1 00:00:04,640 --> 00:00:07,160 Speaker 1: Hey, this is Annie and Samantha and welcome to stuff. 2 00:00:07,160 --> 00:00:09,080 Speaker 1: I've never told your production of I Heart Radio's House 3 00:00:09,119 --> 00:00:21,480 Speaker 1: to works, and today we're super excited to do another 4 00:00:21,640 --> 00:00:25,600 Speaker 1: edition of Female First. And that means our friend Eaves 5 00:00:25,680 --> 00:00:29,480 Speaker 1: is here. Hello, thank you so much for joining us 6 00:00:29,480 --> 00:00:31,800 Speaker 1: as always. Yes, I always have a great time when 7 00:00:31,800 --> 00:00:34,800 Speaker 1: I'm here, So we do as well as we do 8 00:00:35,000 --> 00:00:39,440 Speaker 1: as these moments. Yes, and um, you can you can 9 00:00:39,479 --> 00:00:42,280 Speaker 1: hear Eves on this day in history class and on 10 00:00:42,400 --> 00:00:44,839 Speaker 1: unpopular She does all kinds of cool stuff, all the 11 00:00:44,840 --> 00:00:47,640 Speaker 1: cool things, and so we're very glad that you take 12 00:00:47,680 --> 00:00:52,839 Speaker 1: the time to join us and educate. Is about a 13 00:00:52,880 --> 00:00:56,880 Speaker 1: female first the amazing thing. Education is a good thing, yes, um, 14 00:00:56,880 --> 00:01:00,280 Speaker 1: for all of us. I like we all learn here. Yes, hey, 15 00:01:00,720 --> 00:01:06,240 Speaker 1: yes we try. Mark, I don't seem to be at 16 00:01:06,280 --> 00:01:10,200 Speaker 1: the end of that one. I'm not quite sure what 17 00:01:10,240 --> 00:01:14,080 Speaker 1: do you do? Actually, I accidentally said that to someone 18 00:01:14,120 --> 00:01:16,960 Speaker 1: once in a conversation and it was so embarrassed. I 19 00:01:17,000 --> 00:01:18,280 Speaker 1: didn't mean it to come out that way. I was 20 00:01:18,319 --> 00:01:22,720 Speaker 1: just confused about their actual job. Well, yeah, I mean 21 00:01:22,760 --> 00:01:25,959 Speaker 1: that's the thing like that I'm really weird about. Like 22 00:01:25,959 --> 00:01:28,160 Speaker 1: when you're in social spaces kind of the first thing 23 00:01:28,160 --> 00:01:30,520 Speaker 1: you go to is well, what do you do? Those 24 00:01:30,520 --> 00:01:34,720 Speaker 1: were very like impersonal and very robotic, and that's kind 25 00:01:34,720 --> 00:01:37,280 Speaker 1: of like a weird I don't know if that's an 26 00:01:37,280 --> 00:01:40,440 Speaker 1: American thing or what, but that makes me very uncomfortable 27 00:01:40,560 --> 00:01:43,640 Speaker 1: and I try not to do that. Noted well, I 28 00:01:43,680 --> 00:01:46,120 Speaker 1: love talking to like people in my family, older people 29 00:01:46,160 --> 00:01:48,000 Speaker 1: and like, what do you do? And I'm like podcast, 30 00:01:48,120 --> 00:01:50,680 Speaker 1: They saying what is that? Like, it's this radio thing 31 00:01:50,800 --> 00:01:53,560 Speaker 1: that's not on the rais on the internet. Just give 32 00:01:53,600 --> 00:01:58,280 Speaker 1: me this look like that. Yeah. My parents were like, 33 00:01:58,840 --> 00:02:02,200 Speaker 1: huh okay, what you talk on the radio? No? No, no, no, 34 00:02:02,200 --> 00:02:07,240 Speaker 1: no no no get occasion d right. I love that question. Fortunately, 35 00:02:07,240 --> 00:02:09,560 Speaker 1: I don't know how, but the one when I get 36 00:02:09,560 --> 00:02:12,440 Speaker 1: a lot it's like, oh, like really like officially they 37 00:02:13,440 --> 00:02:18,680 Speaker 1: like not you know, in your own exactly. No shade 38 00:02:18,680 --> 00:02:20,520 Speaker 1: people who do that, because this can be really good 39 00:02:21,160 --> 00:02:22,959 Speaker 1: and very famous. A couple of friends who do it. 40 00:02:23,000 --> 00:02:26,959 Speaker 1: They are great at it. Yeah, better than I am. Oh, 41 00:02:27,080 --> 00:02:32,240 Speaker 1: don't say that. Okay, so you're in the self deprecation team. 42 00:02:33,240 --> 00:02:35,240 Speaker 1: That's my things. I'm trying to steal my thing eaves. 43 00:02:35,480 --> 00:02:38,440 Speaker 1: I'll share. Yes, yeah, we're we're we like to share 44 00:02:38,440 --> 00:02:42,679 Speaker 1: around here. Um, so, who who is on your mind today? Eves? 45 00:02:42,720 --> 00:02:45,280 Speaker 1: Who did you bring us? So today we're going to 46 00:02:45,320 --> 00:02:49,400 Speaker 1: talk about Gabriela Mistral. So we're gonna we're gonna test 47 00:02:49,440 --> 00:02:52,280 Speaker 1: my Spanish out today. I can't promise that it's going 48 00:02:52,320 --> 00:02:54,160 Speaker 1: to be perfect. It's not gonna be perfect. I'll just 49 00:02:54,200 --> 00:02:56,720 Speaker 1: say that up front, but I'm gonna try my best 50 00:02:56,760 --> 00:02:58,480 Speaker 1: and I'm going to do my best. And yeah, so 51 00:02:58,639 --> 00:03:02,960 Speaker 1: Gabriella Mistral, she was the first Latin American poet to 52 00:03:03,000 --> 00:03:07,079 Speaker 1: receive the Nobel Prize for Literature. So that's the first 53 00:03:07,480 --> 00:03:13,000 Speaker 1: that we're going to talk about today. Yes, um, I'm 54 00:03:13,000 --> 00:03:16,760 Speaker 1: excited to try my Spanish as well. And this I 55 00:03:16,760 --> 00:03:19,640 Speaker 1: I'm really glad. Um. This is someone I had not 56 00:03:20,120 --> 00:03:24,040 Speaker 1: heard about. And then when I was researching her, Um, 57 00:03:24,080 --> 00:03:26,440 Speaker 1: it gave me a wonderful opportunity. I haven't read poetry 58 00:03:26,440 --> 00:03:28,960 Speaker 1: in a long time. Yeah, and um, you know, it's 59 00:03:28,960 --> 00:03:31,239 Speaker 1: always kind of not the same when you translate it, 60 00:03:31,560 --> 00:03:35,640 Speaker 1: but it's still I I just was it felt good 61 00:03:36,280 --> 00:03:39,720 Speaker 1: some some poetry. Yeah, I really wanted to. I know 62 00:03:40,080 --> 00:03:42,080 Speaker 1: in the in our past episodes, we've talked about a 63 00:03:42,080 --> 00:03:44,880 Speaker 1: lot of American people so I wanted to bring I'm 64 00:03:44,880 --> 00:03:46,480 Speaker 1: glad that you hadn't heard of her, because I wasn't 65 00:03:46,560 --> 00:03:49,920 Speaker 1: familiar with her work either. And you know, we get 66 00:03:49,920 --> 00:03:52,760 Speaker 1: the opportunity to talk about somebody from a different country, 67 00:03:53,200 --> 00:03:56,120 Speaker 1: and I thought it was, you know, good to talk 68 00:03:56,160 --> 00:04:00,440 Speaker 1: about her as well, because she is the first Latin 69 00:04:00,520 --> 00:04:04,360 Speaker 1: American poet in general, not just the first female to 70 00:04:04,360 --> 00:04:09,520 Speaker 1: to to get that award. Yeah, and she has done 71 00:04:10,000 --> 00:04:18,360 Speaker 1: a lot. Oh my gosh, Yes, her story reads like uh, 72 00:04:18,640 --> 00:04:22,200 Speaker 1: plain itinerary basically. I mean, she's been so many places 73 00:04:22,200 --> 00:04:24,560 Speaker 1: and lived in so many places. I'm just like, okay, 74 00:04:24,560 --> 00:04:25,960 Speaker 1: and then she went here, and then she went here, 75 00:04:25,960 --> 00:04:28,360 Speaker 1: and then she went here. I'm like, oh my gosh, 76 00:04:28,440 --> 00:04:33,440 Speaker 1: yes it is. She's dark, heartbroken kind of person. Yeah, 77 00:04:33,600 --> 00:04:39,240 Speaker 1: my kind of pet, my email poetry. I will bring 78 00:04:39,279 --> 00:04:42,600 Speaker 1: it in one day, I'll do it. Yes, there are 79 00:04:42,600 --> 00:04:45,320 Speaker 1: a lot of pictures of fairies, but you have pictures 80 00:04:45,320 --> 00:04:48,839 Speaker 1: on your poet. Yes, they have a lot of multi 81 00:04:48,839 --> 00:04:55,880 Speaker 1: tells apparently sad and dark and just why just why, 82 00:04:56,000 --> 00:04:58,800 Speaker 1: just why you so? So I guess I'm out of 83 00:04:58,800 --> 00:05:00,799 Speaker 1: the loop here. I was never a big like poetry 84 00:05:01,320 --> 00:05:05,800 Speaker 1: um writer. I usually wrote prose. Yeah, yeah, I wrote 85 00:05:05,839 --> 00:05:08,560 Speaker 1: a lot of poetry. Um, I loved Coming. It's one 86 00:05:08,600 --> 00:05:11,880 Speaker 1: of my favorites. Um, I just love the dark and death. 