Hello and welcome to the Eric Camadeca show. I'm Joe Wombo, joined now with track and field head coach Eric Camadeca, who brought some props with him today. He's got the plaque from the Penn Relays. Talk a little bit about what you got there. Yeah, this wheel that we got here what they call a Penn Relays. You get it if you win your event at Penn Relays and we're fortunate enough on the women's four by four side to win the Mac Centennial race. So it's all the schools that used to be in the Mac or in the Mac now and all the schools that are in the Centennial. So very, very deep field, a lot of history and tradition with the Penn Relays. And for this to be our first wheel brought home, it was very exciting. Yeah, a school record that came with it and a whole lot of bragging rights. Yeah, a whole lot of bragging rights, great races by all four women. We let off with Kimberly Hammond. She did exactly what she needed to do. She got out up front, put herself in position, handed off to Dion Hicks. Dion does what she always does. She fights like a bulldog and put us in again in position. And the leg that we were concerned about was Julia Cinder. She's coming off the injury from indoor where she didn't get to compete. I was really starting to get into things now. And she probably ran the best leg that we saw. She put us in it. She fell back a little bit. And then towards the end, when you watched the video, she took to the charge, got out in front of the other woman, and handed it off to Sierra in great position. And Sierra fought like she could and held off Hopkins who's won this event multiple times. There's a great precursor as you guys move into the Mac Commonwealth, the Mac Championships this week. It's another multi-day event. And I would say you guys are awfully prepared for it. Yeah, we really are. This weekend was what we really needed, especially on the sprint side. Because distance a couple weeks ago had a really good weekend. A lot of PRs, huge performances. And in sprints last week, a little bit suffered with the rain at Morgan State. But the weather was 87 degrees on Thursday for the women on Friday for the guys. And they feel really, really good about those performances going in. So I think the team as a whole is in really good shape right now. You talk about those PRs. It just is impressive how you guys keep on improving. As you move into the Mac, what is it going to take to be in one of those top four or top three spots that you're hoping to hold on to? It's a close conference. The top four teams are going to probably be separated by maybe 30, 50 points at most, which is pretty incredible and shows how deep our conference is. So it really comes down to who's going to be ready to show up on Thursday, Friday, and Saturday. As you get ready for that, you're done the taper party, ready to compete now. In the Macs, are you trying to solidify some NCAA bids or ECA bids? Yes. The biggest thing, we're going to be chasing after those points. And the points kind of take care of themselves, take care of the performances as well. So one or the other, we'll take care of it. And then hopefully as a result of that, we will get those championships. Hopefully the weather cooperates with us. I think that's going to be the biggest challenges. Weather's not looking great for this weekend, but everyone's ready to go. So hopefully with those performances, feeling rested and recovered, that we should have a couple of NCAA qualifying performances. Well, coach, we wish you the best of luck. And hopefully you're bringing back some more hardware after this weekend. Yeah, thank you. He's Eric Camadeca. I'm Joe Wamba, and this has been the Eric Camadeca Show.


is a city for walking. In our neighborhood I can do all my errands. Marcia, before we get ice cream, I need to return three books to the library. Where is the library? It is on this street, on the corner. Awesome. Let's go. I need to return three books to the library. Marcia, I can return the books here. Look at those in the books. Marcia, these are letters to my family and friends back home. Four letters. Is there a post office near here? Um, no. The post office is far from here, but there is a mailbox across from the store. Awesome. Let's go. Marcia, now I need to buy stamps. Do you have cash? No. Is there a bank near here? There is a bank behind you. Thanks, Marcia. You know our neighborhood so well. Is there a bank near here? There is a bank behind you. Cash. I can buy stamps. That store sells stamps. Wait here. I have stamps. Wow, you're fast. Thank you. Thank you, letters, for sending my words, my love to my family and friends back home. Do you have more cash? I do. Love my new neighborhood. Everything is near our apartment. Even hair salons and ice cream. Until next time. DC is a city for walking. In our neighborhood, I can do all my errands. Marcia, before we get ice cream, I need to return three books to the library. Where is the library? It is on this street, on the corner. Awesome. Let's go. Marcia, I can return the books here. Those in the book. Marcia, these are letters to my family and friends back home. Four letters. Is there a post office near here? No. The post office is far from here, but there is a mailbox across from the store. Awesome. Let's go. Marcia, now I need to buy stamps. Do you have cash? No. Is there a bank near here? There is a bank behind you. Thanks, Marcia. You know our neighborhood so well. I can buy stamps. That store sells stamps. Wait here. Thank you. Thank you, letters, for sending my words, my love to my family and friends back home. Do you have more cash? I do. My new neighborhood. Everything is near our apartment. Even hair salons and ice cream. Until next time.


Oh, that is fun, baby, that is fun. Unfortunately, we're having to leave the lake today. Welcome back to the channel. So we're gonna head back home to the tree house and we gotta get our motor fixed. So propeller, bent prop shaft. That's what we're dealing with. That's our coming up to spawn right now. It's a beautiful time. And I bent my prop shaft, getting on pad. Just dropping the boat off the fun and sun, y'all. Just had a look at it. They said it might be able to be fixed just by bending that back and I'm gonna have to get my prop reworked. Last time I had this happen, I had to file an insurance claim. It was like very expensive. I had a bow dark tree on Ray Hubbard coming out of a creek and it tore my Yamaha, lower unit apart. It was bad. I mean, I barely made it back to the ramp. Okay, silver bell, and I'll see you soon. Be strong. We're gonna make it through this. It's gonna be at least a week is what I'm hearing now. Hopefully they get it back sooner. But, and let's not forget, there's other modes of transportation out there on the water. So I'm gonna be taking the kayak and going back out to the camper. We got the yak loaded up.  Okay, let's see how the OP survived the storm. Don't think we got any hail over there. We should be good, oh yeah. Nice and locked up. So I secured everything before I left guys and boy, it's looking just nice and perfect. It's ground down here, wasn't too soft anyways. But we're back at the home base. So here's some bass boats running around. We got the yak on top and we're gonna launch it and we're gonna fish in this creek for the most part. We'll check the levels. So we had two days overcast. I've had the refrigerator running, that's about it. You know, there's a little bit of pull from some of the other little, you know, the clock and the radio and stuff like that in here. But right now it says we're using 4.7 amps, but there's our voltage, 13.4 and we're at 100%. Let's just make sure the fridge is working. Everything's cold. Milk is nice and frosty. That's really pretty amazing. I don't really know the limits of this thing yet, but it seems like you could park this thing out in the wilderness for a good long while, as long as you're not running any of the big things. And you've got a few days of sunlight charged back up. I mean, all right, now we gotta get these down by ourselves, see how this is gonna go. If you're unloading one of these things by yourself, these are heavy, these are like 150 pounds. Got the nose down and then I'm just gonna take the other side and pull it this way. And you're just using the angles that way you're not having to lift the entire weight of this thing all at once. And I gotta tell you guys, versus my old rack system, I love this one, let me show you why. The weight distribution is much better on this. It's like a cast iron grill up there. And then also here at the back, I've got this lip that sticks out farther. The old bars were up farther up here so I don't get any rubbing right there. So anyway, I love this Rhino rack. This is the first time I've used it for loading the kayak, but it seems to be just way better than just the two bar system. Hey, how's it gonna be hot today? It's been awhile since I've rocked the old Hobie, but this is really good kayak to fish out of so you can use your feet while you're using both your hands for fishing. The last time I was here, focused on a crappie, caught those, ended up with about a dozen, took those home, even got a couple catfish. Then I went after bass, still kind of funky, up shallow. It seemed like there were still a lot of fish that hadn't moved up yet. We've had a ton of rain. The only bad thing about being in the kayak is not being able to see as high. I can still stand up in this kayak, but you can't really pedal.  