This episode was originally published on December 17, 2020 In this episode, I interview three crew members of the EPIX / BBC docuseries Enslaved: The Lost History of the Transatlantic Slave Trade. While 2020 has been a year of intense examination of racism in response to the Black Lives Matter movement, Enslaved takes a deep dive at the historical realities of the Middle Passage. Starring Samuel L. Jackson, The Guardian’s Afua Hirsh, and investigative journalist Simcha Jacobovici, the series travels across the globe to sites of slave ships to uncover what these sunken graveyards can reveal about life onboard––lives of which there is little historical record or archive.  Our first guest is the British marine archaeologist Dr. Sean Kingsley who served as a historical advisor to the series’ diving crew.   Then two of the divers will join me: Kinga Philipps and Kramer Wimberley.  An award-winning journalist, writer, TV host, and esteemed member of the Explorer’s Club, Kinga provided a European perspective to the shoot, and also was one of the few non-Black divers for Enslaved. Next, Kramer will introduce himself as the series’ lead diving instructor who also leads “Diving with a Purpose,” a maritime archaeology program that protects the legacy of the Transatlantic slave trade shipwrecks. Each of the three interviews was broadcasted live and can be watched in full on the Back in America’s YouTube channel.   As I conducted these interviews, I wanted to understand two things. First, what did diving on the wrecks of slave ships us about the history of the slave trade. Then, I wanted the divers to speak about their own experiences as they dived and explored these sunken mass graves, especially in light of recent activism in America.   Dr Sean Kingsley Wreckwatch Mag    Kramer Wimberly Diving With a Purpose   Kinga Philipps This episode was partially edited by Back in America’s Podcast Editor Josh Wagner.   Read the Transcript

Back in America is a podcast exploring America’s culture, values, and identity. This conversation was recorded live on September 17. You can watch the unedited version on our Youtube channel.  Listen to this episode to learn more about the release of the Pentagon report on UFOs to Congress. The importance of cosmos exploration. The chances of finding extraterrestrial life in our lifetime. After taking a long summer break during which my intern Josh Wagner took over Back in America with his excellent series Poetism I am happy to be back behind the mic. My guest, Seth Shostak is a Doctor in Astronomy, and an Alien Hunter working with the SETI Institute, a research organization whose mission is to explore, understand, and explain the origin and nature of life in the universe. In fact, SETI stands for the "search for extraterrestrial intelligence". He has published more than 400 articles on science including regular contributions to NBC News MACH, gives many dozens of talks annually, and is the host of the SETI Institute’s weekly science radio show, “Big Picture Science.”  During our conversation, he said, “The equipment is getting faster and faster. We're looking at more and more of the universe. And on that basis that I've bet everyone a cup of Starbucks coffee, that we will find some evidence that we're not alone by 2035.   The SETI Institute https://www.seti.org/ Dr. Soth Shostak http://sethshostak.com/ The Big Picture Science Podcast https://radio.seti.org/

If the particular cannot be repeated, it remains forever lost; and this is why there can be no final closure to mourning. There can only be, alongside of mourning,​ learning to love new particulars ––Louise Fradenburg   In this week’s installment of “Poetism,” we’d like to ask about how words, poems, songs, and other kinds of art objects help bring life to a world. And by world, we mean a perspective, something experienced and understood in the innermost part of our being. Whether faced by inner solitude or loss, words attempt to communicate a state of affairs. But do they have to? Is there a way of placing listeners and readers directly into an experience without only describing it? Are there more direct ways of touching or “worlding” or elegizing? Or, in the words of this week’s poet, a moment: “Stands, the way a status / does in the mind.​​   Perhaps! And it is in this great abyss of a perhaps that this episode takes off. Our working theory is that the sonic qualities of words, and of language in general, can help transmit moods and sensations without the need for specific meanings. To ask such questions, Josh is joined by his college roommate Scott Stevens, a recent English graduate of Stanford University (and incoming Fulbright Scholar) who also speaks in Japanese and French. And, in the course of their dialogue, Scott they are assisted by the Cocteau Twins’ 1984 track “Amelia” off of Treasure as well as Brigit Pegeen Kelly’s “Field Song” from the collection Song (1995).   Over the course of their conversation, Scott and Josh touch upon the uniqueness of sound as a medium of communication, their difficulties of listening to the lyrics of a song, and poetry’s collective oral tradition. *** For more Poetism, stay tuned for next week’s two-part series finale on Rachel McKibbins, blackface, and FKA twigs.

The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ.   These lines, from the opening pages of Oscar Wilde’s The Picture of Dorian Gray, emphasize unseen background noises as constituting an environment. The bees, working through the grass, create the biological condition of possibility for nature and the world, especially in their unseen state. And, so too, does the roar of London create the background chatter that allows the plot of the novel to take off. In this week’s installment of Poetism, we’d like to ask a similar question about our own age: what is the background noise that has made all this––society, labor, world–– possible?   Michael Leon Thomas, a professor of philosophy at Susquehanna University, joins Josh in the studio to tackle the vicissitudes and interisies of Alfred North Whitehead’s conception of philosophy alongside Pharoah Sanders’ 1973 album Izipho Zam, particularly the 28-minute titular track which closes the album. For Whitehead, a worldview is always in the process of emerging, and our language needs to follow suit. A reformed logician, Whitehead balks against a wholly systematic view of philosophy, suggesting that it is in the gaps, silences, and wetness of philosophy that something happens.   And to figure out what this something might be, we turn to Pharoah Sanders’ enigmatic, if expansive, composition which traverses through various languages, instruments, and cosmologies. The bandleader himself cannot be heard until the last third of the track, creating and leaving space (a society?) in which music creation can happen. In other words, it’s a slow reconditioning process.   Along the way, Michael and I talk about why he’s decided to spend his life with philosophy, how experience feeds into our listening habits, the postcolony of American, and why philosophy might have more in common with poetry than one might assume.   To read more about Michael’s work on music, check out an interview in Aesthetics with Birds.   Here is the 2016 Pharoah Sanders performance mentioned in the episode. ***   For Poetism, stay tuned for next week’s episode on Brigit Pegeen Kelly and the Cocteau Twins with Scott Stevens    

Across Northern Europe, so-called “bog people” have often been discovered shuffling around in the peat. While no one is quite certain where these quasi-mummified bodies come from––some date as recently as the 1940s––they have posed a strange mystery for countless poets and artists. This week, Back in America’s Poetism team takes a look at one of Seamus Heaney’s bog-inspired poems “The Bog Queen” from his 1975 collection North. Written in the spring of the May 1968 movement and the beginning of the Irish “Troubles,” “The Bog Queen” ventriloquizes the voice of its eponymous queen, pretending to experience underground life before her eventual discovery. In 2014, Irish musician Hozier released a setting of the poem, “Like Real People Do, ”removing many explicit references to Heaney himself, while keeping the ethos of the poem. For Hozier, the relationship of the fallen queen to her discoverer is one of love, even if from afar. Is it possible to love those who we will never meet? Can such a love be anything more than one-sided or wonderfully ironic? To explore these questions, Stanford graduate student Lorenzo Bartolucci joins Josh in the studio to offer his take on love, Heaney, bog bodies, and American-ness itself. *** If you’re enjoying this summer series, stay tuned for next week’s installment, featuring Susquehanna Philosophy Professor Michael Leon Thomas and the works of Alfred North Whitehead and Pharoah Sanders.