“Dance Party” by Clint Smith

Here are some experiences to which Nick Cave gives voice and song: the "universal condition" of yearning, and of loss; a "spirituality of rigor"; and the transcendent and moral dimensions of what music is about. This Australian musician, writer, and actor first made a name in the wild world of ’80s post-punk and later with Nick Cave and the Bad Seeds. He also underwent public struggles with addiction and rehab.Since the accidental death of his 15-year-old son Arthur in 2015, and a few years later, the death of his eldest child Jethro, he has entered yet another transfigured era, co-created an exquisite book called Faith, Hope and Carnage, and become a frank and eloquent interlocutor on grief. As a human and a songwriter, Nick Cave is an embodiment of a life examined and evolved. He sat with Krista in the On Being studio in Minneapolis, and the gorgeous conversation that followed is woven in this episode with his gorgeous music.Nick Cave is the songwriter and lead singer of Nick Cave and the Bad Seeds. Their albums include Ghosteen, Skeleton Tree, and Push the Sky Away. Nick's recent albums with frequent collaborator Warren Ellis include Seven Psalms and Carnage. His book, which takes the form of an electric conversation with journalist Seán O’Hagan, is Faith, Hope and Carnage. He frequently writes, and answers questions from his fans, on the website The Red Hand Files.Find the transcript for this show at onbeing.org.______Sign up for The Pause — a Saturday morning companion newsletter to the On Being podcast season, and news and invitations all year round.

A little musing on this season, the spectacular finale headed your way — and ways to stay connected in the time ahead.Subscribe to the The PauseFind our Starting PointsPeruse our LibrariesAnd on YouTube, grab a Poem to Carry in Your Pocket 

Our built world is designed around something called "normal," and yet every single one of our bodies is mysterious, and constantly adapting for better or worse — and always, always changing. This is a fact so ordinary — and yet not something most of us routinely pause to know and to ponder and work with. But Sara Hendren has made it her passion, bringing to it her varied vocations and gifts: being a painter and loving how art reveals truth not by way of simplicity, but by juxtaposition; teaching design to engineering students; parenting three beloved children, one of whom has Down syndrome. This is a conversation that will have you moving through the world both marveling at the ordinary adaptations that bodies make and asking, in Sara's words, "restless and generative questions": of why we organize the physical world as though vulnerability and needs for assistance are not commonplace — indeed salutary — forms of experience that reveal the genius of what being human is all about.Sara Hendren is an associate professor in the College of Arts, Media, and Design at Northeastern University in Boston. She previously spent nine years teaching at Olin College of Engineering. Her book is What Can a Body Do? How We Meet the Built World. You can also find some of her short pieces of writing on her website, sarahendren.com. Her newsletter is undefended / undefeated.  Find the transcript for this show at onbeing.org.______Sign up for The Pause — a Saturday morning companion newsletter to the On Being podcast season, and news and invitations all year round.

The ecological crisis we are standing before is at once civilizational and personal — intimately close to each of us in the places we love and inhabit, and unfolding at a species level. And as much as anyone alive on the planet now, Christiana Figueres has felt the overwhelm of this and stepped into service. She gives voice so eloquently to the grief that we feel and must allow to bind us to each other — and what she sees as a spiritual evolution the natural world is calling us to. If you have wondered how to keep hope alive amidst a thousand reasons to despair, if you are ready to take your despair as fuel — intrigued by the idea of stepping into love and immediate realities of abundance and regeneration — this conversation is for you.Christiana Figueres was Executive Secretary of the United Nations Framework Convention on Climate Change from 2010-2016, and is known as the powerhouse who made the 2015 Paris Agreement possible — in which 195 nations worked with their wildly diverse conditions and points of view on the what and the when and the why, and yet made commitments in service of our hurting planet and the future of humanity. Her book, written together with Tom Rivett-Carnac, is The Future We Choose. She is founding partner of the organization Global Optimism and co-hosts the podcast Outrage + Optimism.Find the transcript for this show at onbeing.org.______Sign up for The Pause — a Saturday morning companion to the podcast season.

This phrase recurs throughout Clint Smith's writing: "in the marrow of our bones." It is an example of how words can hold encrypted wisdom — in this case, the reality that memory and emotion lodge in us physically. Words and phrases have carried this truth forward in time long before we had the science to understand it.Clint Smith is best known for his 2021 book, How the Word Is Passed, but he is first and foremost a poet. He and Krista discuss how his various life chapters have been real-world laboratories for him to investigate the entanglement between language and the intelligence of the body — and the related entanglement between history and place. His poetic sensibility has singularly opened readers to approach a generative reckoning with American history — on whatever side of that history our ancestors stood. Clint Smith has a way of making reckoning possible at a humanizing, softening, bodily level — in the marrow, you might say, of our bones.Clint Smith is a staff writer at The Atlantic. His narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, won the National Book Critics Circle Award for Nonfiction and many other honors. His poetry collections are Counting Descent and Above Ground.Find the transcript for this show at onbeing.org.______Sign up for The Pause — a Saturday morning companion to the podcast season. 

