Gina Prince-Bythewood’s Love & Basketball tells the story of two talented athletes who weave in and out of each other’s lives as they pursue big dreams. Monica Wright (played by Sanaa Lathan) and Quincy McCall (played by Omar Epps) are sometimes friends, enemies, lovers, and competitors. Writer Liara Tamani first saw the movie in 2000 when she was a reluctant student at Harvard Law School. She says Monica’s dedication was a revelation to her. “When [Monica] turned around and looked at Quincy and their child, I almost felt like she was reaching through the screen, asking me, ‘So what you ’bout to do?’”
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Listen daily until you move on to the next Wisdom Practice.
Journal with the ideas, the questions, and invitations raised. Pay attention to how these things surface in your thoughts, in your body, and in interactions and experiences as you move through your days.
Use the Question to Live and Integration Step as further prompts for practicing, and for journaling.
You’re building spiritual and moral muscle memory.
“We often tell our students, ‘The future’s in your hands.’ But I think the future is actually in your mouth. You have to articulate the world you want to live in.”
Question to LiveWhat difference does it make, even in the most ordinary exchanges, if you take in Ocean’s wisdom that the future is in your mouth? |
Integration Step
Notice all the death metaphors that come so naturally, so blithely. Start to shift them, and feel what that starts to shift in you. |
Heart of the Matter
What happens if we alter our language? Where would our future be? Where will we grow towards? We are so fluent in the sensibility and imagination and atmosphere of violence with our words. Part of the work of making hope more reasonable and more possible is putting more vivid, intentional language out there to illustrate its reality and its possibilities. Words orient us and orient the atmosphere of our cultures, both microcultures and the larger culture. The invitation here is to really pay attention to the words you use, the words you engage, and the worlds these words are actively bringing into being and sustaining — to imagine the possibility of building a vocabulary of muscular hope. Building a vocabulary of the strength and the possibility of life, a vocabulary that makes the conditions more likely for what is lifegiving and redemptive. Words make worlds, the ancient rabbis said. “We often tell our students, ‘The future’s in your hands,’ Ocean Vuong says. “But I think the future is actually in your mouth. You have to articulate the world you want to live in, first. We pride ourselves as a country that’s very technologically advanced. We have strong, good sciences, good schools, very advanced weaponry, for sure — but I think we’re still very primitive in the way we use language and speak.” How will you move even through the most ordinary exchanges, if you take in Ocean’s wisdom that the future is in your mouth? |
Coco is a heartwarming tribute to the spirit of El Día de los Muertos, the Mexican celebration of remembrance. The Pixar movie tells the story of Miguel, a young boy who dreams of becoming a musician. When his family forbids him to perform at a concert on El Día de los Muertos, he steals a guitar from the memorial of a renowned musician and finds himself journeying to the Land of the Dead, where he meets some of his ancestors — and learns more about the role they play in his identity. Writer and critic Monica Castillo was moved by the portrayal of family dynamics, forgiveness, and memory across generations that comes to life through the movie’s beautiful music and animation.
“Life is a banquet, and most poor suckers are starving to death!” So declares the title character in the 1958 comedy Auntie Mame. She introduces her Bohemian world to her nephew, Patrick, who comes under her care after he is orphaned. The movie’s celebration of individuality and independence inspired comedian Justin Sayre to embrace his own — whether as a gay person or a queer artist. “You don’t have to do anything you’re told,” he says. “You just have to be kind. And you just have to never stop looking. That’s it.”
How do you speak with your mother when she’s forgotten who you are? By turning to myth, it seems, and by holding gentleness with bewilderment, love with patience. Rita Dove lets us overhear a phone call, and in this listening, we hear lifetimes unfold.
We’re pleased to offer Rita Dove’s poem, and invite you to sign up here for the latest from Poetry Unbound.
Love is an ability, not just a feeling. That’s the lesson Dan in Real Life brought home for meditation teacher Sharon Salzberg. The story of Steve Carell’s flawed but loveable character echoed Sharon’s own work — to realize love as a capacity within ourselves.
