Podcasts about American literature

“Who Murdered the Vets?” is one of the most important non-fiction pieces Hemingway ever wrote. This 1935 article for New Masses excoriated the Roosevelt administration's careless supervision of World War I veterans who died during the Labor Day hurricane while they were living in workcamps along the Keys. Stationed there to help to build the overseas highway, more than 250 died as victims of the cataclysmic storm.Hemingway wrote what he called his “2800 words of dynamite” in a frothing rage, furious at the irresponsibility of the government, shocked at what he had witnessed firsthand, and grieving for the veterans who survived the Great War, only to lose their lives at home. To discuss this explosive article and its crucial context, we welcome James H. Meredith, the former President of the Hemingway Society. Jim's perspective walks us through Hemingway's approach to this tragedy and how he composed such a vivid, emotional polemic. 

You've undoubtably heard of Dr. Seuss. The author of The Cat in the Hat, How the Grinch Stole Christmas!, Green Eggs and Ham, Horton Hears a Who! The Lorax, and so many other classic works of children's literature. But... how much do you know about Ted Geisel? Ted is the man behind the pseudonym, and he lived a very interesting life. And he wasn't able to make a living as the author of children's book until he was in his fifties.Merch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious PrivateFacebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch.

Host Amanda McNulty explores the significance of literary character Atticus Finch saying, 'It's a sin to kill a mockingbird.'

She called him “the most fascinating man I know.” He called her “the Kraut.”  Hemingway's relationship with the iconic entertainer Marlene Dietrich has been an intriguing wrinkle to both of their careers and lives. To separate myth from fact, and to allow us to learn more about Miss Dietrich and her singular accomplishments in song and cinema, we welcome Peter Riva, the grandson of the legendary actress.In this episode, we explore how they met, why they clicked so powerfully, why they remained platonic, how she felt about his writing, and how he felt about her film performances. Peter Riva is a candid, generous guest who provides a unique perspective to Dietrich as a grandma and Hemingway as a memorable houseguest.Join us for this discussion about the Hemingway-Dietrich relationship… and stay tuned for some surprise outro music! 

What does the déjà vu allegedly caused by the Airborne Toxic Event have to do with a disease called Jumping Frenchman? How is Jack Gladney's “day of the station wagons” connected to the first female NHL player's longing for quaint hometown holidays? In Episode 24, DDSWTNP continue our White Noise residency by showing listeners all the hidden connections between DeLillo's most famous novel and his most obscure: Cleo Birdwell's Amazons, his pseudonymous 1980 collaboration with Sue Buck, written as a kind of lark but we think absolutely integral to the satiric vision of White Noise five years later. Our discussion suggests all the ways in which DeLillo seems to have used Amazons as a “laboratory” of sorts, developing Cleo's thoughts on ad shoots, celebrity athletes, Americana, and an ex-player in a deathlike suspension into the richer, more in-depth meditations on similar topics in White Noise. Naturally we give major attention to Murray Jay Siskind, a sportswriter in Amazons who's become an Elvis scholar in White Noise, expressing above all our gratitude that DeLillo came back to him and transformed him, reshaping an already very funny snowmobile obsessive into a Mephistophelean wit and one of the darkest, most memorable characters in the corpus. Those who haven't gotten to read Amazons but know other DeLillo will get a ton out of this episode, for we end up drawing surprising connections not just to White Noise but Americana, End Zone, Great Jones Street, Underworld, Zero K, and others. Turns out this prank of a novel in 1980 paid many dividends for DeLillo. Tune in to hear some fun thoughts as well about a prank of our own: an April Fool's post about a brand-new DeLillo novel we put on social media a few weeks ago. Texts and quotations referred to in this episode: “Pynchon Now,” including short essay on Pynchon's example by Don DeLillo, Bookforum (Summer 2005). https://web.archive.org/web/20050729023737/www.bookforum.com/pynchon.html Ernest Becker, The Denial of Death (Free Press, 1973).  John N. Duvall, “The (Super)Marketplace of Images: Television as Unmediated Mediation in DeLillo's White Noise.” In Mark Osteen, ed., White Noise: Text and Criticism (New York: Penguin, 1998), pp. 432-55. Adolf Hitler, “Long Live Fanatical Nationalism” (text of speech). In James A. Gould and Willis H. Truitt, Political Ideologies (New York: Macmillan, 1973), p. 119. Gerald Howard and Mark Osteen, “Why Don DeLillo Deserves the Nobel: A Conversation with Gerald Howard and Mark Osteen,” Library of America, January 17, 2024 (source for Howard's remark that DeLillo's manuscripts need no editing).https://www.loa.org/news-and-views/why-don-delillo-deserves-the-nobel/

Mark Twain's novel features an enslaved man Jim who teams up with young Huck rafting down the Mississippi to freedom. But Jim has become one of the more controversial characters in American Literature. This book sheds new light on one of Mark Twain's most endearing albeit misunderstood characters.