87 00:05:11,960 --> 00:05:14,200 Speaker 1: But e Comings wasn't necessarily dark and death. But you 88 00:05:14,200 --> 00:05:17,359 Speaker 1: know what I mean, I love I loved his nonsense. Anyway, 89 00:05:17,440 --> 00:05:20,360 Speaker 1: keep going, Oh my god, now let's go deep dive 90 00:05:20,400 --> 00:05:26,000 Speaker 1: into our poetry one day. Oh no, no, no, no, 91 00:05:26,640 --> 00:05:29,960 Speaker 1: absolutely not, absolutely not. But yeah, this was a wonderful 92 00:05:30,000 --> 00:05:31,960 Speaker 1: reminder to me because I also used to write poetry, 93 00:05:32,320 --> 00:05:36,000 Speaker 1: and uh, I just hadn't had the chance to experience it, 94 00:05:36,600 --> 00:05:39,760 Speaker 1: um in a long time. So let's let's get into 95 00:05:40,200 --> 00:05:42,600 Speaker 1: the story here, because there was a lot of ground 96 00:05:42,640 --> 00:05:45,919 Speaker 1: to cover. There's a lot. Yeah. So she also, in 97 00:05:45,960 --> 00:05:48,720 Speaker 1: addition to her poetry, was a humanist. She was also 98 00:05:48,800 --> 00:05:51,279 Speaker 1: a diplomat and she was an educator. Those were all 99 00:05:51,400 --> 00:05:54,039 Speaker 1: things that were huge parts of her life. So she 100 00:05:54,160 --> 00:05:57,320 Speaker 1: was born with the name Lucilla god Alka Yaga on 101 00:05:57,400 --> 00:06:00,479 Speaker 1: April seventh, eight eighty nine, and that was in the 102 00:06:00,520 --> 00:06:04,760 Speaker 1: province of Cocimbo in Vigunya, Chile, which is a small 103 00:06:04,800 --> 00:06:08,520 Speaker 1: town in northern Chile's Elki Valley, and so her parents 104 00:06:08,520 --> 00:06:13,440 Speaker 1: were also school teachers. Her father's name was he Villa Nueva, 105 00:06:13,839 --> 00:06:16,360 Speaker 1: and he was a payador, which was a musical performer 106 00:06:16,400 --> 00:06:21,279 Speaker 1: who composed songs for festivals and sang with other village musicians, 107 00:06:21,800 --> 00:06:25,039 Speaker 1: so he wasn't in her life for that long. He 108 00:06:25,480 --> 00:06:27,480 Speaker 1: abandoned the family when she was about three, and when 109 00:06:27,520 --> 00:06:30,679 Speaker 1: he was around, he wasn't around that much. UM, but 110 00:06:30,839 --> 00:06:34,599 Speaker 1: her heritage was also of note, so both of her 111 00:06:34,640 --> 00:06:38,440 Speaker 1: parents also had Basque and Native roots. So before her 112 00:06:38,440 --> 00:06:41,520 Speaker 1: father left, though, he did read poetry to her, so 113 00:06:41,600 --> 00:06:43,640 Speaker 1: that was a way that she had that kind of 114 00:06:43,680 --> 00:06:47,560 Speaker 1: poetry influence in her life. So she was raised in 115 00:06:47,640 --> 00:06:50,800 Speaker 1: Vicuna and also in nearby Monte Grande by her mother 116 00:06:51,520 --> 00:06:55,760 Speaker 1: and her mother's daughter from an earlier marriage, was fifteen 117 00:06:55,839 --> 00:06:58,479 Speaker 1: years older than her UM, but she was also around 118 00:06:58,720 --> 00:07:01,839 Speaker 1: and she had some tough times in her younger years. 119 00:07:01,880 --> 00:07:06,680 Speaker 1: She was falsely accused of theft. Yeah, she was scolded 120 00:07:06,800 --> 00:07:13,840 Speaker 1: by her school teachers and stoned by classmates and yeah 121 00:07:13,880 --> 00:07:17,240 Speaker 1: and um, and at nineteen o one the family moved 122 00:07:17,280 --> 00:07:22,400 Speaker 1: to Las Angea. UM. She eventually applied for admission to 123 00:07:22,480 --> 00:07:25,640 Speaker 1: the normal school while she was there, but she was 124 00:07:25,880 --> 00:07:30,000 Speaker 1: denied permission to enroll there UM with no explanation, but 125 00:07:30,080 --> 00:07:32,480 Speaker 1: She later said that the reason was because the reason 126 00:07:32,520 --> 00:07:35,760 Speaker 1: she was rejected because the school knew about her publications 127 00:07:35,840 --> 00:07:40,960 Speaker 1: and her support of like liberalizing education and giving people 128 00:07:41,120 --> 00:07:47,360 Speaker 1: of all classes access and that kind of wasn't viewed favorably. Um, 129 00:07:47,400 --> 00:07:51,040 Speaker 1: But school would become a huge part of her life 130 00:07:51,400 --> 00:07:54,440 Speaker 1: regardless of that fact. So when she was fifteen, she 131 00:07:54,520 --> 00:07:57,920 Speaker 1: began working as a primary school teachers assistant in a 132 00:07:58,000 --> 00:08:01,200 Speaker 1: remote town in the Indian mountains, and so she spent 133 00:08:01,280 --> 00:08:06,840 Speaker 1: a lot of time visiting her paternal grandmother, Isabel Villa Nueva, 134 00:08:06,920 --> 00:08:09,280 Speaker 1: who would encourage her to learn a lot more about 135 00:08:09,320 --> 00:08:13,040 Speaker 1: the Bible. She like encouraged her to recite from memory 136 00:08:13,120 --> 00:08:18,040 Speaker 1: passages from the Bible, and so Christianity and religion in spirituality, 137 00:08:18,080 --> 00:08:19,920 Speaker 1: which we'll talk about a little bit more, were like 138 00:08:20,520 --> 00:08:25,600 Speaker 1: huge parts of Gabriella's story and like what she what 139 00:08:25,720 --> 00:08:28,120 Speaker 1: influenced her in writing her poetry and all the themes 140 00:08:28,120 --> 00:08:32,959 Speaker 1: in her poetry. So she around this time have been 141 00:08:32,960 --> 00:08:37,160 Speaker 1: sending a lot of contributions to like newspapers, regional newspapers 142 00:08:37,160 --> 00:08:40,959 Speaker 1: like Lavos de Elki and Viguna and El Cokimbo in 143 00:08:41,040 --> 00:08:43,760 Speaker 1: las Arenia. And around this time she also started to 144 00:08:43,760 --> 00:08:46,760 Speaker 1: write poetry in addition to the articles she was writing 145 00:08:46,760 --> 00:08:50,960 Speaker 1: for newspapers, and so early on she was already like 146 00:08:52,040 --> 00:08:55,200 Speaker 1: imbued with this spirit of like caring about education and 147 00:08:55,240 --> 00:08:59,560 Speaker 1: specifically about like girls and women's education. So yeah, in 148 00:08:59,559 --> 00:09:03,640 Speaker 1: the in the nineteen oh six article lin which is 149 00:09:03,640 --> 00:09:07,240 Speaker 1: the education of women, she said, let women be educated. 150 00:09:07,440 --> 00:09:09,680 Speaker 1: Nothing in them requires that they be set in a 151 00:09:09,760 --> 00:09:13,400 Speaker 1: place lower than men. And she started teaching secondary school 152 00:09:13,400 --> 00:09:16,200 Speaker 1: in La Canteta in nineteen o six, and by nineteen 153 00:09:16,200 --> 00:09:19,800 Speaker 1: o nine she had also taken on administrative rules in 154 00:09:19,840 --> 00:09:23,480 Speaker 1: the schools. In nineteen o eight when she first started 155 00:09:23,600 --> 00:09:27,480 Speaker 1: using the pen name Gabriel la Mistral, and she was 156 00:09:27,520 --> 00:09:31,520 Speaker 1: contributing to newspaper still in literary magazines, just like a 157 00:09:31,559 --> 00:09:35,760 Speaker 1: ton of work. And by nineteen thirteen she had kind 158 00:09:35,760 --> 00:09:40,640 Speaker 1: of like began using Mistral as her pseudonym, just regularly 159 00:09:40,720 --> 00:09:43,960 Speaker 1: basically and not using her own name in her writing right. 160 00:09:44,720 --> 00:09:47,360 Speaker 1: And her pen name is said to have come from 161 00:09:47,400 --> 00:09:50,160 Speaker 1: the names of two different poets, are from the archangel 162 00:09:50,320 --> 00:09:54,320 Speaker 1: Gabriel and the northerly wind the Mistral from southern France. 