But one more thing about the kayak that I really love, especially in this situation, being on a lake that gets pounded by trolling motor and electronic ping noise, this thing's quiet. It's really quiet and you can sneak into those shallow areas when the fish are in the shallows and you can often catch fish that you wouldn't out of a boat. So that's a cool aspect of it. Let's get it in the water. Let's get our rods rigged up and let's get to fishing. As long as we don't have any wind, this is setting up pretty good for kayak fishing.  So I've got me a quarter ounce Texas rig. I think I've got a three or four-ot hammer hook on here, I'm not sure. Got a bobber stop on it and I'm literally just gonna pick apart stuff. So I'm gonna get into little areas I think they might be spawning or might be preparing to move up to spawn and to fish those areas slow. The good thing about the Texas rig is when I'm drifting in the kayak I can still maintain contact on the bottom. That's one of the biggest challenges kayak fishing is, you're constantly moving. So you're having to fish allures that you can confidently keep in the strike zone, I guess. So moving baits are great. Throwing crank baits and spinner baits and stuff like that. It's gonna be harder to fish a weightless bait if you've got any kind of wind because you're gonna be drifting. But we got really good conditions right now. We just gotta watch out for any storms that come by, lightning, all those things you don't want. As soon as it got on the bottom, I picked it up. It's one of those things, he was just moving with it. Couldn't really feel it because I'm moving in the kayak. Oh, look what I just did. I wanna talk about Lucky. Ran the kayak by Stump. And it happened to grab one of my nicest reels I own. Yeah, just hanging there by a thread. So we gotta whip this puppy around, get that back. I mean, just look how lucky. Wow, we eat jeepers. Okay, notes of self, fork is full of stumps. Might just wanna lay him down so that doesn't happen again. I actually just found one on a bed, but it looks to be pretty skittish. So I totally forgot that I have a push pole in here that I can anchor myself with. As long as I'm kind of sneaky, I might be able to get closer to these fish, but this guy just looks, he looks skit so. Okay, this little boy just had more to play.  I am surprised that I can see fairly decent standing up out of this kayak. Okay, also it does appear that we have a lot of little males moving in here. I say little, you know, these are two to three pound fish mostly, but they're utilizing this gator grass a lot. So every little, it's kind of cool in the kayaks. I can sneak up real close to them, but every little spot that has this alligator grass, I'm looking at at least like a one pounder, but there's a lot of just two to three pound males cruising in. I see one just getting, getting nasty over there, getting aggressive. If I get in the right little pocket, I might be able to see a big one, but as of right now, I don't see any females. So I've got this, this pole right here secured down. I'm gonna make a few casts just around the skater grass and see if any fish come up. Just get out of this bug. Might as well call it over. Oh yeah, he's all over it. Where's that other one? Other one's bigger than that. All right, I'll let you go. Couldn't tell which one was eating it. It's usually the smaller one. Okay, I just made a little circle coming out of the cove and I saw another male and then I saw a female that's sitting off and I threw my bandito bug in there. And she peeked at it. She kinda leaned over. So I think she's catchable. I think these are fresh fish that are moving in. So what I did, this fish is right there. And I just did a little circle around here and I planted myself just right here. And I'm just gonna feel for the bite. I don't wanna get too close. These fish out here are just so spooky. But we're gonna throw the bug in there. Sheep, she'll bite it. She just did a circle and I just saw her there. I can barely see at this angle. All right, I gotta pull up. I gotta be able to see. Oh, gosh, there. There it is, she was probably about four pounds. That was the only female I saw in there in the back of the creek. Since we got some overcast coming in, what I'm gonna do is just kinda move out.  And I'm gonna fish these outside edges.  They're so pressured that you have to see what that fish is doing to be able to make the right decision to get them to react and catch the fish. But seeing that many bass swimming around up in the shallows gets me excited. I know that there's gotta be some other fish that are coming in and these little secondary points ought to be a good spot to catch a big one. Doorfish, only a little trenchy. So far, two fish, nothing big. And the overcast is just coming in hard. Woo, getting to work out here, y'all. Well, one fish all the way back, one fish all the way out. Okay, guys, I got the male here. Got it, female's bigger. These are the same, oh. He was two and a half pounds. This female's much bigger. That's so crazy too, how, you know, before those fish were just not very fired up and then I come back in here and boom, they're ready to eat. Sometimes you gotta just give them a minute. Yes, they're both in there now. We should be good to go. That was a bad cast, but she didn't spook. Love to see that. So now he's probably not gonna eat, but she might because I already stuck him. Oh, she might eat it right here. Ooh, she is locked. Okay, there's something about this trench hog. There really seem to be paying attention to it. She's back in there, she's looking.  Eat it, girl. God, they're both looking. That's so cool. Problem is I'm just blowing around here. Okay, he's back, he's back on the juice. He's back on the juice. She might have it. Oh my God, she had it. She took the trench hog. Golly, sneaky little devil. All right, I'm gonna go bandito bug. She'll just have the ends. I was like, where did it go? Just had it sitting there and she took it. She did not get a hook in her bandito bug here. Females are just a little bit trickier, y'all. At least I'm being pretty quiet with this kayak. She might come take it again. She's got it. Got her. Oh, it's a good fish. Oh, that's a bigger fish than I thought, guys. Holy cow. Oh, baby. Oh my gosh. Definitely bigger than five. Oh, that is fun. Baby, that is fun. Woo. Did not think I was gonna be getting one off the bed of a kayak. Look, she's pulling me around.  She's just pulling me around. Oh, there you go, girl. There you go, girl. Nice. Nice big female. She just moved up here on the bed. We're staying in that little bandito bug. Oh my gosh, y'all, that fish is hefty. Oh my gosh, that fish is like six and a half, maybe seven pounds. That's definitely bigger than what I was thinking. Holy cow, look at the noggin on that fish. Geez. Got a little three-yacht hook. Just stuck her nicely. All right, I'm gonna give her a little water. An absolute beauty, y'all. I don't have my scale with me, but I'm gonna say that fish is very close to seven. So let's let it back in the water. Let it go do its thing. Makes more babies on beautiful little pork. Woo. My goodness. That just shows you guys how deceptive fish can be, when they're on beds. I try not to get too freaked out when I see a female. It's hard sometimes when you see a big shadow, you're like, I don't really know how big that is. That could be really huge. But I thought that fish was like four and a half, maybe five, and then when it came at me, I was like, oh my gosh, it's wide. That fish was like maybe seven pounds. So the male, he was about three pounds. It was just a really nice pair. And I came in here earlier. I couldn't get the female was not even coming into the bed. She was staying back. So it was just one of those things where both the fish were fired up. I came back later. I caught the male on accident. I was trying to let him go because she was about to eat it. But since he was not protecting the nests, it actually worked out in my favor where she came in there and bit it. So did not expect to see one that good out of a kayak. It was very challenging drifting around and I couldn't anchor up in a good spot to be able to properly sight fish. But what I ended up doing was just pitching in the bed and letting the kayak drift off where they couldn't see me that well and just wait for her to pick it up. And I just had to watch the line because it's so hard to feel. You're not very connected with your line when you're fishing out of a kayak. But awesome fish, y'all. Very awesome fish to catch out of a kayak as well. So, hey man. Silver bullet down, came out with a kayak. Busted, let's just call it a seven, lucky seven. And I did have another one just throwing a dart around. Random fish, about four pounds came up and bit the tail. So it was a garter, male garter, maybe post spawn. But this is the original pocket where I started fishing and it seems like there's more fish in here than I thought there were, but I just can't get the ones that are cruisers to bite. Quarter ounce, it's like the go-to bed fishing weight right there. Quarter ounce, that's a three-yacht, a little bit smaller than I normally use. Fits just about perfect on there. I usually use a little bit bigger hook on them, site fishing. There's another one over here that caught my attention. Almost ate my bait, fully ate it. Just nipped the tail. There's another one in this hole back here. I don't think he can see me right here. Oh, he ate it. Yeah, he couldn't see me. Yeah, now they're getting aggressive. Some of them. Let's see how fresh looking you are. That is a very fresh fish, y'all. Just moved up on this full moon, making a bed. And part of the big key of site fishing and bed fishing is not letting the fish see you. So I'm kind of wondering, in my kayak situation, I might have a slight advantage. I can't go very far, but if I focus on these little pockets here, I might have a better chance at catching some of these fish. My