Het zesde en laatste seizoen van de hyperpopulaire serie The Handmaid’s Tale is uit. The Handmaid's Tale, gebaseerd op het boek van Margaret Atwood, is een dystopische serie waarin vrouwen in een totalitaire rotstaat, Gilead, worden onderdrukt en gedwongen de meest gruwelijke dingen, zoals verplichte voortplanting. Dat klinkt heel grimmig, maar The Handmaid's biedt ook hoop: het verhaal volgt de dappere June, een ‘handmaid’, die met succes vecht voor haar vrijheid en die van anderen.Zelden had een serie zoveel invloed op de protestcultuur: vrouwelijke demonstranten over de hele wereld gingen witte kappen en rode capes dragen, de kostuums uit de serie, om te demonstreren tegen de inperking van het abortusrecht.Hoe kan een serie, of een literaire roman, handvatten bieden voor verzet? En wat kunnen we leren van June Osborne?Host Esma Linnemann bespreekt het met serierecensent Mark Moorman, historicus en schrijver Lotte Houwink ten Cate, en universitair docent American Literature & Cultural Studies Daný van Dam. Ook bellen we nog even met Amerika-correspondent Maral Noshad Sharifi. Kom 24 mei naar de theatershow van Culturele bagage in DeLaMar. Kaartjes te koop op volkskrant.nl/live. Presentatie: Esma LinnemannRedactie en montage: Julia van AlemEindredactie: Corinne van DuinSee omnystudio.com/listener for privacy information.

John J. Miller is joined by Titus Techera of the American Cinema Foundation to discuss 'Tender Is the Night' by F. Scott Fitzgerald.

After Hemingway's first wife, Hadley, became aware of his extramarital affair with Pauline Pfeiffer, she became resigned to the end of their marriage. Before she agreed to the divorce, however, she issued an extraordinary provision to Hemingway and Pauline: that they spend one hundred days apart! If they still wanted to stay together after those hundred days, Hadley would consent to the divorce.To explore this bizarre episode in Hemingway's life, we welcome Gioia Diliberto, biographer of Hadley Richardson, and Adam Long, director of the Hemingway-Pfeiffer Museum, the family home of Pauline Pfeiffer. Diliberto and Long each share details about all the members of this messy love triangle and how it forms the legacy of the phase of Hemingway's life that would inspire A Moveable Feast.We discuss who these people were in 1926 and what they wanted, what motivated this 100-Day Challenge, all of its implications, and its outcome.

The great Italian scholar Martina Mastandrea, who spoke with us in 2023 to discuss "In Another Country," joins us again to talk about another Hemingway tale: "Out of Season."After Mastandrea treats us to an Italian rendition of the opening to "Out of Season," we explore many aspects of the story, including its biographical inspiration, connections to other Hemingway texts (like "Cat in the Rain" and "Hills Like White Elephants"), the role Cortina plays as a setting, and ways to read the famous ending.  This celebrated story is always in-season, so please join us as Martina Mastandrea guides us through it!

