t.s. elliott and wallace stevens to former poet laureate ryan. in 2003, poetry received a large grant that led to the creation of the poultry foundation. which funds projects to support the art of -- to mark the anniversary now comes a new book "open door" 100 poems, 100 years of poetry magazine. with me is christian wiman. >> thanks for having me. >> this is not a greatest hits of poetry magazine, what were you and coed for after? >> we want to make a book that did a couple of things that representethe magazine's history that it had some of the high water moments like the love song and others. but it also represented sort of the living history of the magazine, what we're reading 120,000 submissions a year and choosing from among the best of them. >> 140,000? >> 140,000. >> i saw you -- i went, my, goodness. >> we're looking for unexpected pieces by recognizably great poets, but also even more so strand out features by young poets. we wanted it to represent that. >> in the introduction i'll quote, one of the qualities to be good at reading poetry

t.s. elliott describes life as a journey between one shore and another and talks about the importance of stoppingemplate what happens in between and it seemed to me that was -- i liked the sound of it. for a while i had to convince people and ultimately they gave in. >> hold on one second. we will get you a microphone so anybody can hear. >> new yorker magazine -- [inaudible] -- who was her editor there? >> absolutely true. being serialized in the new yorker really transformed carson's life and turned around into the big success that it was. the editor who initially read the manuscript when it came into the front door was the young editorial assistant named edith oliver who went on to be the drama critic of the new yorker for several decades, very famous american critic but at the time she was somebody whose job was to read stuff that arrived unsolicited but she liked it enough that she sent it up to the magazine's editor and sean ultimately edited all three of carson's book there were serialized in the new yorker and that included the see around us in 1951, then her third around about the sea ca

t.s. eliot, which is quoted in the beginning of the book and it is a poem that also includes a line about the sea around us, that carson was particularly fond of. so in his palm, elliott describes it as kind of a journey between one sure into another and talks about the importance of stopping to contemplate what happened in between and just seemed to me that was a nice -- i kind of like the sound of it. for a while he had to convince people, but ultimately they gave me in. >> if you have a question coming will get through a microphone so everyone can hear. [inaudible] >> well, that's actually true. being serialized in "the new yorker" really transformed carson fights and turned the around us into the big success that it was. the editor who initially that the manuscript when it just came in through the front door was a young editorial assistant named edith oliver, who went on to become the drama critic of "the new yorker" for several decades. a very famous american critic, but at the time somebody whose job it was to restart that arrived unsolicited. she liked it enough that she sent it to the magazine editor in chief, william shawn. shawn ultimately added it all throu