Pádraig Ó Tuama
speaker
1,142 appearances
8 recordings
1 series
first heard Jun 2026
last heard 18 Sep
Pádraig Ó Tuama’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 8 in all, peaking in Sep 2026 with 2.
Appearances
After all, I cannot decide.
And then there's also an assertion at another point where the speaker says really clearly, the life of the victim is still a creative one.
And in many ways, it sounds like this is a voice that's trying to tell multiple truths, the truths of what can occur and the truths of a creative life and the tension between those and creating a certain kind of a lullaby at times between those, a painful one.
I was casting my eye over my notes for this conversation this morning, and I realized that in all of the notes that I'd taken with the titles of some of these still life poems, I'd made an error.
Instead of writing still life, I'd written still live, which...
I found myself looking at it because sometimes I think those errors can reveal something back, you know, and I thought there's an imperative in that.
Like I am joining with the impulse of the reader to go still live, still live, and also joining with the intuition of so much of the speaker, which is about a kind of a recognition of live.
And then also I found myself thinking by denying something or changing it, I'm suppressing something too.
You know, I was caught up so much in what these poems were doing in me.
where the speaker is essentially an accompanier to me, an accompanier to my own distress, because these are difficult poems to read, even in the midst of their jouissance.
The book is titled That Broken to Shining Crystals and that hints really to the third section.
The book has three sections and the third section is a long exploration really of precious stones and crystals.
I wonder if you could talk a little bit about the structure of that and the aesthetic and artistic and curious imagination and attention towards stones.
The notes section of the back of the book is really rewarding to read because you go into some, you know, you give the references to the still lifes, but you also speak about the sources that you turned to for thinking about crystals.
And I wonder if you'd be able to talk a little bit more about the investigations you made and the sources you turned to, the books you read.
I mean, one of the things that occurred to me is the sensual reality regarding these two particular forms of attention.
Like when you're looking at a still life in a gallery, you know, you don't touch it, or at least you're not supposed to.
Whereas with a crystal, I found myself assuming that with some of them anyway, you might have been able to touch them to feel the contours of them.
Was that true for you as you thought about crystals?
Totally, yeah, absolutely.
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