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Mary Hunter Austin was a U.S. writer known for walking throughout the American Southwest. But her life of activism was far more complicated than brief bios usually mention. Research: "Mary Hunter Austin." Encyclopedia of the American West, edited by Charles Phillips and Alan Axelrod, Macmillan Reference USA, 1996. Gale In Context: U.S. History, link.gale.com/apps/doc/BT2330100082/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=6a4f821e. Accessed 26 Feb. 2025. "Mary Hunter Austin." Encyclopedia of World Biography Online, vol. 23, Gale, 2003. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631008133/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=ceca42e0. Accessed 26 Feb. 2025. #0840: Willa Cather to Mary Hunter Austin, June 26 [1926]. https://cather.unl.edu/writings/letters/let0840 Austin, Mary Hunter. “Earth Horizon.” Houghton Mifflin. 1932. Austin, Mary Hunter. “Experiences Facing Death.” Bobbs-Merrill Company. 1931. Blend, Benay. “Mary Austin and the Western Conservation Movement: 1900-1927.” Journal of the Southwest , Spring, 1988, Vol. 30, No. 1 (Spring, 1988). https://www.jstor.org/stable/40169782 Davis, Lisa Selin. “The Loneliest Land.” National Parks Conservation Association. Spring 2015. https://www.npca.org/articles/942-the-loneliest-land Egenhoff, Elizabeth L. “Mary Austin.” Mineral Information Service. November 1965. https://npshistory.com/publications/deva/mis-v18n11-1965.pdf Fink, Augusta. “I-Mary: A Biography of Mary Austin.” University of Arizona Press. 1983. Hoffman, Abraham. “Mary Austin, Stafford Austin, and the Owens Valley.” Journal of the Southwest , Autumn-Winter 2011, Vol. 53, No. ¾. Via JSTOR. http://www.jstor.com/stable/41710078 Lanzendorfer, Joy. “Searching for Mary Austin.” Alta. https://www.altaonline.com/dispatches/a8713/searching-for-mary-austin-joy-lanzendorfer/ Online Archive of California. “Austin (Mary Hunter) Papers.” https://oac.cdlib.org/findaid/ark:/13030/c85t3ppq/ Richards, Penny L. “Bad Blood and Lost Borders: Eugenic Ambivalence in Mary Austin’s Short Fiction.” Richards, Penny L. “Disability History Image #3.” 8/30/2005. https://disstud.blogspot.com/2005/08/ Romancito, Rick. “The Image Maker and the Writer.” Taos News. 10/2/2024. https://www.taosnews.com/opinion/columns/the-image-maker-and-the-writer/article_7805f16a-8ab9-5645-9e84-4a189e18ac23.html Siber, Kate. “The 19th-Century Writer Who Braved the Desert Alone.” Outside. 1/22/2019. https://www.outsideonline.com/culture/books-media/mary-austin-mojave-nature-writer/ Stout, Janis P. “Mary Austin’s Feminism: A Reassessment.” Studies in the Novel , spring 1998, Vol. 30, No. 1. Via JSTOR. https://www.jstor.org/stable/29533250 The Ansel Adams Gallery. “Visions of Taos: The Making of “Taos Pueblo” by Ansel Adams and Mary Austin.” https://www.anseladams.com/visions-of-taos-the-making-of-taos-pueblo/ Viehmann, Martha L. “A Rain Song for America: Mary Austin, American Indians, and American Literature and Culture.” Western American Literature , Spring 2004, Vol. 39, No. 1. Via JSTOR. https://www.jstor.org/stable/43022288 Wynn, Dudley. “Mary Austin, Woman Alone.” The Virginia Quarterly Review , SPRING 1937, Vol. 13, No. 2. Via JSTOR. https://www.jstor.org/stable/26433922 See omnystudio.com/listener for privacy information.

The Herzog Foundation

When Ernest Hemingway was interviewed by George Plimpton in 1958, he listed Johann Sebastian Bach fourth among those forebears he learned the most from. “I should think,” he told Plimpton, “what one learns from composers and from the study of harmony and counterpoint would be obvious.” It isn't. So, to help us understand how Bach influenced Hemingway's writing – in particular the first page of A Farewell to Arms – we welcome organist and Bach scholar, David Yearsley.With an expert to guide us, we explore Bach's biography and connections between these two artistic titans, discussing which of Bach's works Hemingway responded to most powerfully and how the music of “Mr. Johann” finds its way into Hemingway's WWI novel as well as other writings, such as To Have and Have Not. We are also privileged that David Yearsley agreed to play some Bach for us to illustrate counterpoint and other related ideas, so we hope you enjoy this special show!