vantage point isn't as good. I'm drifting around, but I'm so quiet. And normally when I'm in my bass boat, I'll try to shut my electronics down if I get in a real shallow area because bass will hear that, they'll feel that, and they might not bite. The kayak's kind of cool, it's kind of cool for this. I'd say we had a good little stop in there, ladies and gentlemen. I wouldn't have gone back in there if I had my bass boat, but just because I'm restricted to where I can go, it ended up working out and there are some big fish that are moving in. The few days before the full moon, feeding activity is normally really good. And then once the full moon happens, when they're on the spawn, they tend to just lock down, they get on beds, you have the opportunity to sight fish, the fish of a lifetime, if you're on the right lake, but other than that, it gets on a tough bite. I've had many days out here of just not catching them on the full moon if I can't see the fish. Hey guys, I do see another big bass, but it looks like it is, I don't know, it's in a weird mood. It's hanging around this dock though. I'm gonna say it's about five pounds, there it is right there. Coming up to the top, just spooked it there. Yeah, it's like it's bed is on the dock. Oh, that fish is on it, eat that thing. This is a really strange bedding fish. Like it's looking at my bait, I don't know if it's on a post or what. What in the deuce is going on with this one? You looking at it? There you go. Okay, well guys, I have no idea what was just recorded or not. I'm having a lot of problems with this GoPro Hero 9, Hero 9 Black, but anyways, I just caught that fish. He just kinda wanted it sitting there right on the edge, finally just aggravated him. Nice, healthy looking, fresh fish. Here in thunder in the background, so I don't know how many more casts we're gonna get to make, so I'm just gonna get this one a sniff. He's a little spawning. Back to your bed, do your thing. Be a good guardian. Okay, yeah, it looks like that file is totally corrupt, so you guys can't see, but there was a bed right up here in this corner, and that fish was up pretty shallow, but I went in this little pond back here, and that's the only fish I saw. Pockets are really key this time of year, because it kinda works out, because most of the time we wanna be out of the wind, but the fish really wanna be out of the wind as well. They don't want their eggs getting sloshed around, and there's a couple of elements that bass need to have a successful spawn, and they actually do need some sunlight, so they'll spawn at a whatever depth is it feels comfortable for them, for sunlight to penetrate down there, so it depends on the water clarity.  This guy's really looking pretty dark, guys, so I think I'm gonna take it back to the camper, maybe fish one more little spot if I can, but it's getting hard to see too, it's getting real windy and overcast. All right, come on, baby, I like the bank, I like it, it looks pretty good, there's some stumps in there, just looking for a feeder. You buddy hungry?  Are you a crappie? Yes you are, dandy, a dandy crappie too, goodness gracious. That's a big one, I thought I got bumped by a crappie. All right, I just have to come in there and do a drop of dig in the morning. Okay, I got to end on one of my favorite fish in the world.  We're a little damp, but we made it in safe, y'all.  I needed to come out and get the camper anyways, so I just thought, I'll get the yak, just do it, do it old school. And sometimes fishing out of the kayak is just advantageous. It's so nice having the bass boat, you have all the tools to your disposal, electronics, it's amazing, but when the fish are up shallow anyways and you got to be stealthy, kayak can be pretty cool. So I was able to go find a few pockets where the bass were spawning in.  You get fish that lock on beds, they're in spawn mode, they're not in feeding mode. You'll see them feed really good up before the full moon, like three or four days before the full moon and then after that, that week gets kind of tough, but if you could see them, you could definitely catch them. So I was able to get them on the bandito bug, just a winner, just a winner for bed fishing.  So a bandito bug, hard to beat. I don't necessarily throw bright colors that I can see unless it's a deep bed that I know there's a fish there and I'm really trying to see if the fish picks it up. Most of the time I'll just throw a natural color because it seems like they'll eat it better anyways. But it was a good challenge, trying to see the fish out of the kayak, being low and then being moved around with the wind and everything like that. But it was fun, you guys.  We're gonna sign it off on this beautiful drizzly evening, y'all. Let me know in the comments what your favorite springtime bass fishing bait is. If you could only pick one, let everybody know in the comments down below. Smash that like button for greatness in the outdoors and subscribe right here to the channel so you don't miss a single outdoor adventure. Love you guys. I'll see you.


Hi, I'm Kasha, and I'm the head of consulting at ID Tech Eggs. My background is in electronic materials and electronic devices, but at ID Tech Eggs I look at advanced materials like graphene, I look at printed electronics, I look at OLED lighting, I look at some PV technologies and so on. And I'm also responsible for looking after many of our clients around the world, so I try to understand what they do, what their needs are and make sure that they have the information and the analysis and the insight that they need and when they need it. So you say like graphene for example? Yes. What is that? Well graphene on paper is this wonderful material, it has super natural properties almost, it is the best in everything that it does, and therefore because it has such a diverse and such an excellent set of properties, it can be used in so many different applications, in applications from composites and batteries and electronics and many other things. But despite the potential on paper, there have been some bumps on the road when it has come to commercializing graphene. The graphene industry as a whole is still trying to find the so-called killer application and the way companies have tried to go to the market is by replacing something that already exists. So the commercialization strategy really is one of trying to get a little bit of market share on multiple fronts and that's tough. So is it because it's expensive or it's hard to make or what's the problem? Why is it not everywhere so far? Well I mean you said some of the problems, so I mean like most early stage technologies the manufacturing of it is a problem so it is not easy to manufacture in high volumes and at low cost. And I think one problem is that it hasn't found an application in which it has a very very unique or very very strong value proposition. So the story has been that I'm a little bit better than something that already exists. And I think part of the challenge is that when you try to manufacture graphene you don't make that ideal, that perfect graphene that gives you the best properties that we hear from the labs. The actual factory level graphene or the commercial high volume graphene is a different type of material with not properties as great as we've seen. But the interest is huge. Almost every chemical, every material company in the world will have got their hands on some graphene or will have invested in some internal R&D on graphene. We are seeing a lot of activity now interesting in China so in China there are five or six companies with very big announcements about production capacity. We are seeing a lot of interest in Korea and Korea is an interesting case because there is already installed capacity for carbon nanotube manufacturing and also a lot of accumulated experience in the industry. And we know that players like Samsung and LG are really aggressive in trying to pull the strings and pull the industry in Korea. So there's a lot of interest happening in Asia. What's carbon nanotubes? So carbon nanotubes are... Is that the one they are talking about with the space elevator? Well yes, they did actually a long time ago. That's an old story now. That was when the carbon nanotubes were at the peak of the hype cycle. There was a lot of hope, there was a lot of interest. So carbon nanotubes are kind of a nanotube made of carbon and they too, like graphene, have many wonderful properties. But again, commercialization has been somewhat difficult to achieve and it's taken much longer than many had expected. But carbon nanotube has qualified success. So I think around the world there is something like 270,000, 3,000 tonnes per year production capacity and there is actual success in selling carbon nanotubes as an additive in the electrodes for lithium-ion batteries and also as an additive in composites with electrostatic dissipation properties. So the industry exists but it has not reached the same levels that many had expected. And one of the challenges with the carbon nanotubes was and still is that it is hard to disperse. So when you add it to composites, the viscosity goes up by several orders of magnitude. And this is where graphene may actually have an advantage over carbon nanotubes because some of the early indicators are that it is easier to disperse and that's an advantage. And that is why we see in the industry many of the companies that have started by producing just powders and now offer much more, they offer intermediary products dispersed graphene in composites and inks and so on and I think that's a very welcome step towards commercialising graphene. So what's printed electronics? Printed electronics is many things. It's not one