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Pursuing deep thinking and moral imagination, social courage and joy, to renew inner life, outer life, and life together.

The On Being Project is a nonprofit media and public life initiative. We make a public radio showpodcasts, new ways to experience poetry, and tools for the art of livingSix grounding virtues guide everything we do. We explore the intersection of spiritual inquiry, science, social healing, and the arts.  Tastaturabzieher aus Edelstahl für mechanische Tastatur zum Entf, launched in July 2021, is our newest offering: teaching, practice, and a community of accompaniment for rising to the highest callings of this moment in the life of the world.

Our New Home for Poetry

We’ve made our poetry collection more accessible and inviting. Explore all the ways poetry is manifest in our work — including interviews with poets, recorded readings with poets, episodes of Poetry Unbound, and discussions about poetry’s contribution to the common good.

Experience it here.

Some friends gather and smoke at a doorway in a city. There’s Malik, and Johnny Cash, and Lefty, and Jësus. And the poet, Major Jackson. They’ve known each other their whole lives, and they wonder who they’ll turn out to be. In a moment of disclosure, Major tells his friends he wants to be a poet, astonishing them, and himself too it seems. In friendship and ribbing, in desire and teasing, this poem wonders who a person is, and what it means to hope.

Andrés Cerpa recollects how his father’s early dementia was an increasing influence on his early years. As he grew, his father diminished. The burden of this was heavy on him — he stayed awake listening for information, and fell asleep at school. Older now, he looks at his younger self with tenderness and sadness. This poem gives attention to the experience of the growing presence of absence, and the ways that affects memory, family, and perspective.

How to embrace what’s right and corrective, redemptive and restorative — and an insistence that each of us is more than the worst thing we’ve done — these are gifts Bryan Stevenson offers with his life. He’s brought the language of mercy and redemption into American culture in recent years, growing out of his work as a lawyer with the Equal Justice Initiative based in Montgomery, Alabama. Now the groundbreaking museum they created in Montgomery has dramatically expanded — a new way of engaging the full and ongoing legacy of slavery in U.S. history. Krista draws out his spirit — and his moral imagination.

A narrative prose poem about two brothers — one on a visit home from college — who are turning to face east in their small shared room. With seven years between them, one is a young man and the other, the poet, is nearing his teens. Their prayer is interrupted by a sudden surprising noise, and the sound of this makes them fall over each other in laughing. Their bodies, their joy, their uncontrollable delight is the prayer of their own lives.

In a poem that addresses a worm directly as “you,” Gail McConnell considers how these tube-shaped beings live: ingesting the earth, aerating it, digesting it, making its nourishment accessible for all kinds of growth. The worm burrows, knows dead things, and knows underground ways. Tiny and segmented though a worm is, nonetheless it senses that “all there is // can be gone through.” The poem’s close attention to the worm’s tactics of survival seems to indicate that much could be learned from its underground ways.

Where to turn to find my place of standing when it feels like the world is on fire? This question surfaced in a public conversation Krista had just a couple of years ago with Pádraig Ó Tuama and Marilyn Nelson, two poet-contemplatives. Pádraig weaves together social healing, poetry, and theology. Marilyn is a lyrical excavator of stories that would rather stay hidden — yet as she coaxes them into the light, they lead to new life. This conversation is a pleasure and balm, and a reminder that the ruptures and unease and reckonings of what we call “this moment” were all before us before the pandemic. Pádraig and Marilyn’s offerings are beyond wise, and distinctly tender and powerful for this now.

A club is a place for dancing, for abandon, for music, and for meeting strangers. Romeo Oriogun recalls a gay club that was for all those things, but also for escape. Living in a place where queer lives were under threat, he offers a praise song for this cathedral of safety and movement. Outside the world is silent, but inside the bar, people carry stories of their own desire, of their families, of their hopes; both for the future and the present.

In a poem of extraordinary poise, Kathleen Flenniken recounts her parents’ lively parties, their rich social life, their summer trips, and their friendships: friendships that were not always straightforward. The poem closes with an observation of a moment of sexual tension between her mother and another man. Kathleen’s right there, but feels like she’s barely noticed. Everyone goes to bed alone, and we are left with the poet and her awareness of what lay underneath the surface.

Katharine Hayhoe is one of the most esteemed atmospheric scientists in the world. She’s made her mark by connecting dots between climate systems and weather patterns and the lived experience of human beings in their neighborhoods and communities. She’s also an ambassador, if you will, between the science of climate change and the world of evangelical Christian faith and practice, which she also inhabits. To delve into that with her is to learn a great deal that refreshingly complicates the picture of what is possible and what is already happening, even across what feel like cultural fault lines. If you want to speak and walk differently on this frontier, this is a conversation for you.

A love poem with a playful title that sounds like an ad from a travel agent unfolds into a poem about choosing to stay at home. Imtiaz Dharker’s husband died in the years between this poem’s setting and its publishing. The poem, too, moves from long lines across the page into shorter and shorter lines. In sensuality, locality, intimacy, and simplicity, this poem is all about the man she loved, and moves from noise to focus: “You Are / Here” its final lines assert.

While preparing for this week’s episode of Poetry Unbound, host Pádraig Ó Tuama began an email correspondence with the poet, No‘u Revilla. The exchange was so rich that Pádraig asked No‘u to join him in conversation. Together they talk about poetry, queerness and how Hawaiian language, culture, and history show up in her poetry.

The life of a sugar worker is the center of this poem: a worker whose body and person bear the imprint of that industry, with its demands and smoke and exhaustion. The worker in question is the poet’s father, and No’u Revilla brings us into a consideration of how he takes pride in work that depleted him, how he needed to find ways to recover from work that exhausted him, how in his body he carries the story of Hawai’i and its indigenous people.

The Civil Conversations Project

Speaking together differently in order to live together differently.

We have always grown through listening to our listeners and the world. We have been building The Civil Conversations Project since 2011. We honor the power of asking better questions, model reframed approaches to debates, and insist that the ruptures above the radar do not tell the whole story of our time.

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