163 00:09:54,800 --> 00:10:00,320 Speaker 1: And so she fell in love with a a world 164 00:10:00,320 --> 00:10:05,199 Speaker 1: employee named Romeleo, and he died by suicide in nineteen 165 00:10:05,240 --> 00:10:10,199 Speaker 1: o nine, and that greatly affected her in her poetry, 166 00:10:10,240 --> 00:10:13,520 Speaker 1: at least according to critics. A lot of critics said 167 00:10:13,559 --> 00:10:16,559 Speaker 1: that that was that had a huge impact on her poetry, 168 00:10:16,880 --> 00:10:19,320 Speaker 1: and all that sorrow that she had in grief that 169 00:10:19,360 --> 00:10:23,040 Speaker 1: she had after the death affected her. Although there have 170 00:10:23,200 --> 00:10:27,679 Speaker 1: been people who said that her sonnets which she wrote later, 171 00:10:27,840 --> 00:10:30,920 Speaker 1: which we'll get to, some people have said that he 172 00:10:31,040 --> 00:10:33,040 Speaker 1: was the subject of those while others have like a 173 00:10:33,120 --> 00:10:37,400 Speaker 1: kind of said that that he wasn't the subject of 174 00:10:37,400 --> 00:10:42,080 Speaker 1: of those poems. They've questioned it, they've questioned it, and um, 175 00:10:42,240 --> 00:10:49,520 Speaker 1: we'll get to that later. I won't even tease it. Um. 176 00:10:49,600 --> 00:10:52,520 Speaker 1: So in nineteen times she got her teaching certification, even 177 00:10:52,520 --> 00:10:56,120 Speaker 1: though she hadn't followed a normal course of study. UM. 178 00:10:56,160 --> 00:10:57,880 Speaker 1: And over the next few years she went on to 179 00:10:57,960 --> 00:11:01,719 Speaker 1: become a secondary school professor, an inspector general, and a 180 00:11:01,800 --> 00:11:05,840 Speaker 1: school director. She was um. She she worked her way 181 00:11:05,960 --> 00:11:07,800 Speaker 1: up in this school that like a lot of people 182 00:11:07,800 --> 00:11:10,560 Speaker 1: were jealous that she got into a big high school 183 00:11:10,600 --> 00:11:16,760 Speaker 1: for girls in Santiago. UM and so it would be 184 00:11:16,920 --> 00:11:19,760 Speaker 1: it would be exhaustive to like go through all of 185 00:11:19,800 --> 00:11:21,280 Speaker 1: the schools that she went to. She worked in a 186 00:11:21,280 --> 00:11:24,280 Speaker 1: lot of rural schools in today, and all of the 187 00:11:24,280 --> 00:11:27,320 Speaker 1: work that she did, um, but all those jobs gave 188 00:11:27,320 --> 00:11:31,199 Speaker 1: her the opportunity to know her country better and then 189 00:11:31,400 --> 00:11:33,520 Speaker 1: many other people who stayed there because she traveled so 190 00:11:33,600 --> 00:11:37,440 Speaker 1: much and worked with students so much, and you know, 191 00:11:37,559 --> 00:11:42,679 Speaker 1: she had this knowledge of the country and the geography 192 00:11:42,840 --> 00:11:45,840 Speaker 1: and the people's and those kind of became the basis 193 00:11:45,920 --> 00:11:50,800 Speaker 1: for her interest in national values and that, you know, 194 00:11:51,400 --> 00:11:54,640 Speaker 1: all that knowledge that she had coincided with the political 195 00:11:54,720 --> 00:11:58,080 Speaker 1: and intellectual knowledge about the country as a whole. And 196 00:11:58,120 --> 00:12:00,000 Speaker 1: so when she was twenty one, she met the minute 197 00:12:00,000 --> 00:12:04,440 Speaker 1: stear of Education Proda, who later became the President of Chile, 198 00:12:05,160 --> 00:12:07,360 Speaker 1: and so he would go on to help her expand 199 00:12:07,400 --> 00:12:14,120 Speaker 1: the reach of her poetry. Wow, So she remained, she 200 00:12:14,240 --> 00:12:18,760 Speaker 1: kept teaching, and she was dedicated to that and dedicated 201 00:12:18,760 --> 00:12:22,200 Speaker 1: to education and her whole life and promoting that. But 202 00:12:22,320 --> 00:12:26,839 Speaker 1: she also started getting into poetry at this time, so 203 00:12:27,080 --> 00:12:30,600 Speaker 1: her name became really wildly familiar because a lot of 204 00:12:30,640 --> 00:12:33,280 Speaker 1: them were included in a primary school reader that was 205 00:12:33,360 --> 00:12:36,040 Speaker 1: used all over the country and in Latin America. And 206 00:12:36,160 --> 00:12:39,080 Speaker 1: she was also an active member of the Chilean Theosophical 207 00:12:39,120 --> 00:12:42,560 Speaker 1: Association and adopted Buddhism as her religion at a certain point, 208 00:12:42,559 --> 00:12:47,440 Speaker 1: though she later returned to Catholicism. And so when I 209 00:12:47,480 --> 00:12:51,960 Speaker 1: teased earlier the sonnets, um, those are the sonnets son death, 210 00:12:54,280 --> 00:12:56,720 Speaker 1: and she wrote those in nineteen fourteen, and for that 211 00:12:57,040 --> 00:12:59,560 Speaker 1: this is kind of a defining moment in her life. 212 00:12:59,559 --> 00:13:04,720 Speaker 1: She won the Auegos Florad's contest, and this poem is 213 00:13:04,800 --> 00:13:09,080 Speaker 1: like it helped her define her voice, and people began 214 00:13:09,280 --> 00:13:15,920 Speaker 1: viewing her narrative voice as her voice, like her autobiographical voice. Um. 215 00:13:15,960 --> 00:13:23,400 Speaker 1: And that was one marked a bolic sadness, loneliness, despair, passion, jealousy, 216 00:13:23,480 --> 00:13:29,160 Speaker 1: kind of all of those fields. Um. And throughout the 217 00:13:29,160 --> 00:13:31,240 Speaker 1: period of nineteen eighteen and nineteen twenty two she was 218 00:13:31,280 --> 00:13:34,360 Speaker 1: still working. She worked in through different schools, and about 219 00:13:34,360 --> 00:13:37,240 Speaker 1: the early nineteen twenties her poetry was published in a 220 00:13:37,360 --> 00:13:41,000 Speaker 1: lot of different magazines and literary journals. And so her 221 00:13:41,040 --> 00:13:43,680 Speaker 1: first book with desa Lacion, which was a collection of 222 00:13:43,679 --> 00:13:47,439 Speaker 1: poems that were previously published in newspapers and magazines, and 223 00:13:47,520 --> 00:13:52,679 Speaker 1: so Columbia University professor Ferico de Anice introduced her work 224 00:13:52,679 --> 00:13:56,640 Speaker 1: to high school teachers looking to expand Spanish language classes 225 00:13:56,720 --> 00:14:01,240 Speaker 1: in New York City, and a committee for that worked 226 00:14:01,360 --> 00:14:03,920 Speaker 1: on producing her book of poems that could be used 227 00:14:03,920 --> 00:14:07,320 Speaker 1: in US classrooms, and so, with a grant from the 228 00:14:07,440 --> 00:14:12,439 Speaker 1: Carnegie Endowment for International Peace UM, the Instituto DALYs Aspanes 229 00:14:12,559 --> 00:14:16,439 Speaker 1: published the book in New York. So not Chile, UM, 230 00:14:16,440 --> 00:14:20,680 Speaker 1: which we'll get to her story. Like she wasn't um 231 00:14:20,720 --> 00:14:24,240 Speaker 1: super widely recognized in Chila during her time she was, 232 00:14:24,400 --> 00:14:28,000 Speaker 1: but like she got a lot of international attention instead. 233 00:14:28,600 --> 00:14:33,440 Speaker 1: And so death suffering, sadness, as you can tell by 234 00:14:33,480 --> 00:14:37,080 Speaker 1: the title desolation, you show up a lot in dison 235 00:14:37,720 --> 00:14:39,400 Speaker 1: and so yeah, like I said, she was getting all 236 00:14:39,440 --> 00:14:42,240 Speaker 1: this international She was getting more and more international attention 237 00:14:42,240 --> 00:14:44,760 Speaker 1: for her poetry, which she had already had for her 238 00:14:44,840 --> 00:14:49,040 Speaker 1: journalism and her public speaking. UM. So she has a 239 00:14:49,040 --> 00:14:51,720 Speaker 1: ton of poems. And one of the things that was 240 00:14:51,880 --> 00:14:54,640 Speaker 1: notable about her poems was that they were very simple 241 00:14:55,120 --> 00:14:57,080 Speaker 1: and understandable, and that was a big reason they were 242 00:14:57,160 --> 00:14:59,880 Speaker 1: used in schools and people were drawn to them in 243 00:15:00,040 --> 00:15:05,040 Speaker 1: on Spanish speaking UM places that use them for education. UM. 244 00:15:05,080 --> 00:15:07,760 Speaker 1: But they're also still full even though they were simple 245 00:15:07,880 --> 00:15:12,920 Speaker 1: of emotion and they were warm, and so her poetry 246 00:15:12,960 --> 00:15:17,880 Speaker 1: contained all these things of love, death, childhood, maternity, religion. 247 00:15:18,200 --> 00:15:22,560 Speaker 1: It was lyrical but still unpretentious, and it had these 248 00:15:22,600 --> 00:15:26,320 Speaker 1: religious under and overtones, as she was a devout Christian. 