thing. It's a manufacturing method and it's an umbrella term. It can be used to describe components like transistors, memory and the conductive tracks. It can be applied to make displays, lighting but it will take applications. So it's a very, very broad industry and there are very many different printing methods that can be used to make printed electronic devices. So when we see how printed electronics, we don't speak of one industry. We speak of a common thread that runs into many different industries. So there's going to be some exhibitors here showing a bunch of stuff that's in the market or stuff that's in the future only. So because it is such a diverse market, if you try to map the different applications that are out there on the market from the R&D level to the commercialisation level, you see diversity. There are applications on the market that are already mature, high volume, almost old mature technology but then there are things that are still at a much earlier stage and there's everything in between. It's a broad industry with different technologies and different players at different degrees of progress. And what's going to happen at the supercapacitors summit here? What's that about? Well, supercapacitors is a very exciting technology. It's an energy storage device which in so many ways is complementary to lithium-ion batteries. It can discharge and charge up much quicker than most batteries out there but it doesn't hold as much energy. It's a big industry already. It is used in cars, in buses and we think that it's going to have a role in the future. We think that it's a market that's going to experience a 30% growth year on year going forward. And the interesting thing about this event is that we've designed it in a way that there is overlap, there is synergy between the different tracks and the different conferences. So let's take supercapacitors as an example. Supercapacitors are in fact an interesting and a very promising target market for graphene. So many of the graphene suppliers that will be here will be walking the floor exhibiting. They want to speak and they want to network with the supercapacitor people because that's where the market is. One key parameter about supercapacitors is that the performance gets better as you increase the surface to volume ratio of the electrode. So the more interfacial surface there is in general between the electrode and the electrolyte the better the performance is going to be. And graphene because of its single layer properties it has the highest surface to volume ratio. But of course there are many technical problems not least on how you can maximize that surface area utilization. But I think the point I'm making is that here we bring the end users and the suppliers together in one place. So is this conference about flexible displays unbreakable displays, flexible PCBs, motherboards, electronics and like flexible batteries? Is it about that also? Absolutely, absolutely. I mean one of the good things about being printing organic electronics not just printing but potentially printing is that it feeds into the value chain of flexible electronics. And when we think of flexible electronics there are many components that are needed to make that possible. And this conference focuses on all the components that are needed. So a flexible transparent connected film, a flexible backplane, a flexible encapsulation layer. If you need a flexible battery for powering things a flexible battery is going to be there. And also we'll have the end users, we'll have the big display makers here to complete the presence across every step of the value chain. So absolutely, absolutely.  Like guys from the Silicon Valley who want to see what's going on. People making this stuff. A bit of everything. I think one important thing about our conference is that it is business focused. So we don't have a lot of academics. Most of the 2,500, 2,700 people that will be working the floor will be business people. They'll be CTO level, they'll be CEO level. They'll be business development managers, marketing managers. And they will come from a diverse set of industries. You know the material, the chemical industry will have a big presence. The component makers will have a big presence. But one extremely important and unique about our conference is that we bring some of the top end users for example for Prince and the electronics.  And these are the end users that the suppliers want to connect to. Alright so looking forward to a whole bunch of interesting things going on here. These are my couple of days. Thank you.


Vaccination could be an effective strategy for slowing the spread of the current coronavirus disease 2019, COVID-19, pandemic. Vaccine hesitancy could pose a serious problem for prevention, due to spread of misinformation surrounding the ongoing pandemic, authors say. This article was authored by Malik Salam, Dima Dababsa, Hudaid, and others.


Salamman, Robert McBride, Hastam. Maa mihaim dost basheem, waabaham doar, sol zedagih konim, nabe taheem, nabe hajjang, be omede didar. Hello, I'm Robert McBride from Montreal, Quebec, and we want to be friends and live together in peace. No sanctions, no war. Hope to see you soon.


Well good afternoon everyone. It's a pleasure to welcome you here to Alden Library. I'm Scott Seaman, Dean of Libraries and I get the honor of introducing our speaker for today. Dr. Stanley Plumlee was born in Barnesville, Ohio and grew up in the lumber and farming regions of Virginia and Ohio. He attended Wilmington College, which is in Wilmington, Ohio, not too far from here, and he earned his MA and PhD from Ohio University. His honors and awards include fellowships from the Guggenheim Foundation, the Rockefeller Foundation, the Ingram Merrill Foundation, and the National Endowment for the Arts. His 2008 book, Posthumus Keats, a Personal Biography, was runner-up for Penn's Jacqueline Bograd Weld Award for Distinguished Biography. His 2009 book, Old Heart, won the Los Angeles Times Book Prize and the Patterson Poetry Prize. It was also a finalist for the National Book Award. In 2010, Dr. Plumlee was elected to membership in the American Academy of Arts and Sciences. His most recent collection of poems is titled Orphan Hours. His latest non-fiction work, just out in paperback, for which we'll hear about today, is The Immortal Evening, a legendary dinner with Keats, Wordsworth, and Lamb. This book won the Truman Capote Prize for literary criticism. Dr. Plumlee is presently Professor of English at the University of Maryland and since 2009 has been Maryland's poet Laureate. Joining Dr. Plumlee this afternoon for our conversation is Dr. Jill Allen Rosser. She teaches in the Creative Writing Program at Ohio University. She also serves as Editor-in-Chief of the New Ohio Review and has done that for the past eight years. Her forthcoming collection, her fourth collection of poems, Mimi's Trapeze, appeared in 2014 from the University of Pittsburgh Press. Please join me in welcoming Dr. Stanley Plumlee and Jill Rosser. Welcome back to Ohio Stan and to Athens and to the Ohio University campus where you spent a number of years. A long time ago. Yeah, hasn't changed. Fifty years as a matter of fact, half a century. It has changed. Well I'm really excited to talk to you about this book which is a real thrill for me to read because the main characters, actual people at this dinner are so well known and such heroes of mine. Now I don't know how well you can see that the act of painting that is there's an inset here of a picture of Keats and Wordsworth up sort of in the right upper right quadrant there. Not probably can't see it too well but there's a pillar and another pillar and in between there are two heads who are speaking together. I guess we can't see it that well. I'll do a visual aid. Hope I'm not connected by a wire. We'll find out. This is Christ by the way. Not a very good one, sorry to say. Hayden couldn't get it right. He was a really pretty average painter and many of his critics came to believe it was more of a self-portrait than anything else. That profile is Keats. It's actually one of the best ever done. A fiery Auburn headed individual. That fellow is William Burwick who is a student of Hayden's. There's Wordsworth looking like a monk.  