize for his poetry. Tippett: I would not have traded the experience of being with you, physically, but I think I really love — most of my interviews are remote. What happened? But it’s in a way in which even the words we are thinking, is shaping the way we’re interacting. Now you have to work with your body.

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