249 00:15:28,520 --> 00:15:32,720 Speaker 1: And so in the University dot de Chile granted her 250 00:15:32,840 --> 00:15:36,520 Speaker 1: the professional title of the Teacher of Spanish and recognition 251 00:15:36,560 --> 00:15:41,400 Speaker 1: of her professional and literary contributions, and that same year, 252 00:15:41,520 --> 00:15:43,760 Speaker 1: the President of Mexico asked her to assist in the 253 00:15:43,760 --> 00:15:47,360 Speaker 1: country's education and reform effort, which is a project under 254 00:15:47,400 --> 00:15:51,560 Speaker 1: the direction of Education Minister Jose Vasconcellos, and she helped 255 00:15:51,600 --> 00:15:56,640 Speaker 1: planning and reorganizing the rural education in the country. And 256 00:15:57,360 --> 00:15:59,640 Speaker 1: at the same time she was learning about the people 257 00:15:59,720 --> 00:16:03,240 Speaker 1: in the country and the culture of the country. And 258 00:16:03,280 --> 00:16:06,240 Speaker 1: so while she was in Mexico, in nineteen twenty three, 259 00:16:06,280 --> 00:16:10,000 Speaker 1: she published a collection of essays called Like or Readings 260 00:16:10,040 --> 00:16:13,680 Speaker 1: for Women that included the works of classic and contemporary writers, 261 00:16:13,760 --> 00:16:17,880 Speaker 1: including herself. And after two years in Mexico, this is 262 00:16:17,880 --> 00:16:20,200 Speaker 1: where we get to the really traveling part. After two 263 00:16:20,280 --> 00:16:23,280 Speaker 1: years in Mexico, she traveled to Europe and the United States, 264 00:16:23,600 --> 00:16:26,600 Speaker 1: and she was kind of welcomed warmly their officials and 265 00:16:26,760 --> 00:16:29,800 Speaker 1: um she was a featured speaker in nineteen four at 266 00:16:29,800 --> 00:16:34,000 Speaker 1: the Pan American Union headquarters. And this is another aspect 267 00:16:34,000 --> 00:16:38,480 Speaker 1: of her life, her pan Americanism and in Washington. So 268 00:16:38,520 --> 00:16:40,560 Speaker 1: she was walking to those headquarters in Washington when she 269 00:16:40,600 --> 00:16:44,680 Speaker 1: was in the United States, and so she championed pan Americanism, 270 00:16:44,680 --> 00:16:47,880 Speaker 1: which is a movement for the advocacy of close cooperation 271 00:16:48,000 --> 00:16:50,800 Speaker 1: between the countries, the member countries of North and South America. 272 00:16:51,800 --> 00:16:55,840 Speaker 1: And she said this in her address. She said, I 273 00:16:55,880 --> 00:16:58,720 Speaker 1: believe that difference, in the case of humanity as well 274 00:16:58,760 --> 00:17:02,240 Speaker 1: as in nature, is a merely another form of enrichment. 275 00:17:02,920 --> 00:17:06,800 Speaker 1: In this way, what is Latin, even in its sharpest contrast, 276 00:17:07,240 --> 00:17:09,560 Speaker 1: when a face to face with Anglo Saxonism is a 277 00:17:09,640 --> 00:17:13,119 Speaker 1: kind of strength through different virtues, through other modes of living, 278 00:17:13,160 --> 00:17:16,600 Speaker 1: but in no sense the occasion of inevitable discord. And 279 00:17:16,680 --> 00:17:19,280 Speaker 1: she went on to say, friendship of the different people's 280 00:17:19,359 --> 00:17:22,600 Speaker 1: sought by the Pan American Union would be easily attained 281 00:17:22,640 --> 00:17:24,919 Speaker 1: if we were all imbued to the farthest limit of 282 00:17:24,920 --> 00:17:30,560 Speaker 1: consciousness with the concept of dissimilarity without inferiority. So that 283 00:17:30,640 --> 00:17:32,199 Speaker 1: kind of gives a good view of like how she 284 00:17:32,320 --> 00:17:35,439 Speaker 1: felt about all her travels, what was like imbued in 285 00:17:35,480 --> 00:17:39,000 Speaker 1: her work, Um, how she felt about relations between people, 286 00:17:39,640 --> 00:17:42,880 Speaker 1: and we know, I mean, this was the nineteen twenties, 287 00:17:42,920 --> 00:17:45,159 Speaker 1: what was going on. And I only know about the 288 00:17:45,240 --> 00:17:47,200 Speaker 1: United States of America because you know, this is where 289 00:17:47,200 --> 00:17:49,560 Speaker 1: I live, and but like, we know what was going 290 00:17:49,560 --> 00:17:52,560 Speaker 1: on here in the United States of America, and everything 291 00:17:52,640 --> 00:17:56,320 Speaker 1: wasn't like butterflies and rainbows. Everybody wasn't getting along well 292 00:17:56,440 --> 00:18:04,080 Speaker 1: you know. Um so it does seem like very optimistic 293 00:18:04,119 --> 00:18:06,520 Speaker 1: to me. But I think a lot of that showed 294 00:18:06,560 --> 00:18:09,880 Speaker 1: up in her poetry and in her writing. Um so 295 00:18:10,800 --> 00:18:13,960 Speaker 1: she also emphasized like how important it was and how 296 00:18:14,280 --> 00:18:17,159 Speaker 1: important she felt it was to approach these ideals of 297 00:18:17,160 --> 00:18:20,920 Speaker 1: continental unity through the application of like Christian faith and value, 298 00:18:20,960 --> 00:18:24,359 Speaker 1: so that religion showing back up. And so years later, 299 00:18:24,800 --> 00:18:27,960 Speaker 1: in N one, the Pan American Union also commissioned her 300 00:18:28,000 --> 00:18:29,679 Speaker 1: to write a pledge for students to stay in the 301 00:18:29,680 --> 00:18:34,000 Speaker 1: classrooms of all the member states, and the players kind 302 00:18:34,000 --> 00:18:36,920 Speaker 1: of said that North and South Americans had this common 303 00:18:36,960 --> 00:18:43,240 Speaker 1: destiny by way of geographic unity. Um yeah, yeah, you 304 00:18:43,320 --> 00:18:47,119 Speaker 1: have thoughts about that. I wish it were true. I know, 305 00:18:49,560 --> 00:18:53,040 Speaker 1: I know, I know, because it's like at the same time, 306 00:18:53,040 --> 00:18:55,080 Speaker 1: there was a lot of imperialism going on from the 307 00:18:55,119 --> 00:18:57,920 Speaker 1: United States itself, and let's talking about you know that, 308 00:18:58,000 --> 00:19:00,840 Speaker 1: and here specifically directed toward a lot American countries to 309 00:19:01,000 --> 00:19:06,160 Speaker 1: like Cuba. UM. But she also emphasized in the Pledge 310 00:19:06,240 --> 00:19:09,040 Speaker 1: the right of nations to self determination, and she was 311 00:19:09,119 --> 00:19:14,479 Speaker 1: kind of anti imperialist. So the list of titles and 312 00:19:14,520 --> 00:19:16,960 Speaker 1: credits and a war list of all that goes on 313 00:19:17,200 --> 00:19:19,840 Speaker 1: for her. Um. She was appointed an executive member of 314 00:19:19,880 --> 00:19:24,600 Speaker 1: the Institute of Educational Cinematography in Rome, and so she 315 00:19:24,720 --> 00:19:27,439 Speaker 1: kept writing poetry as well. So her next book was 316 00:19:27,800 --> 00:19:31,360 Speaker 1: which included poems for children, was called Terra NeuRA or Tenderness, 317 00:19:31,880 --> 00:19:36,000 Speaker 1: and that was published in Madrid, and that contained themes 318 00:19:36,040 --> 00:19:40,320 Speaker 1: of motherhood, of childhood, of the world, and of nature. 319 00:19:40,800 --> 00:19:42,879 Speaker 1: And so she wanted the book to be and this 320 00:19:42,960 --> 00:19:45,520 Speaker 1: is our quote, poetry for school that does not cease 321 00:19:45,600 --> 00:19:48,720 Speaker 1: to be poetry because it's saturated of things of the heart, 322 00:19:49,440 --> 00:19:52,480 Speaker 1: more affected by the breath of the soul. I just 323 00:19:52,560 --> 00:19:57,280 Speaker 1: love that. Like I feel this is probably very stereotyping, 324 00:19:57,359 --> 00:20:00,119 Speaker 1: but I feel like poets always talking like speed can 325 00:20:00,160 --> 00:20:03,439 Speaker 1: poetry as well, even when they're not writing poetry. Or 326 00:20:03,440 --> 00:20:05,960 Speaker 1: I like to imagine that at least always a poet 327 00:20:06,080 --> 00:20:12,399 Speaker 1: always do to know exactly, but only the non self 328 00:20:12,440 --> 00:20:18,560 Speaker 1: deprecating poets, because self deprecating poets probably just cry, yeah, 329 00:20:19,040 --> 00:20:23,080 Speaker 1: we're like my stuff, or don't you know it's gonna 330 00:20:23,160 --> 00:20:27,879 Speaker 1: burn anyway, It's true. There is a lot more to 331 00:20:27,960 --> 00:20:31,280 Speaker 1: this story, but first we're gonna pause for a quick 332 00:20:31,280 --> 00:20:47,000 Speaker 1: break for word from our sponsor, and we're back. Thank 333 00:20:47,000 --> 00:20:51,640 Speaker 1: you sponsored. So she returned to ul A and and 334 00:20:52,160 --> 00:20:56,359 Speaker 1: there she formally retired from the country's education system, but 335 00:20:56,600 --> 00:20:59,520 Speaker 1: throughout her whole life she would receive a pension um 336 00:20:59,520 --> 00:21:02,200 