That's Voltaire and that's Newton. Hayden was a committed Christian. He saw Voltaire as an awful atheist so he puts him in there on purpose to embarrass him, I guess, in the afterlife. Whereas he saw Newton as at least a Christian. He had no notion that Newton was really interested in alchemy and all kinds of weird magical possibilities besides other more scientific interests. Can I ask, Hayden is the painter who had hosted this dinner and brought these people together and he was often introducing artists and writers to each other which was his main good role on earth, I think. He was a little deluded maybe about his talent as many of us are. Many of us geniuses. Not entirely. Well it's one thing to be deluded. It's another to insist on it your whole life. Which is something that he did. Well he had a double role actually as he was a painter and what you might call a professional borrower of money from his acquaintances and friends and often his friendships were pragmatic as you point out in the book that he needed friends who could help him survive. Keats was one who couldn't help him and Charles Lamb was another. Didn't have a whole lot of money to offer but they were so compelling to him. And so what I was wondering is what happens in this book is we're expecting to hear all about Wordsworth and Keats and Lamb and we do. But gradually you begin to understand in the book that Hayden is the central figure and I wondered when you first conceived of writing this book if that was your intention or if it happened while you were composing the book that you realized you had a real fascination for his preoccupations and his lofty ambitions and his incarcerations for debt. That's a good question. In the sense that many things come together when you're at the beginning of a project or imagining what it might become the painting was first of all interesting and the fact that it was a kind of a mess of different possibilities and some of it and the best part of the painting is these characters the rest of it is sort of anonymous and vague actually. But then Hayden became more interesting to me because it was clear that he had somehow been programmed however life works this way to fail. In spite of the fact that he saw himself as a great painter and a great success and kind of the self delusion there is a wonderful subject the difference between reality and was actually true. His problem was that he saw himself in the role of restoring English art as historical painting. It was in somewhat of a abeyance at that time. The painters Constable and Turner are emerging as great landscapeists. That was already true in Europe. So history painting was on the wane. So Hayden is going to rescue it. The trouble is he's not that good a painter and all his subjects have to do with mostly Christian history and his notion of what the painting should be was a wall-sized work of art. A work of art so large no one could buy such a thing because it would never be a place to put it. And it wasn't good enough that it would necessarily sell. Maybe if we have time I can talk about the history of what happens to this painting because it ends up in Ohio which is where it is now. You can go see it in Cincinnati. We'll get to that story perhaps. So he's painting these great almost mural-sized works and nobody can buy them. They're usually not that good. They get usually pretty bad reviews. The worst part is it takes him forever to do one. This painting will take him six years and he's in his third year when he holds the dinner party and he's just completed this portion of the painting and one of the reasons for the dinner party is he wants to show these friends of his what he's done. They've sort of seen it in process over time because most of Hayden friends are writers not painters because he's just impossible. I don't know if you've seen a film called Mr. Turner. Some of you may have. Hayden does come. He's not as bad as he appears in that film by the way but he's pretty pathetic in the Mike Lee film. And there was great pathos in his life. Most of it as Joel pointed out having to do with debt. Now debt in this early 19th century era is a curious thing. You could be in debt if you could afford it. Maybe that's still true.  He went to debtor's prison four different times. And it wore on him of course and his family that much more each time. And what that meant was that all your property was confiscated and sold at auction. And so his few friends or those who would who had any sense of decency in his regard would ultimately bail him out and restore his painting equipment and that kind of stuff. But at this point in the story he hasn't yet gone for the first time in debtor's prison. This is probably the high moment of his life. And that's also very interesting because it's a great moment for all of them. How much of the dinner party should I describe for example Heads is 22. Wordsworth whom he wants to meet and that's a second reason for the dinner party is 47. I don't know if you know a lot about the romantic poets. Heads is just beginning his career as a poet really. As I said to a group yesterday he writes most of his great work in a semester. Good thing he wasn't on the quarter system. But that comes later. Wordsworth of 47 is just beginning to be really famous and acting the role. He's really impossible to be around. He's so pompous. Well the book is largely about friendship and how important it was to these artists to be fired up and feel supported.  He's decided doctoring isn't his name is Richie. He's Richie has decided it's just not for him. So he's going to become an explorer in Africa and his goal is to discover the source of the river Niger. When Charles Lamb very much a man of wit here's about this. He turns to him and says so you're the young man who's going to Africa to die. A year and a half he's dead over there. And the other uninvited but should not have been invited but shows up guest is John Kingston who says he has been in correspondence with William Wordsworth. The great now great William Wordsworth. Well it turns out he's the head of what you would call the Postal Service and Tax Collection in Britain but he's one of seven actual commissioners. And he's Wordsworth's boss because Wordsworth like Hayden needs to make a living. And he has become essentially Tax Collector. He's a Tory by this time. Has become a Tax Collector and a man who you know deals in the stamps business in the Cumberland world in north of England. And he decide Kingston decides because he's he's sort of bewildered by this company. He has no idea what a poet is or who poets are. To lord it over Wordsworth. So it becomes a also an evening of humiliation for Wordsworth. It's supposed to be you know a great celebration of these poets. And so Kingston ends up being attacked by everybody particularly Charles Lamp and I think that's kind of fun in the book too.  A great poet. I kind of wanted to slap him around a little bit after I read. Now Mr. Wordsworth is not interrupted. That kind of thing. And that's why one of the interesting things about the book is that you tell us who's not there and why not. Coleridge for example who's best friends with Lamb. Exactly a lot of a lot of people should have been invited who Shelly should have been invited. Byron could have been invited. They're all in town. Coleridge is an interesting case because at this point he's even worse than Wordsworth. He's what's the word a monologist.  The problem is he's also brilliant. We've all known in the academic world we've all known people like that. Some of them have been our professors. Maybe even our friends. But so Hayden can't stand him really. And also there's the subtext that he, Coleridge and Wordsworth, had this problem for several years and they've been trying to work it out but the healing hasn't really occurred and frankly never will after that great early period in their careers. So that's the reason for Coleridge not being there. And Keith wasn't particularly fond of Shelly as you know. Well no they're not friends as far as what you may have heard. Shelly's not invited because he is an atheist. And a vegetarian. This is a thing that really bothers Hayden. And there's a moment, another sort of social center of activity is on Hampstead Heath in the Vale of Health, Leigh Hunt. He's a great organizer of dinner parties as well. And Hayden has gone there more than once. And there's a wonderful moment I think I've spent some time on it. When he's sitting next to Shelly for the first time he's met him. And Shelly as Hayden puts it is fencing with the stalk of broccoli. Treating it as if it were a chicken. Well there is some, I realize there's a lot of humor in this. Yeah no they're hilarious. I mean Charles Lam is the entertainer of the century. I mean he gets a little tipsy at dinner and this employer of Wordsworth who has invited himself essentially to later in the dinner is, well you can tell how he is treated by Lam. Lam is a wonderful man. He's probably the best man in the whole group actually. And if you don't know, he hasn't quite written all those great essays. A fantastic prose writer. He finally gets fed up with this guy and drives him out of the place by asking him if he could examine his head.  God knows what. He's talking the whole time. This guy thinks he's under attack, which I guess he is in a way, and he just flies from the place. And everyone's having a great time. They're all drunk as you know, skunks by this time. So it fits the tone of the moment pretty well.  There is a sense of theater here. You could do the dinner party I think as a play. Yeah I think it would be you know I think it would be you could do three acts or something and you speak of Hayden as the the facilitator never the innovator and the catalyst and never the creator and it's so important with the Elgin marbles for example and bringing those to the fore. They were sitting in a shed somewhere until Hayden made noise about it. It's sort of shocking. Well the Elgin marbles, Lord Elgin, had brought these you know everyone knows this story. He had brought and discovered these great Greek sculptures I guess you'll have to call all of them in Greece of course and they were being just destroyed and they are they are a broken vessel that's part of their charm really the nature of the ruins by the way are really interesting you know that that's where the imagination lives among ruins. So he manages to get them because this is an era of great imperialism, British imperialism. He manages to get them shipped in various stages to Britain and it becomes the basis the the Elgin marbles marbles become the basis for the British Museum really. More than once the ship goes down from the weight of these things and it's some effort to get to bring all that stuff back up and they rescue most of it maybe there's somebody out there right now treasure hunter trying to find the last of the Elgin marbles I don't know if that's even possible but but what to do with them the museum hasn't been created yet so he has this area this large shed in his if you know Britain at all near height now what we call Hyde Park that's where he lived there's a shed back of his house