Clint Smith reads his poem, “Dance Party.” This poem is featured in Clint’s On Being conversation with Krista, “What We Know in the ‘Marrow of Our Bones.’” Find more of his poems, along with our full collection of poetry films and readings from two decades of the show, at Experience Poetry.Clint Smith is a staff writer at The Atlantic. His narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, won the National Book Critics Circle Award for Nonfiction and many other honors. His poetry collections are Counting Descent and Above Ground.

Clint Smith reads his poem, “Ode to Those First Fifteen Minutes After the Kids Are Finally Asleep.” This poem is featured in Clint’s On Being conversation with Krista, “What We Know in the ‘Marrow of Our Bones.’” Find more of his poems, along with our full collection of poetry films and readings from two decades of the show, at Experience Poetry.Clint Smith is a staff writer at The Atlantic. His narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, won the National Book Critics Circle Award for Nonfiction and many other honors. His poetry collections are Counting Descent and Above Ground.

This phrase recurs throughout Clint Smith's writing: "in the marrow of our bones." It is an example of how words can hold encrypted wisdom — in this case, the reality that memory and emotion lodge in us physically. Words and phrases have carried this truth forward in time long before we had the science to understand it.Clint Smith is best known for his 2021 book, How the Word Is Passed, but he is first and foremost a poet. He and Krista discuss how his various life chapters have been real-world laboratories for him to investigate the entanglement between language and the intelligence of the body — and the related entanglement between history and place. His poetic sensibility has singularly opened readers to approach a generative reckoning with American history — on whatever side of that history our ancestors stood. Clint Smith has a way of making reckoning possible at a humanizing, softening, bodily level — in the marrow, you might say, of our bones.Clint Smith is a staff writer at The Atlantic. His narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, won the National Book Critics Circle Award for Nonfiction and many other honors. His poetry collections are Counting Descent and Above Ground.This interview is edited and produced with music and other features in the On Being episode "Clint Smith — What We Know in the ‘Marrow of Our Bones.’" Find the transcript for that show at onbeing.org.______Sign up for The Pause — a Saturday morning companion to the podcast season.

From Krista: I loved being interviewed by Dan Harris as much as I've ever enjoyed being on the other side of the microphone (as the saying goes). He drew things out of me I didn't know I had to say. And I'm so impressed with him as a human being, and what he's created with Ten Percent Happier. I hope you might enjoy this!Listen to Ten Percent Happier in all the podcast places: https://www.tenpercent.com/podcast______The host of On Being shares lessons learned from 20 years of interviews, including: how to live with open questions, counterprogramming against your negativity bias, and getting over the God question.In this episode we talk about:Getting over the God question when it comes to contemplating religionWhy Western culture has such a dearth of ways to talk about loveWhy she thinks the core of relationships is not about agreeing but about navigating differencesTuning in to our generative agencyHer definition of a wise life as distinct from a knowledgeable or accomplished oneWhy she believes it is as important to know what you love as it is to know what you hateLearning to love big open questions instead of rushing to answersWhy the things we get paid to do may not define whether we're living a worthy life And getting our intentions straight and then trying not to tie them too tightly to our goals

You may not know Latanya Sweeney's name, but as much as any other single person — and with good humor and grace as well as brilliance — she has led on the frontier of our gradual understanding of how far from anonymous you and I are in almost any database we inhabit, and how far from neutral all the algorithms by which we increasingly navigate our lives.In this conversation with Krista, she brings a helpful big-picture view to our lives with technology, seeing how far we've come — and not — since the advent of the internet, and setting that in the context of history both industrial and digital. She insists that we don't have to accept the harms of digital technology in order to reap its benefits — and she sees very clearly the work that will take. From where she sits, the new generative AI is in equal measure an exciting and alarming evolution. And she shares with us the questions she is asking, and how she and her students and the emerging field of Public Interest Technology might help us all make sense.This is the second in what will be an ongoing occasional On Being episode to delve into and accompany our lives with this new technological revolution — training clear eyes on downsides and dangers while cultivating an attention to how we might elevate the new frontier of AI — and how, in fact, it might invite us more deeply into our humanity.Latanya Sweeney is the Daniel Paul Professor of the Practice of Government and Technology at the Harvard Kennedy School, among her many other credentials. She’s founder and director of Harvard’s Public Interest Tech Lab and its Data Privacy Lab, and she’s the former Chief Technology Officer at the U.S. Federal Trade Commission.Find the transcript for this show at onbeing.org.______Sign up for The Pause — a Saturday morning companion to the podcast season, and a way to stay on top of all On Being happenings across the year.