Speaker 1: so as the government that the government at this time 337 00:21:02,240 --> 00:21:04,480 Speaker 1: granted her retirement due to her years of service and 338 00:21:04,480 --> 00:21:07,159 Speaker 1: her contribution to the culture, but she depended on that 339 00:21:07,200 --> 00:21:09,719 Speaker 1: pension for the rest of her life. And so she 340 00:21:09,920 --> 00:21:12,320 Speaker 1: also returned to Catholicism around this time, and she was 341 00:21:12,359 --> 00:21:15,800 Speaker 1: a follower of Saint Francis of Assisi, and she entered 342 00:21:15,800 --> 00:21:18,600 Speaker 1: the Franciscan Order as a member of Laity. And so 343 00:21:18,760 --> 00:21:22,800 Speaker 1: she was appointed the country's representative to the Institute for 344 00:21:22,960 --> 00:21:26,760 Speaker 1: Intellectual Cooperation WHOA, which is a part of the League 345 00:21:26,760 --> 00:21:34,040 Speaker 1: of Nations, and in nineteen six she moved to France. Um, 346 00:21:34,080 --> 00:21:38,840 Speaker 1: which Annie, you know, well, yes, yes, probably not as 347 00:21:38,880 --> 00:21:43,040 Speaker 1: well as she did. Okay, are you trying to get 348 00:21:43,040 --> 00:21:50,240 Speaker 1: me to speak French? Oh no, that to you. We'll 349 00:21:50,280 --> 00:21:53,600 Speaker 1: see my name is deceiving because I'm really bad at 350 00:21:53,640 --> 00:21:57,480 Speaker 1: speaking French. Um. You know, you just gotta give it 351 00:21:57,520 --> 00:22:02,080 Speaker 1: a go. Yeah, So, while one language at a time. 352 00:22:02,119 --> 00:22:06,480 Speaker 1: And while she was there, she started the publication of 353 00:22:06,520 --> 00:22:10,320 Speaker 1: a series of Latin American literary classics in French translation. 354 00:22:11,240 --> 00:22:14,520 Speaker 1: And she gave lectures and toured around the United States 355 00:22:14,840 --> 00:22:19,119 Speaker 1: around Puerto Rico, the Caribbean, Brastil, Uruguay, and Argentina, among 356 00:22:19,160 --> 00:22:23,119 Speaker 1: other places. And she lived mostly in Italy and France 357 00:22:23,160 --> 00:22:29,560 Speaker 1: from nineteen to nineteen thirty two. In the ninety the 358 00:22:29,600 --> 00:22:32,399 Speaker 1: Chilean Teachers Association sent her as its delegate to the 359 00:22:32,440 --> 00:22:38,960 Speaker 1: Congress of Educators at Locarno and more more things, more accolades. 360 00:22:39,000 --> 00:22:42,320 Speaker 1: She represented Chile and Ecuador at the International University Federation 361 00:22:42,359 --> 00:22:47,800 Speaker 1: in Madrid. And Um here's an interesting personal part of 362 00:22:47,840 --> 00:22:50,879 Speaker 1: her story. When she was living in Provence, a brother 363 00:22:50,960 --> 00:22:53,480 Speaker 1: that she didn't know that she had, her father's son, 364 00:22:54,000 --> 00:22:58,080 Speaker 1: Um left. His son was her as his mother had 365 00:22:58,119 --> 00:23:03,960 Speaker 1: just died and you know, he became a part of 366 00:23:04,000 --> 00:23:10,000 Speaker 1: her life. Her Her mother died in ninet so not 367 00:23:10,119 --> 00:23:13,440 Speaker 1: long after that, and she wrote a series of eight 368 00:23:13,440 --> 00:23:18,760 Speaker 1: poems where at the Demi Madre about you know, influenced 369 00:23:18,800 --> 00:23:23,360 Speaker 1: by that. And so in nineteen thirty the government suspended 370 00:23:23,400 --> 00:23:27,639 Speaker 1: her retirement benefits and she began doing more journalistic writing 371 00:23:27,640 --> 00:23:32,040 Speaker 1: to make up for that lack of finances. She's the 372 00:23:32,160 --> 00:23:35,040 Speaker 1: suspended them. Yeah, she got it back. Though, she got 373 00:23:35,040 --> 00:23:40,919 Speaker 1: it back. Okay, I'm like worried for this person. She 374 00:23:41,040 --> 00:23:44,119 Speaker 1: made it through, you know, Yeah, she lived a full life. 375 00:23:44,200 --> 00:23:47,760 Speaker 1: She didn't and another thing she did to you know, 376 00:23:47,880 --> 00:23:50,240 Speaker 1: keep those finances following during that time, she did a 377 00:23:50,240 --> 00:23:52,560 Speaker 1: lot of um. She went to a lot of universities. 378 00:23:52,880 --> 00:23:55,879 Speaker 1: She was at Barnard College of Columbia University from nineteen 379 00:23:55,880 --> 00:23:58,679 Speaker 1: thirty to nineteen thirty one. She worked at Middlebury College, 380 00:23:58,680 --> 00:24:02,200 Speaker 1: a Vassador College, and teen thirty one, and she gave 381 00:24:02,280 --> 00:24:05,000 Speaker 1: conferences and wrote at the University of Puerto Rico ad 382 00:24:05,080 --> 00:24:09,440 Speaker 1: Rio pier Ras. In the nineteen thirty two, she became 383 00:24:09,520 --> 00:24:15,600 Speaker 1: to Land consul and two years later Chilean Congress named 384 00:24:15,600 --> 00:24:21,320 Speaker 1: her the country's Soul Life Counsul. Yeah, so this is 385 00:24:21,400 --> 00:24:24,159 Speaker 1: also where a lot of her travel comes in. She 386 00:24:24,280 --> 00:24:33,920 Speaker 1: was in Naples, Madrid, Lisbon, Niece, Petropolis, Los Angeles, Santa Barbara, Racruz, Rapayo, 387 00:24:34,040 --> 00:24:40,400 Speaker 1: and New York and as a consul she interacted with 388 00:24:41,760 --> 00:24:46,800 Speaker 1: Pablo Naruta, who is a well known poet and also 389 00:24:46,840 --> 00:24:51,320 Speaker 1: a diplomat and a politician. And when she was in 390 00:24:51,480 --> 00:24:54,399 Speaker 1: when Gabriela was in Temuca in southern Chile, when she 391 00:24:54,480 --> 00:24:58,800 Speaker 1: was teaching, that's where Naruta grew up, and so she 392 00:24:58,880 --> 00:25:02,199 Speaker 1: had actually give in him books and encouraged his talent 393 00:25:03,240 --> 00:25:07,320 Speaker 1: um in Chula when he was younger. So there is 394 00:25:07,359 --> 00:25:11,440 Speaker 1: like Pablo Neruda's more of a probably at the time 395 00:25:11,520 --> 00:25:14,920 Speaker 1: more recognized into La for his work, whereas she did 396 00:25:15,640 --> 00:25:21,199 Speaker 1: a lot. She was very recognized internationally. So she's widely 397 00:25:21,280 --> 00:25:26,359 Speaker 1: quoted form in which she said this, we are guilty 398 00:25:26,440 --> 00:25:29,560 Speaker 1: of many errors and many faults, but our worst crime 399 00:25:29,680 --> 00:25:33,800 Speaker 1: is abandoning the children, neglecting the fountain of life. Many 400 00:25:33,840 --> 00:25:36,560 Speaker 1: of the things we need can wait, the child cannot. 401 00:25:37,200 --> 00:25:39,760 Speaker 1: Right now is the time his bones are being formed, 402 00:25:39,920 --> 00:25:43,359 Speaker 1: his blood is being made, and his senses are being developed. 403 00:25:43,440 --> 00:25:48,720 Speaker 1: To him, we cannot answer tomorrow. His name is today yeah, 404 00:25:48,880 --> 00:25:55,080 Speaker 1: it's pretty good. It's too real today, too real, too real. Yeah. 405 00:25:55,440 --> 00:25:59,679 Speaker 1: So in her book tala Are Felling in English was 406 00:25:59,680 --> 00:26:04,040 Speaker 1: publish in Buenos Aires by the writer and critic Victoria Ocampo, 407 00:26:04,480 --> 00:26:08,200 Speaker 1: and Gabriella donated her author's rights for the book to 408 00:26:08,400 --> 00:26:11,560 Speaker 1: Spanish children who were displaced and orphaned by the Spanish 409 00:26:11,560 --> 00:26:15,880 Speaker 1: Civil War, and the book includes poems inspired by her 410 00:26:15,880 --> 00:26:19,080 Speaker 1: mother's death that that has showed up before and also 411 00:26:19,200 --> 00:26:23,320 Speaker 1: poems divided into three sections that weren't matter um verse 412 00:26:23,400 --> 00:26:27,560 Speaker 1: about britt saltwater and air land of Chile and America 413 00:26:28,800 --> 00:26:31,440 Speaker 1: and after World War Two. She also served as to 414 00:26:31,600 --> 00:26:34,440 Speaker 1: Land delegate to the United Nations Commission on the Status 415 00:26:34,480 --> 00:26:40,960 Speaker 1: of Women until her death in nineteen fifty seven. So uh. 416 00:26:41,320 --> 00:26:47,160 Speaker 1: She also suffered more loss in her life of people 417 00:26:47,160 --> 00:26:51,240 Speaker 1: who are close to her, and nineteen forty two her 418 00:26:51,359 --> 00:26:56,000 Speaker 1: friend Stefan Zvik