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