and that's where he stores this stuff and more of it comes in more of it comes in but there's no it's chaos there's no order to it and it's really Hayden who first appreciates what's there to his great credit and he becomes one of the forces behind creating the museum that will house this material in the meanwhile he takes people to see in order to sell the fact of these marbles he takes people to see them and he himself spends hours days on end drawing them and those are his best works of art the drawings he did of the Elgin marbles and one of the people he takes to the marbles is John Keats and that is I think the real beginning of the transformation of Keats from being a possible effusive layhunt kind of poet to becoming the poet he ultimately is there's something about the marbles that absolutely riveted his attention and at one point he says to Hayden you know I'm not going to write that kind of endemian style anymore you'll see that the new work will be in a more naked Grecian manner and I think that's road to Grecian or it comes from there is no Grecian earned by the way that's an invention in here I remember years ago there was an ad in New Yorker Keats is Grecian earned could buy it a copy of it we know he did draw some oh yeah yeah there are different versions yeah but they're not that earned it's a combination of what he saw put together in his head right absolutely but that's it that see so Hayden is a facilitator in that in that one sense definitely Hayden ultimately is a writer he kept a wonderful diary that's how we knew all this about the dinner party and God knows what else the problem is that 75% of the diary is nothing but whining, complaining, worrying, anger, God knows what about the situation whatever is it at any given time so well I guess maybe that's what a diary is is therapy but in among all that is a great history of the people he knew and what he was up to and he drew people together who needed to know each other you know in that sense he was a facilitator definitely yeah he was he was gregarious when he needed to be the problem was you he does remind I don't know if I can go into politics it was always something else going on there he used people and as you suggest everybody was a target for money and he and Keats ultimately fall out because he thinks Keats has promised him 200 pounds Keats doesn't have two pounds or he got this notion of you know it's a fantasy but that's a sidebar there is the kids children did actually were pretty well off they didn't know that and ultimately this was proved in court but all after they were all dead and Tickens uses that case in Bleak House yeah jaundice versus jaundice yeah that's the Keats children's story with the law but he he used Keats also for his interest in his artwork I mean I'm just looking at a letter to Keats my dear Keats the friends from Hayden my dear Keats the friends who surrounded me were sensible to what talent I had but no one reflected my enthusiasm with that burning ripeness of soul my heart yearned for sympathy believe me from my soul in you I have found one you add fire when I am exhausted and excite fury afresh I offer my heart and intellect and experience and there was a lot of this between many of these writers and they would read their works to each other when they were first written do we don't really have that now except maybe if you exchange well people don't talk like that for sure no and thank god for it yeah no that's those are the sins of youth and I guess excitement and first blush you know they both got over that very very quickly yeah but you know Keats now that we're on him he'd spent a lot of people did actually Hayden studio was open and people would stop by at all hours he was up all night painting it was up by all hours and he'd be working on one of those these monster paintings and there's been this great conversation going on it was sort of behind his back people just would gather there and for Keats who was at the moment he meets Hayden on the cusp of deciding whether in fact he's going to practice medicine or become a poet needs a kind of figure to help him move from one place to the other place uh Keats uh as against a popular opinion was an excellent medical student in spite of all those flowers he would draw in the lecture notes that he was taking at Guy's hospital but this is before anesthetic and so in the demonstrations you have to imagine what that must have been like to have arteries severed and limbs removed or to open up recently deceased bodies by the way Keats that was one of his jobs to receive the grave robbers at the back door so to speak pay them and you know you know get the bodies ready for the next day's demonstration some of those bodies by the way didn't make it to the grave they had been interrupted in life and they did Boris Karlov I guess to remember that so he had all kinds of connections in that world that medical world and he finally he he he says finally I I decided I couldn't go on becoming a surgeon not a physician that's a you had to go to Oxford at Cambridge to become a surgeon because I almost severed the wrong artery one day and that was he said that's what convinced him and yet in his work it's the same with the marbles his work is about what's the phrase he uses one body filling another body that's how I define poetry so he understood the physical world and the human anatomy beautifully and then that's all through his work to the body sculpted or in fact realized as an embodiment but he turned from oh yeah Hayden was part of that that magic that moment he was a model for him and Keats was hard on Wordsworth for selling out right absolutely they all were they all felt Wordsworth had you know compromised himself of course they didn't know the most famous poem they knew by Wordsworth was the excursion they didn't know anything no one did except Coolidge and even he didn't know all of it this this thing and that became 13 books that Wordsworth was writing which became an epic of the self it changed poetry forever this the whole concept of this thing that was later called the Prelude but no one knew about that and some of the greatest writing in literature not just English literature is in that poem and if you don't and also some of the most boring moments you can imagine in poetry it's just it just goes on and on and on but at its best there's nothing like it it just changed it changed the world of language the poetry lives in but Keats wasn't aware of this they none of them were in fact it wasn't published until in any form until Victorian era and I think the best part of it is the kind of trying out of the Prelude called the two-part Prelude which is a thousand lines and I think the first 500 the first half part one is is unsurpassed in in our literature and it wasn't published until 1970 so it's a modern poem Jonathan Wordsworth in the Norton series published it did the notes and all of that I highly recommend it to you it's an amazing performance it's it's truly modern in a time when it wasn't we weren't quite there yet so you never can you never want to confuse the individual with the art even though somebody wrote that stuff and it was that individual but and I guess you have to forgive people whatever their problems are if they have this other thing going most of us would just you know ourselves Stan let me ask you I know that you have an interest in Constable and Turner also that there's a book that you're currently underway about these two painters can I say and they're in there they are they show up yeah but you were apparently an art student the only reason I think I know that is from a poem see that's a gross example that that's a terrible thing to say well you can say whatever you want in poems to me that's right up there with being the poet laureate of Maryland which by the way I hope is over this summer I'm gonna O'Malley appointee who is by the way a very interesting man who loves Irish poetry and could put volumes of it I'm surprised he hasn't done it on that that would not have won on many books I'm sure but still no we have a new governor we have a republican and it's time for somebody else to get that job that's a terrible job but then what was the other part the split second where maybe you were thinking about spending your life on a canvas rather than no I there I was I'd my little Quaker college I had been the editor of the literary magazine and we published bad words and they tried to throw me out of school so but they didn't they couldn't do it that was and I had refused in those days in the late 50s you had to sign loyalty to get scholarship help which is all government funded and the loyalty of said you were not a communist I'm not a communist I did most of you're too young to even know what I'm talking about but that was a serious business in those days so I owed them a little money and it wouldn't give me a transcript to go to graduate school to come here as a matter of fact so I saw I was angry and arguing with the registrar and walked out the door there was this ad for an art teacher the art teacher was elderly and it was sick and they needed somebody right away to complete that semester at a private school nearby and I had a lot of art history courses I had taken some drawing and painting even the sculpture class and I was a terrible artist but they gave me this job and really that was my first real teaching experience I was I got to be pretty good at it because it you could talk about what the student it was the student who did the work and you knew what was good and what wasn't good and all they had to do was keep at it I had some pretty good students I really learned to teach writing doing that and that paid off the debt came to you well