Lemn Sissay’s poem “Some Things I Like” celebrates what we might consider discardable — like cold tea, ash trays, and even people. Raising a joyous toast to the forgotten and the forgettable, Sissay recognizes the power we give to what we pay attention to and invites us to look anew at all that has been undervalued.
A question to reflect on after you listen: What is something you like that others may not value in the same way?
A person is lost, and in panic. A calm voice says strangely comforting things.
We’re pleased to offer David Wagoner’s poem, and invite you to connect with Poetry Unbound throughout this season.
Pre-order the forthcoming book Poetry Unbound: 50 Poems to Open Your World and join us in our new conversational space on Substack.
Blockers tells the story of three teenage girls determined to lose their virginity on prom night; it’s also about their parents mourning the loss of their daughters, watching them grow up and learning to let them go. The 2018 movie, directed by Kay Cannon, has everything you’d expect in a sex comedy: vulgarity, ridiculous gags, and hilarious jokes. It also complicates notions of sexuality and gender in surprising ways. Emily VanDerWerff, a writer and critic-at-large for Vox, was deeply struck by the movie when she first saw it. She realized it was showing her something she never could have imagined: a life for herself as a woman.
The deep spiritual and cosmic truth that “we are all one” comes into tension with the hard and volatile realities of leading in a world of fracture and fighting.
And, unity appears to have something to do with grief.
Question to Live
How would I describe my relationship to grief, right now, whatever that means? |
Integration Step
Ponder the Notion: “we are all one”With your someone(s), interrogate your gut feelings about the notion that “we are all one.” And then investigate what has been present, what has happened, in times and places where you’ve experienced something like “oneness” or wholeness to be realized, robust, and as complicated as life itself. |
An item of clothing — the blouse of a grandmother — is praised for its artistry, is remembered for how it sits on the body. And then, having been lost, is remade, refined, and reimagined on a new body that recalls the bodies of women of previous generations.
We’re pleased to offer Nithy Kasa’s poem, and invite you to connect with Poetry Unbound throughout this season.
Listen daily until you move on to the next Wisdom Practice.
Journal with the ideas, the questions, and invitations raised. Pay attention to how these things surface in your thoughts, in your body, and in interactions and experiences as you move through your days.
Use the Question to Live and Integration Step as further prompts for practicing, and for journaling.
You’re building spiritual and moral muscle memory.
Our lives are filled with distances, the physical spans that we travel but also the stranger, vaster expanses between our past and our present or between feeling anchored and connected and feeling terribly alone. A poem can capture all of those in a way that a map can’t, as Elisa Gonzalez superbly demonstrates in “To My Twenty-Four-Year-Old Self.”
We’re pleased to offer Elisa Gonzalez’s poem, and invite you to read Pádraig’s weekly Poetry Unbound Substack, read the Poetry Unbound book, or listen back to all our episodes.
Is the light a comfort and the night disturbing? Yusef Komunyakaa explores the life and brilliance of what’s in shadow and darkness.
We’re pleased to offer Yusef Komunyakaa’s poem, and invite you to sign up here for the latest from Poetry Unbound.
Complex portrayals of women with mental illness are rare. But that’s what Vulture’s Angelica Jade Bastién saw in the Bette Davis feature Now, Voyager. Angelica says the movie saved her life, giving her hope and encouraging her own healing.
Some friends gather and smoke at a doorway in a city. There’s Malik, and Johnny Cash, and Lefty, and Jësus. And the poet, Major Jackson. They’ve known each other their whole lives, and they wonder who they’ll turn out to be. In a moment of disclosure, Major tells his friends he wants to be a poet, astonishing them, and himself too it seems. In friendship and ribbing, in desire and teasing, this poem wonders who a person is, and what it means to hope.
In a short poem recalling a childhood response to grief, Jacob Shores-Argüello brings us into the fantasy world of a child: leaving an ill adult in a hospital bed, he and his cousin take to the mountains, turn magically into bears, and begin tearing holes in the earth for rest while the world continues below. Are they escaping? Or playing with rage? This extraordinary poem is a thing of wonder and survival.