and his wife they died by suicide, 419 00:26:57,119 --> 00:27:02,920 Speaker 1: and in nineteen forty three her nephew, the the boy 420 00:27:02,960 --> 00:27:04,880 Speaker 1: who that she had adopted and raised as her son, 421 00:27:06,080 --> 00:27:10,320 Speaker 1: who I mentioned earlier, he died from arsenic poisoning and 422 00:27:10,560 --> 00:27:14,199 Speaker 1: that was ruled as a suicide, but um mr All 423 00:27:14,280 --> 00:27:20,640 Speaker 1: believed that he was murdered. Oh really, Yeah, that's rough. Yeah, 424 00:27:20,680 --> 00:27:26,520 Speaker 1: that is barely rough. And it was two years after 425 00:27:26,560 --> 00:27:29,680 Speaker 1: that ninety five when she became the first Latin American 426 00:27:29,800 --> 00:27:33,159 Speaker 1: to get the Nobel Prize in Literature. And she was 427 00:27:33,200 --> 00:27:37,160 Speaker 1: awarded the Nobel Prize for her lyric poetry, which inspired 428 00:27:37,200 --> 00:27:40,080 Speaker 1: by powerful emotions, has made her name a symbol of 429 00:27:40,119 --> 00:27:43,680 Speaker 1: the idealistic aspirations of the entire Latin American world. M 430 00:27:44,600 --> 00:27:47,360 Speaker 1: her lyric poetry. What a year to get it too. 431 00:27:49,400 --> 00:27:51,639 Speaker 1: So near the end of her life, she was writing 432 00:27:52,240 --> 00:27:55,639 Speaker 1: Poema de Chile, which was a long narrative poem that 433 00:27:55,680 --> 00:27:59,720 Speaker 1: she worked on but she never finished it. Um. And 434 00:27:59,800 --> 00:28:02,680 Speaker 1: she also in it she explored musical poetry for children 435 00:28:02,680 --> 00:28:06,439 Speaker 1: and poetry of nature. In the nineteen fifty one she 436 00:28:06,600 --> 00:28:09,159 Speaker 1: was awarded the National Literature Prize in tu l and 437 00:28:09,240 --> 00:28:11,439 Speaker 1: going back to talking about the Pablo Neruta thing, he 438 00:28:11,480 --> 00:28:17,080 Speaker 1: had already won the National Literature Prize into a years earlier. Um. 439 00:28:17,200 --> 00:28:20,280 Speaker 1: So Gabrielle's last book was legad Or Wine Press, and 440 00:28:20,320 --> 00:28:22,760 Speaker 1: that was published in nineteen fifty four, her last book 441 00:28:22,800 --> 00:28:26,240 Speaker 1: during her lifetime, because she did have stuff published posthumously. Um. 442 00:28:26,320 --> 00:28:30,320 Speaker 1: She went back to Santiago in nineteen fifty four as well, 443 00:28:30,320 --> 00:28:31,879 Speaker 1: which was the first time she had been back to 444 00:28:31,920 --> 00:28:34,640 Speaker 1: Chile since nineteen thirty eight, So she didn't go back 445 00:28:34,640 --> 00:28:37,159 Speaker 1: to Chile much when she started. When she left, she 446 00:28:37,240 --> 00:28:41,840 Speaker 1: was like, I'm gone out all these things. Yeah, and 447 00:28:42,200 --> 00:28:46,600 Speaker 1: she was diagnosed with terminal pancreatic cancer in nineteen fifty six. 448 00:28:46,960 --> 00:28:49,320 Speaker 1: UM and the last years of her life she lived 449 00:28:49,320 --> 00:28:53,120 Speaker 1: in Rosalind, New York. She had diabetes and she had 450 00:28:53,160 --> 00:28:56,720 Speaker 1: also had heart issues, and she died in Long Island 451 00:28:57,360 --> 00:29:00,480 Speaker 1: of pancreatic cancer in January of nineteen five d seven, 452 00:29:00,480 --> 00:29:03,800 Speaker 1: when she was sixty seven years old. So during her 453 00:29:03,840 --> 00:29:08,720 Speaker 1: lifetime she published around eight hundred essays of magazines and 454 00:29:08,880 --> 00:29:12,800 Speaker 1: newspapers and ascessary earlier, she wasn't much celebrated in Chile. 455 00:29:13,800 --> 00:29:17,680 Speaker 1: Um and there were a lot of things that were 456 00:29:17,680 --> 00:29:20,320 Speaker 1: published posthumously for her. So Lanks and Hughes, which who 457 00:29:20,320 --> 00:29:22,080 Speaker 1: was a friend of hers, prepared the first volume of 458 00:29:22,080 --> 00:29:25,560 Speaker 1: her poetry translated into English, and that was published in 459 00:29:25,600 --> 00:29:31,680 Speaker 1: ninety seven, shortly after her death. UM And she she 460 00:29:31,840 --> 00:29:35,680 Speaker 1: also had schools and libraries named after her. Her images 461 00:29:35,720 --> 00:29:43,960 Speaker 1: on the five thousand to Land Paso bankonnote, which is cool. Yeah, right, 462 00:29:44,000 --> 00:29:45,880 Speaker 1: you want your money, your your face on money, don't 463 00:29:45,920 --> 00:29:51,239 Speaker 1: just right. There was this image that formed of of 464 00:29:51,320 --> 00:29:54,760 Speaker 1: Gabriela Mistral after she she died. She had public success 465 00:29:54,800 --> 00:29:57,920 Speaker 1: as a figure in the US when she was alive, 466 00:29:58,160 --> 00:30:00,480 Speaker 1: although a lot of people were invoking her name and 467 00:30:00,640 --> 00:30:04,520 Speaker 1: image in a certain way, as little of her work 468 00:30:04,520 --> 00:30:08,520 Speaker 1: appeared in English when she was alive, and she criticized 469 00:30:08,520 --> 00:30:12,720 Speaker 1: the US policy, and that could have had something to 470 00:30:12,800 --> 00:30:14,720 Speaker 1: do with the lack of placement of her work in 471 00:30:14,760 --> 00:30:19,080 Speaker 1: the US press because of this image of American, this 472 00:30:19,280 --> 00:30:24,040 Speaker 1: pan americanism, this image of American unity that she became 473 00:30:24,080 --> 00:30:29,000 Speaker 1: a symbol of in a way, and people also uplifted 474 00:30:29,040 --> 00:30:36,400 Speaker 1: her image as being a figure of national sentimentality. This 475 00:30:36,640 --> 00:30:41,800 Speaker 1: conservative kind of said, you know, depressed, lonely woman who 476 00:30:41,920 --> 00:30:44,360 Speaker 1: kind of bent to the will of the patriarchal state 477 00:30:44,600 --> 00:30:51,200 Speaker 1: and exalted motherhood. Um, and like this this image of 478 00:30:51,200 --> 00:30:54,360 Speaker 1: her being is a ver virgin Christian, pure life of 479 00:30:54,400 --> 00:30:58,320 Speaker 1: like maternal service. Thinking about all the education that she 480 00:30:59,000 --> 00:31:01,200 Speaker 1: was involved in during her lifetime and the themes of 481 00:31:01,240 --> 00:31:05,840 Speaker 1: her work itself kind of diametrically opposed to this idea 482 00:31:06,120 --> 00:31:08,520 Speaker 1: or these ideas of this image of Pablo Neruda, who 483 00:31:08,600 --> 00:31:15,880 Speaker 1: is atheist. You know, a lot different. Um. But there 484 00:31:15,920 --> 00:31:20,920 Speaker 1: has been since debate of her sexuality, with a lot 485 00:31:20,960 --> 00:31:23,160 Speaker 1: of people saying that she was a lesbian and wasn't 486 00:31:23,160 --> 00:31:28,400 Speaker 1: out about it, and even though she herself denied it, 487 00:31:28,560 --> 00:31:30,800 Speaker 1: she wrote that she was not a lesbian and that 488 00:31:30,840 --> 00:31:35,120 Speaker 1: the rumors were unfounded. They were silly American doroth Dana, 489 00:31:35,200 --> 00:31:39,280 Speaker 1: who was her friend and had inherited Garbadriella's estate and 490 00:31:39,480 --> 00:31:42,120 Speaker 1: they sent letters to each other that were published after 491 00:31:42,280 --> 00:31:45,440 Speaker 1: Dana died. Um, she's an executive her estate, but after 492 00:31:45,440 --> 00:31:47,240 Speaker 1: she died they were published in Spanish and then later 493 00:31:47,240 --> 00:31:50,680 Speaker 1: in English, not that long ago in English, and they 494 00:31:50,720 --> 00:31:53,560 Speaker 1: expressed a lot of love for each other in these letters. 