and many of your poems are very painterly distinctly painterly well I've come to a theory maybe if I live to be 90 I'll write another book on this same subject I think poems are generally speaking ecphrastic and if it isn't a literal work of art it's something you have put together up here and sort of modeled in your head you've turned that thing into a landscape or a still life or whatever a dramatic encounter among people between people or another person in yourself whatever but it's here and you're really speaking to that I'll use a debased word picture in the poem you're really seeing that moment so the problem is to find a language for that experience what is the language of the experience of that experience you have to find that so you keep writing yourself into that and it will change you can see it differently but I really think that experience for a writer must become a kind of work of art however chaotic or unclear in order to get to the page maybe I'm talking about myself really more than anything else but it seems to me it works that way yeah and one of the quotes that I love in the book is about when Keith was sick and wasn't getting out much and he said my my imagination is my monastery and I am its monk and and so it's all really right that shelly by the way does oh it's a letter to Shelly where he says to Shelly you know you're not doing well it's it's really a criticism of Shelly's work he makes no bones about it he said you need to put more ore in your riffs and what he's saying is you're too abstract you know there's not enough texture there's not enough detail there's not enough grounding it's too visionary too ethereal I guess if you were hating it's too vegetarian you need a little more meat in those poems it's quite a letter yeah and that's what he says you know there are days when I my imagination is a monastery it's a fantastic thing to say and you know if you think about oh to oh to a night and gale the the vivid sensual qualities you smell what he's smelling you see what he's seeing and it's it's so powerful that I think he sat in front of the Elgin marbles for hours and to simplify I think and get something real in his poems we don't ever seize the bird it's all the vocal is the visual but it's more real than most birds you read about that were there not near pumps I know you write about birds a lot of birds almost every other home bird show up now come on they're all right yeah they're there but uh but you know Charles Brown as you saw bright star uh or I have read any uh well it's in here in the in the Keats book too this one um Charles Brown his uh his friend is uh at that time probably his best friend who writes the epitaph famous epitaph that's in the cemetery in Rome claims that Keats came in you know all these scraps of paper with these stanzas all in disorder and that he helped Keats put them in a sequence that makes sense well get out of here uh first of all that poem is so exquisitely formally written and so precisely musically written in that invented stanza which is the kind of combination of the Spensarian stanza and the English sonnet uh it's 10 lines uh 0 to a 9 yellows 80 lines uh eight stanzas um it's it's impossible to imagine that you know this is so in several contradicts that story too no he'd he'd been listening to Nightingale's quite a bit in fact the one time he meets Cooleridge is on the Heath on a Sunday walk in April and Cooleridge is with his um Manuresis with meaning his doctor who supplies him you know with the coke um and it's a Sunday late Sunday morning and uh Dr. Green is his name but he's also been a demonstrator at Guy's hospital so he knows who Keats is and they will Green and Cooleridge are walking this way and Keats on the path Maiden Lane it's called walking that way they pass Keats knows it's Cooleridge but it's too shy to stop and Dr. Green says to Cooleridge I believe that's Mr. Keats because Cooleridge knows who he is he's published quite a few poems by this time and Cooleridge says to Green well uh call out his name and catch him up so Keats comes back and they walk for a while together talking now Cooleridge's memory of this as he writes it down is that the conversation lasted less than five minutes and that uh Keats was uh very slack not well dressed young man but when he shook his hand on parting he knew there was death in that handshake that's Cooleridge's version Keats's version is if it lasted 45 minutes and that Cooleridge wouldn't shut up and it just went from here to there all all over the place but his one complaint because he lived in Highgate just north of the Heath if you know anything about Hampstead where Keats lived was right south right across east Heathrow that's where the Keats house is in fact this complaint was the fucking Nightingale's they wouldn't shut up now the reason the Nightingale's are wonderful is that all the other birds are going to sleep these are insomniacs these birds and they're up half the night singing and running and perousing around so they were keeping him away a week after that conversation Keats writes oh to a Nightingale that's I don't think that's an accident of course he's been aware of Nightingale's too but you know that's a great that's such a great poem in terms of what happens in those 80 lines it gets darker it becomes night from dusk to night by the end and so in the best stands of the six stands the first line is I cannot see what flowers are at my feet then he names them sort of a Milton thing we can smell them oh absolutely identified them by odor it's not just the other sense that kind of citizenship quality I recommend by the way the other great poet Ted Hughes I guess is second half 20th century in England but I think a much greater poet is Philip Larkin check Philip Larkin out he's another one you have to excuse the person from the poems he's the librarian by the way it's okay Larkin was at Hall University poem that is called The Whitsun Weddings it's identical in form to Oh to a Nightingale and yet it couldn't be more different was it say about form it's about a train ride from Hull to London whereas Keats' poem is about stillness and a moment that just transitory just disappears into the dark into the dark ask me another question well Keats was 22 at this dinner and had yet to write his great odes and had he started endymion I think he was in the middle yeah right of endymion yeah and so we have Hayden who believes he's already great and has he painted that christ had six times and thought he got it right the final time but I guess not it's a poem says you erase the face and you do it again so they're like six faces under the too bad we can't have a time but so Keats had yet to do anything great and when Keats died he still believed he had not yet written anything that was going to last is that not true absolutely I think it was a failure and and Hayden not until the very end maybe did he come face to face with his own failures and so it's fascinating to have these two really polar opposites one who was they both believed in their genius but one was just wrong and the other so right and he never knew that which is what is part of the tragedy of Keats what he thought he'd written the odes and he thought what's great is ahead of me I know I can write great poetry well too you know how we die is a great to comment on how we lived that it's at the I sometimes read that it's at the end of this book finally Hayden has had it he can't go into Dennis prison again he just can't he can't face what he what he's become and he knows that he kills himself but he screws that up too his wife and his daughter think he's moving one of those great canvases around you know with a frame the earless noise in the studio which is right below where they live and the daughter the next day the next morning discovers it because this happens in the middle of the night discovers what had happened he had that morning of his death he'd gone out and bought two pistols wrote out his will which goes on for 10 pages and he has nothing anyway and so he shoots himself in the head misses it bounces the bolt bounces off his skull and so the other pistols lying there forget it so he takes his a painting knife cuts his throat it doesn't quite work so he starts staggering around you know like a stuffed pig so all this blood everywhere does it again and finally dies but the blood is everywhere and when the daughter comes in the next where she was she doesn't talk about this ever until right before her own death she goes into the painting room and starts stepping in on this substance and thinks it's paint we know what it is it's an amazing moment yeah and you end the book on yeah on that scene which is a risky wow you know he starts out being the great host and finally gives it but you see Keith the reason this is that's his word he would say periodically in those last 18 months when he didn't write when is this posthumous posthumous existence going to end because he thought he was dead he thought he was dead and he isn't discovered for the longest time it's like another 50 years before anyone really begins to appreciate who he is and then we have to wind this up the poet who really discovers Keith's is Tennyson and his little group at Cambridge a group that contains these young painters who have read the more romantic narratives Eve St. Agnes and whatever and started to illustrate them and they become the pre-Raphaelites celebrated by the infamous John Ruskin who is by the way plays a big role in this new book he was a strange character for sure yeah well I you know if people have to leave yeah well yeah maybe more questions maybe somebody wants to ask why did you bring that up I hope you weren't there too recently it's a pretty