495 00:31:54,280 --> 00:31:57,719 Speaker 1: And there's a there's a film out there about Gabriella 496 00:31:58,080 --> 00:32:05,600 Speaker 1: and her lesbianism. Um. Yeah, so that's something that Okay, 497 00:32:05,600 --> 00:32:08,200 Speaker 1: even though she is kind of one of those said 498 00:32:08,320 --> 00:32:12,600 Speaker 1: not said things. Um, it's something that's still contested, like 499 00:32:12,600 --> 00:32:15,000 Speaker 1: whether she I don't think we need to spend too 500 00:32:15,120 --> 00:32:18,120 Speaker 1: much time on that, whether she was a lesbian or not, 501 00:32:18,160 --> 00:32:20,560 Speaker 1: but it is something that's been brought up about her life. 502 00:32:21,600 --> 00:32:25,800 Speaker 1: She was bisexual, and they were just missing representing her altogether. Yeah, 503 00:32:25,920 --> 00:32:28,600 Speaker 1: she would say she was not just a straight lesbian. Yeah, 504 00:32:28,720 --> 00:32:31,160 Speaker 1: well so it did come up, how you know in 505 00:32:31,200 --> 00:32:33,959 Speaker 1: her poems. Well, thinking about the guy who died by 506 00:32:33,960 --> 00:32:39,760 Speaker 1: suicide was the subject of her poetry. Um A lot 507 00:32:39,760 --> 00:32:43,240 Speaker 1: of the times we can put hittero sexuality on a 508 00:32:43,320 --> 00:32:47,120 Speaker 1: poem because that's how we read it. So or that's 509 00:32:47,120 --> 00:32:49,920 Speaker 1: the assumptions that we make based on the pagechearchal system 510 00:32:50,000 --> 00:32:56,560 Speaker 1: that we are influenced by, brainwashed by um. So re 511 00:32:56,720 --> 00:33:02,680 Speaker 1: kind of re contextualizing everything that she wrote and instead 512 00:33:02,720 --> 00:33:07,240 Speaker 1: of assuming that that, Okay, maybe this relationship that she 513 00:33:07,280 --> 00:33:12,480 Speaker 1: had with Doris Dana and maybe with other people were um, 514 00:33:12,520 --> 00:33:19,240 Speaker 1: you know, romantic relationships, and for that reason we can reinterpret, 515 00:33:19,360 --> 00:33:21,440 Speaker 1: you know, the way her poetry was written. She wasn't 516 00:33:21,480 --> 00:33:27,280 Speaker 1: this lonely, sad, depressed woman who was like subject to 517 00:33:27,760 --> 00:33:32,040 Speaker 1: the whims of the patriarchy. And it's something that's still 518 00:33:32,080 --> 00:33:38,000 Speaker 1: debated and contested, but still her her work speaks for itself. 519 00:33:39,880 --> 00:33:43,680 Speaker 1: This is from one of her poems, and Fassando el 520 00:33:43,720 --> 00:33:47,920 Speaker 1: frio grande los mari posts and guilto Ian el adre 521 00:33:48,080 --> 00:34:00,920 Speaker 1: amigo las hostel Romeo helsine Fasohadas Huelo, And that means 522 00:34:01,560 --> 00:34:04,320 Speaker 1: as soon as the big cold left, the butterflies returned. 523 00:34:04,800 --> 00:34:07,200 Speaker 1: And in the air, my friend is a sweet charmer 524 00:34:07,640 --> 00:34:11,120 Speaker 1: and the Rosemary leaves sway under their light. Angel and 525 00:34:11,239 --> 00:34:14,200 Speaker 1: angel all painted as if it were for real or 526 00:34:14,280 --> 00:34:22,520 Speaker 1: just for play. That's lovely and very excellent job. Yeah. 527 00:34:22,840 --> 00:34:25,000 Speaker 1: I love how she had a lot of her work 528 00:34:25,200 --> 00:34:28,440 Speaker 1: was characterized by you know, darkness and death and all 529 00:34:28,440 --> 00:34:31,479 Speaker 1: this stuff. But despite the things that she had gone through, 530 00:34:31,600 --> 00:34:36,400 Speaker 1: she still had this very it seems like hopeful streak 531 00:34:36,880 --> 00:34:42,400 Speaker 1: and and this desire to to help children or be 532 00:34:42,480 --> 00:34:45,000 Speaker 1: there for people who didn't have a voice, and she's 533 00:34:45,040 --> 00:34:48,040 Speaker 1: writing that voice. She's one of those who, much like me, 534 00:34:48,160 --> 00:34:51,920 Speaker 1: the people who consistently are in battle mode have to 535 00:34:52,040 --> 00:34:54,640 Speaker 1: let out their darkness somehow, so much like that gathers 536 00:34:54,680 --> 00:34:57,480 Speaker 1: within them because they're fighting a system, which she was 537 00:34:57,520 --> 00:35:01,839 Speaker 1: a fighter, seemingly with a social us this point as well, 538 00:35:01,880 --> 00:35:04,680 Speaker 1: and for children and for education and for women, and 539 00:35:04,719 --> 00:35:08,279 Speaker 1: so part of this poetry is to let out her 540 00:35:08,320 --> 00:35:11,319 Speaker 1: grief in the parts that she doesn't have she can't 541 00:35:11,360 --> 00:35:13,719 Speaker 1: talk about consistently. When she's in the middle of trying 542 00:35:13,760 --> 00:35:17,080 Speaker 1: to advocate for others, that's what it seems. Yeah, and 543 00:35:17,160 --> 00:35:19,480 Speaker 1: she saw it, and she saw so much in her 544 00:35:19,520 --> 00:35:21,719 Speaker 1: travel as well that it was a really turbulent time. 545 00:35:22,400 --> 00:35:27,280 Speaker 1: And I it was she lived a life of service essentially, 546 00:35:27,600 --> 00:35:33,600 Speaker 1: was a life of service. And so yeah, just her 547 00:35:33,719 --> 00:35:37,520 Speaker 1: her story as an inspiration for women and and for 548 00:35:37,640 --> 00:35:41,520 Speaker 1: poise and for writers and for people who want to 549 00:35:41,560 --> 00:35:43,400 Speaker 1: contribute to the world the things that they have to 550 00:35:43,400 --> 00:35:45,560 Speaker 1: give to the world, what they have to offer. And 551 00:35:47,480 --> 00:35:52,920 Speaker 1: it's very inspirational. It absolutely, she's very inspirational. She women 552 00:35:53,000 --> 00:35:58,840 Speaker 1: contained multitudes, and she contained many multitudes. She she accomplished 553 00:35:58,960 --> 00:36:02,520 Speaker 1: a lot. And yeah, we you would highly recommend going 554 00:36:02,840 --> 00:36:07,360 Speaker 1: finding her poetry and reading it checking it out. We 555 00:36:07,520 --> 00:36:10,520 Speaker 1: have some more for you listeners, but first we're going 556 00:36:10,560 --> 00:36:27,120 Speaker 1: to pause for one more quickick for tomorrow. Sponsor. Now 557 00:36:27,160 --> 00:36:29,840 Speaker 1: we're back, Thank you, sponsorb. Is that Do you have 558 00:36:29,840 --> 00:36:32,840 Speaker 1: anything else you want to add before we come to 559 00:36:32,880 --> 00:36:46,239 Speaker 1: an end? No, I want grace people with UM. Yeah, 560 00:36:46,280 --> 00:36:49,200 Speaker 1: I know that's all. Thank you. Oh, thank you so much. 561 00:36:49,280 --> 00:36:57,360 Speaker 1: That was yeah, awesome, awesome, um and uh oh yeah, 562 00:36:57,400 --> 00:36:59,239 Speaker 1: I'm just so glad to have learned about her. I 563 00:36:59,239 --> 00:37:03,680 Speaker 1: hope that let's nerds are as well. Um also just 564 00:37:03,960 --> 00:37:07,040 Speaker 1: behind the scenes side note, Eves and I bonded over SpongeBob, 565 00:37:07,160 --> 00:37:10,920 Speaker 1: swear pants and ad break and I feel very, very 566 00:37:10,960 --> 00:37:13,000 Speaker 1: old as I was listening to the two of you 567 00:37:14,239 --> 00:37:17,600 Speaker 1: enjoy life and SpongeBob. Thank you. There shall be a 568 00:37:17,600 --> 00:37:20,760 Speaker 1: poem about that, about SpongeBob. We can do maybe finding 569 00:37:20,840 --> 00:37:23,560 Speaker 1: joy and SpongeBob. Okay, maybe we should joint write this. 570 00:37:23,880 --> 00:37:25,480 Speaker 1: I don't want to take credit for this. This is 571 00:37:25,480 --> 00:37:28,000 Speaker 1: a joint you know, a team effort, and then we'll 572 00:37:28,040 --> 00:37:30,520 Speaker 1: do a dramatic reading of it. Yes, for the office, 573 00:37:30,520 --> 00:37:31,799 Speaker 1: We're not going to tell them we're gonna do it. 574 00:37:31,800 --> 00:37:33,920 Speaker 1: We're just gonna do it, like the Joys of SpongeBob. 575 00:37:34,080 --> 00:37:38,439 Speaker 1: Just occasionally there is just a mic out in our 576 00:37:38,560 --> 00:37:42,440 Speaker 1: like open areas. So next time, yes, But it's usually 577 00:37:42,480 --> 00:37:47,319 Speaker 1: like for meetings or something, So next time. So why 578 00:37:47,480 --> 00:37:50,040 Speaker 1: I The question is why aren't we doing office talent shows? 579 00:37:51,400 --> 00:37:54,359 Speaker 1: That is an excellent question, Eves. I've actually thought about 580 00:37:54,400 --> 00:37:56,839 Speaker 1: what talent I would do. Do you ever worry about 581 00:37:56,840 --> 00:37:59,040 Speaker 1: that kind of thing? But he's like, you must perform 582 00:37:59,040 --> 00:38:01,080 Speaker 1: at a talent show, and I'm like, I have no 583 00:38:01,160 --> 00:38:05,239 Speaker 1: talents like I have no talents, and all that happened, 584 00:38:05,960 --> 00:38:09,120 Speaker 1: it might at any minute. Movies tell me that it 585 00:38:09,160 --> 00:38:12,600 Speaker 1: could happen. We have to save the world by singing 586 00:38:12,640 --> 00:38:16,319 Speaker 1: a song you have. Yeah, well, it's very important to 587 00:38:16,360 --> 00:38:20,040 Speaker 1: your reputation unless your world, that you perform well at 588 00:38:20,080 --> 00:38:23,600 Speaker 1: whatever talent show. I don't think i've ever No, I 589 00:38:23,680 --> 00:38:26,480 Speaker 1: definitely competed in the talent show. I did tap dancing. 