bad oh good so your memory is distorted yeah oh yeah absolutely yeah absolutely yeah my family helped found the talent in was actually in the late 1700s they were quicker whalers um from uh whales and uh right across across the Gulf Sea in England and first came to then Tuckett and then Bucks County Pennsylvania migrated west from there there I think there are a couple of streets named after the Plumice there um they're not very long the um there's a Quaker school there that my family sold to uh called the only boarding school but there are 13 I think at least 13 different public families there still I used to do a thing called the James Wright Festival in Martin's Ferry which is in Belmont County too St. Clairsville is a county seat Barnsville is called Up County it's the farm area Martin's Ferry is the industrial on the river town the depression the depression is still there um and the first time I did it the host of the event I did it uh Galway and I did it Galway was a good friend of James Wright well I knew him too but um the host of the event calls one of my relatives I didn't I didn't know who he was his name is Robert Plumlee and asks if because he knows there are so many Plumlee's in that area if he would alert the family that I was going to be in the area reading and talking about myself and James Wright whatever he said uh oh yes we're aware uh of Stanley but uh you know I'm a poet too and he starts reading his dog roll on the telephone you can't account for who you're related to I still haven't met him you know so what else about Barnsville God forbid right oh yeah I spent a lot of time in Yellow Springs I don't think people can hear the question everybody but he's asking about Yellow Springs in Barnsville yeah well Antioch College was there that was uh I took a lot of classes over there that was just next door really um yeah in terms of the natural world absolutely because my all my family were farmers and my grandfather uh was in the lumber business there in Barnsville and I have a photo it was on one of my books actually of the first big log they brought in the Ohio I heard about it from an uncle it was in the Ohio Historical Society and they they gave me a copy of information to use it it was this giant log on a lumber truck a ford and there was a banner across the log PW Plumlee Lumber Corporation my uncle Paul is on top of the log sitting my grandfather is on the other side in a white hat and white shirt and my father was 19 is the driver and he's outside the cab of the truck sort of with his arms folded looking you know important and then all these townspeople are in the photo uh which book is that it's kind of an amazing shot and this is in the 30 early 30s of course my grandfather went bankrupt there and then moved to Winchester Virginia started over and built up a big company there and uh which is where I lived my first seven years that was in Winchester even though it was born at Barnsville Tell us the story of where the painting is there are no art galleries and a few painters had small rooms where they would show their work most famous of whom was Turner he had his own gallery so if you wanted to show your work you had to rent space and Hayden rents a place and it's still off Piccadilly called Egyptian the Egyptian Hall and um custom again he had to borrow and beg and so forth uh it puts up some other artwork but the but the main thing he wants to show off is this painting and so there's this big thousands of people come see it he actually does make money but he wants too much money for the painting so whenever I could buy it to make a long story short but it it's up for about six months and he does very well um so and all kinds of people come and admire it and then say nice things about it they all complain about the Christ figure but that gets passed over and uh they're very interested in these guys in the painting so that's part of the attraction so it doesn't get sold like a lot of the great wall-sized stuff uh of Hayden's where to put it so he stores it for a while and finally when he really needs money he sells it to um a it's not exactly an art dealer he's kind of an antiques dealer in Philadelphia to sad moment when Hayden sees this painting rolled up like a rug giant rug you know on this boat leaving uh London well actually uh down to Graves Inn and then Southampton and off off to Philadelphia well when the guy gets the painting he realizes it's just too big so he gives it to the archdiocese of Philadelphia it's Catholic you know and they frame it and hang it up for a while but it they don't really have the right space for it and uh and when the clergy turns over people die and new people take over uh they give it to uh archdiocese in Cincinnati and this is like maybe 150 or more years ago and it just gets folded up again in the in the basement and slowly but surely uh something uh Mount St. Mary's Seminary in Norwood around Sides of Steddy realize they may have something on their hands of historic input not aesthetic and so they reframe it touch it up it's a mess and they've built a space for it air conditioned and so forth uh where you can where you can see it and that's where it is today in Cincinnati Ohio you know which by the way Keith's brother George had recently passed through on this way to Illinois to join one of those you know societies ideal the courage was interested in he never makes it because he he loses every cent to uh another kind of artist who cheats him out of all his money by having him invest in a boat where he's going to make a lot of money cutting up down the Ohio River delivering whatever uh a barge like thing except it's on the bottom of the river and his name is James John James a lot of them who who swindled I don't know how many people it was a really interesting crook besides being the great bird harvest uh anyway so he ends up in Kentucky George Keats does had nothing to do with this painting however some people have claimed that you have a real fascination for people across paths constables clouds for Keats is a poem that I've just talked to my class about where they never met they never met but they were in the they were like a block away I know how is that it's just something about constable I think possible new words with the courage I thought they were kind of you know he was too he was more Tory than where it was actually um yeah but so so I have and uh uh uh uh uh uh uh cool which is a really interesting painter and his wife is dying and he's in Hampstead uh for her health uh and in those days Hampstead was referred to as the lungs of London because if you were down by the river you know very swampy and awful you know so he went up to Hampstead which is a high place north of London proper at that time and um it goes on to his backyard constable does uh uh uh and hill terrace and um starts looking at the sky because that's so much of his uh earlier subject and will continue to be in his really great work that will follow and starts painting the sky no not the sky clouds nothing but clouds I mean there's nothing else in those paintings but clouds he does this for two years there are over a hundred of these and he does them not even watercolor but in oil it's pretty tricky I think those are the first abstract paintings and so that poem is titled constables clouds for Keats I imagine because they're really uh a constable's fond of saying the emotion in a painting is in the sky and what brings the sky to life what animates it but clouds it's part of the landscape so well don't I read this and then we'll call it a day it's a good idea go get a glass of wine okay constables clouds for Keats remember now Keats is uh going to be buried in Rome in the so-called Protestant cemetery they come in off the sea peaceable masters and hold the sea in the sky as long as they can and you write them down in oils because of their brilliance and to remember in its turn each one it's 1822 after the Regency and it would be right in the year after his death to think of these domed above the heath in their isolated chronicle as elegies of the spirit right to see these forms as melancholy hosts even at this distance yet dead Keats is amorphous a shapelessness reforming in the ground and no one you know enough to remember he lies in the artists he lies in the artists paradise in Rome among the pagan souls of sheep at pasture you'll lie in Hampstead where he should have stayed to meet you on your walks of lower terraces or along the crowning high street heading home your clouds grow whiter darker more abstract from one elaborate study to the next correlatives or clothes the real sentiment that lives you say in clouds subjects to counterway the airy gravity of trees and leaping horses keats could have met you you must have seen him once against the light at least he could be crossing on christ church hill road now then over to the elm row and down old admiral's walk he could be looking at the clouds blowing between buildings watching the phantoms levitating stone he was there your first heath summer writing odes feeling the weather change from warm to chill focused no less than you on daylight's last detail wondering what our feelings are without us please join me once again in thanking dr stanley plumley and jillian rosser for this afternoon that stanley will stay with us for just a few more minutes if anyone has any questions they'd like to ask directly of him please also remember there are evaluations or even indirectly there's evaluation forms please take a moment to fill them out if you do and hand them to kathy or to barbara in the back you get a free library t-shirt that offers just for today and just for you so please take a moment to do that and thank you all for coming