590 00:38:28,520 --> 00:38:30,400 Speaker 1: Can you tap dance? Still? I have a really an 591 00:38:30,440 --> 00:38:33,640 Speaker 1: embarrassing story about the talent show. Okay, it's not that embarrassing. 592 00:38:33,640 --> 00:38:39,680 Speaker 1: I feel like it's a normally embarrassing story. Um, when 593 00:38:39,680 --> 00:38:44,840 Speaker 1: I was in elementary school. When I was in elementary school, 594 00:38:44,840 --> 00:38:47,239 Speaker 1: we had a talent show. And do you remember the 595 00:38:47,280 --> 00:38:53,520 Speaker 1: song by LLL couj and Jennifer Lopez. Um, you're laughing before. 596 00:38:53,560 --> 00:38:57,839 Speaker 1: If you get it out, it's okay, Andy, it was embarrassing. Um, 597 00:38:57,880 --> 00:38:59,200 Speaker 1: I'm not going to sing it now. But there was 598 00:38:59,239 --> 00:39:03,120 Speaker 1: a song um by j Lo and LLO Couja, and 599 00:39:03,400 --> 00:39:07,439 Speaker 1: I was go, Okay, I'll see it. She's like, it's 600 00:39:07,440 --> 00:39:10,719 Speaker 1: such a shame that I'm leaving. Can'ta the way you 601 00:39:10,880 --> 00:39:15,640 Speaker 1: mistreated me that song? I'm not gonna keep sinking, and um, 602 00:39:15,800 --> 00:39:19,759 Speaker 1: I think I had Llo Couja's part and the girl 603 00:39:19,760 --> 00:39:23,520 Speaker 1: who I was performing with had j Loo's part, and 604 00:39:23,880 --> 00:39:25,680 Speaker 1: she I'm pretty sure was that way. It may have 605 00:39:25,680 --> 00:39:28,040 Speaker 1: been the other way, but I knew both parts anyway, Okay, 606 00:39:28,880 --> 00:39:33,520 Speaker 1: so yeah, and then she just totally flowed and forgot 607 00:39:33,560 --> 00:39:36,200 Speaker 1: her works and just like was stuck in the middle 608 00:39:36,239 --> 00:39:39,080 Speaker 1: of the performance and I had to like pick it 609 00:39:39,160 --> 00:39:44,759 Speaker 1: up for her. But and I did it, but I 610 00:39:44,800 --> 00:39:47,440 Speaker 1: was crying in the car after her, and I was 611 00:39:47,520 --> 00:39:50,880 Speaker 1: so embarrassed. And then a girl that I knew that 612 00:39:50,880 --> 00:39:52,560 Speaker 1: I'm pretty sure she was like a great older than me. 613 00:39:52,600 --> 00:39:55,239 Speaker 1: But anyway, a girl who was also I think she's 614 00:39:55,239 --> 00:39:57,880 Speaker 1: also in the UM in the Talent show knocked on 615 00:39:57,960 --> 00:40:00,399 Speaker 1: my window and she said, I will never her get 616 00:40:00,440 --> 00:40:03,400 Speaker 1: her face and she said she like motioned putting her 617 00:40:03,520 --> 00:40:05,440 Speaker 1: I'm putting my fingers like as if there were two 618 00:40:05,640 --> 00:40:09,239 Speaker 1: tears running down my face, and like this is gonna 619 00:40:09,239 --> 00:40:13,680 Speaker 1: be in the show anything. Oh, now it is, And 620 00:40:13,719 --> 00:40:17,680 Speaker 1: she was like I was crying too for you, No, 621 00:40:17,840 --> 00:40:21,040 Speaker 1: not for me. That would have been really nice. Um, 622 00:40:21,080 --> 00:40:23,239 Speaker 1: but it was pretty embarrassing. But I still know that 623 00:40:23,640 --> 00:40:26,919 Speaker 1: my heart did right, and you just felt embarrassed. I mean, 624 00:40:26,960 --> 00:40:29,319 Speaker 1: I guess yeah, but like when you were a kid, 625 00:40:29,600 --> 00:40:33,200 Speaker 1: everything words. I did a talent show and I sang 626 00:40:33,280 --> 00:40:35,799 Speaker 1: a Maria Carry song, which by the way, I did 627 00:40:35,800 --> 00:40:38,520 Speaker 1: not hit that note, just so you know. But then 628 00:40:38,560 --> 00:40:41,080 Speaker 1: I performed with a girl who it was just like 629 00:40:41,360 --> 00:40:42,919 Speaker 1: three or four of us. There's not even that many 630 00:40:42,920 --> 00:40:46,040 Speaker 1: of us to do this talent show. And she had 631 00:40:46,080 --> 00:40:48,759 Speaker 1: her whole it was a little mermaid song. She had 632 00:40:48,800 --> 00:40:51,400 Speaker 1: a set, she had the costume and everything. And I 633 00:40:51,440 --> 00:40:55,160 Speaker 1: came in with my one bad tape of the Mariah 634 00:40:55,200 --> 00:40:58,600 Speaker 1: Carry songs. I really messed up. So that's my memories. 635 00:40:58,640 --> 00:41:02,160 Speaker 1: I'm like, I'm sing Maria Carry again. It feels what 636 00:41:02,160 --> 00:41:04,880 Speaker 1: you're saying exactly. We're going to do it. And curious, 637 00:41:04,920 --> 00:41:07,440 Speaker 1: this is your redemption story. I see you want to 638 00:41:07,480 --> 00:41:11,520 Speaker 1: do call j j Lo and you're gonna do my partner. 639 00:41:11,560 --> 00:41:18,680 Speaker 1: Though I never really messed at the top dancing. Oh yes, 640 00:41:23,560 --> 00:41:25,239 Speaker 1: I did fall off the stage once, but that was 641 00:41:25,239 --> 00:41:29,720 Speaker 1: a different that was a different thing. Were falling off stage? Well, 642 00:41:30,360 --> 00:41:33,360 Speaker 1: it's the sound people make when a young child falls 643 00:41:33,400 --> 00:41:38,120 Speaker 1: off the stage. I won't soon forget it. And I 644 00:41:38,160 --> 00:41:42,760 Speaker 1: broke my ankle. Oh now, everyone is up to speed 645 00:41:43,160 --> 00:41:47,520 Speaker 1: on what we're going to do at the talent show. Uh, 646 00:41:47,560 --> 00:41:50,160 Speaker 1: and our SpongeBob home will keep everybody up to date 647 00:41:50,200 --> 00:41:53,759 Speaker 1: on that SpongeBob songs. But um, in the meantime, Eve, 648 00:41:53,920 --> 00:41:57,920 Speaker 1: thanks again for joining us. Where can listeners find you? 649 00:41:58,040 --> 00:42:01,160 Speaker 1: Hear you? You can hear me on this day in 650 00:42:01,280 --> 00:42:05,160 Speaker 1: history class as well as unpopular, and you can find 651 00:42:05,320 --> 00:42:09,640 Speaker 1: both of those on all the social media things Facebook, Twitter, Instagram. 652 00:42:10,040 --> 00:42:15,160 Speaker 1: Yeah yeah, and highly recommend checking them out. Can't wait 653 00:42:15,239 --> 00:42:19,880 Speaker 1: until you come back? Yes, Um, he just do this 654 00:42:19,960 --> 00:42:23,440 Speaker 1: twice a month, get this once a month. He's just 655 00:42:23,480 --> 00:42:26,480 Speaker 1: like we do. Here's the media. We just do the 656 00:42:26,520 --> 00:42:28,279 Speaker 1: one person that split up in two with all of 657 00:42:28,280 --> 00:42:31,680 Speaker 1: our side bits attitude. You've got something there. I mean 658 00:42:31,719 --> 00:42:35,520 Speaker 1: we could have some content. We could have a segment 659 00:42:35,560 --> 00:42:41,920 Speaker 1: that's called just just the Bits. I like it all right, 660 00:42:42,000 --> 00:42:46,000 Speaker 1: Well look out for that or maybe don't. It sounds 661 00:42:46,000 --> 00:42:49,320 Speaker 1: like it could be sexual, yeah a little. You know 662 00:42:49,600 --> 00:42:52,800 Speaker 1: people like Devilon thunder Right. It won't be sexual because 663 00:42:52,800 --> 00:42:57,080 Speaker 1: it won't exist, but you know what does exist. Our 664 00:42:57,360 --> 00:43:00,520 Speaker 1: email address you can find us at step media, mom 665 00:43:00,600 --> 00:43:04,640 Speaker 1: stuff at iHeart media dot com, or on Instagram at 666 00:43:04,680 --> 00:43:06,680 Speaker 1: stuff I've Never Told You are on Twitter at mom 667 00:43:06,719 --> 00:43:10,280 Speaker 1: Stuff podcast. Thanks as always to our super producer Andrew Howard, 668 00:43:10,719 --> 00:43:13,640 Speaker 1: and thanks to you for listening Stuff I've Never Told 669 00:43:13,640 --> 00:43:15,520 Speaker 1: You the production of I Heart Radio's how Stuff First. 670 00:43:15,640 --> 00:43:18,399 Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app, 671 00:43:18,480 --> 00:43:20,640 Speaker 1: Apple podcast, or have you listen to your favorite shows