Show Notes: Jung Park, a Korean immigrant, faced a conflict between her passion for acting and her academic pursuits. She initially wanted to concentrate in visual arts but ultimately chose English and American Literature and Language, which she loved. Despite this, she was conflicted about pursuing his artistic dreams versus what was expected of her.  Joining AFTRA and Going into Law School  In her junior year, she auditioned for an open call search for an ABC after-school special about kids with HIV and AIDS, which led to her joining the Screen Actors Guild, renowned as "SAG-AFTRA."  After a year in Boston, she returned to California and had to choose between continuing acting, moving to LA, or going to law school. She auditioned for a talent agency in San Diego and was accepted into law school. A Stand-up Comedian at Law School While in law school, Jung began doing stand-up comedy in Sacramento and moved to San Francisco, working in law firms and doing stand-up comedy at night. She eventually opened her own law firm in San Francisco and took on numerous cases, including helping a Vietnamese woman avoid deportation for a felony she committed. Jung had wonderful mentors in law, including 70-year-old white men in plaintiff-side civil litigation. She turned down a position at a major law firm after being nominated for the American Ends of Court, which was a group of old white lawyers. Instead, she auditioned and got into a traveling theater program with Kaiser Permanente, which offered health insurance for actors. Pursuing Acting and Leaving Law Jung began her acting career in high schools, continuation schools, and juvenile detention centers, performing educational theater shows and counseling Q&As. She later moved to Southern California and focused on stand-up, sketch, and improv. She joined the La Troupe improv training program and worked at a plaintiff side civil litigation law office, where she worked on behalf of farm workers and other vulnerable individuals. In 2012, she grew tired of being a lawyer and opened a Speech and Debate Academy in Pasadena, California. The academy focuses on helping kids be empowered and find their voice. The academy has been around for 13 years and has participated in the Harvard speech and debate tournament. The pandemic hit, and Jung found fulfillment in coaching speech and running her business. She joined an acting class before the pandemic and enjoyed hobnobbing for coffee afterwards. However, during the pandemic, her teacher encouraged her students to start TikTok accounts and post videos related to their work. She had a sketch idea developed in their sketch writing class, which was set up as a GPS that tells driving directions with the Korean accent. A Career Shift to Screenwriting   Jung is now focusing on writing scripts and developing her content to elevate her unique voice. She has also joined Harvardwood, an organization of Harvard alums in the Hollywood industry, where she took a writing class and attended webinars. She is currently getting a director certificate through UCLA Extension and working on a couple of silly short films. One of her projects is a magical realism short story about an old Asian Tiger Mom visited by a mysterious pigeon. She plans to rewrite it as a short film script and act in it herself, as she can do the pigeon well. She is also considering renting out pigeons for TV or film to see how they move and what they could do. Jung grew up in the Mexican border town of Calexico, near Yuma. She talks about the transition to Harvard and experiencing culture shock. Her stand-up comedy often deals with her experiences growing up in a Mexican American border town and feeling more Latina than Korean. She talks about her family and how her father's paranoia fueled a lot of jokes. She enjoyed her stand-up and has been considering writing new material or trying it out on America's Got Talent. Her last performance was a staged play reading for a Jewish Arts Council group in San Santa Barbara, which was a fundraiser.    Influential Harvard Professors and Courses Jung, a self-professed word nerd, was accepted into a special graduate seminar led by Phil Fisher, the head of the English department. The seminar focused on close reading of novels, a subject Park was deeply interested in. Fisher warned that few undergrads would be accepted, and Jung was accepted into the seminar, which she found to be a valuable learning experience. The seminar helped her understand the meanings of the first few pages of a novel and the larger work. She has since used this knowledge to teach English classes and writing skills to students, demonstrating the importance of close reading and analysis in academic pursuits.  Timestamps: 03:15: Balancing Law and Art  07:50: Transition to Acting and Comedy  12:06: Establishing the Speech and Debate Academy  14:09: Re-entering Acting and Social Media Success  19:34: Current Projects and Future Aspirations  Links: Instagram handle: @momentswithjung  TikTok handle: @momentswithjung Linktree (shows links to all Jung's sites): https://linktr.ee/JungPark Speech and debate academy website for Nova 42: www.nova42.com Short story Freebird that reached Top 50, Launch Pad Prose Competition 2024 ,and is on the Coverfly Red list as #13 Drama Short Story (Prose) in the past year: https://writers.coverfly.com/projects/view/37d599e9-9323-4be6-8b60-d58eeb335c04/FREEBIRD Jung's IMDB profile:https://www.imdb.com/name/nm2575833/ Featured Non-profit: The featured non-profit of this episode of The 92 Report is Generation recommended by Bonnie Theriault who reports:  "Hi. I'm Bonnie Theriault, class of 1992 the featured nonprofit of this episode of The 92 Report is Generation. Generation is a global nonprofit that supports people to achieve economic mobility and a better life by training, placing and supporting them into employment. I have been a generation for the past six years, and am privileged to serve as the chief partnerships officer. You can learn more about generations work at www.generation.org and now here is Will Bachmann with this week's episode." To learn more about their work visit: https://www.generation.org/  

Roll film! In Episode 23, DDSWTNP continue our White Noise residency by heading to the movies (or the TV screen) and examining Noah Baumbach's 2022 film adaptation of the novel. We discuss the drive over the years to adapt the supposedly “unadaptable” DeLillo for the screen, the 2020s context of this film, and our varied reactions to successive viewings of it over the two-plus years since its release. Other topics include the central performances (especially Adam Driver as an unexpectedly good Jack Gladney and Don Cheadle as a refashioned Murray Siskind); Baumbach's successes and failures at re-ordering DeLillo's dialogue and visually distilling certain themes; and his shaping of the narrative as a “meta-cinematic” journey through his personal film history and a mixture of genres. Reviews by Tom LeClair, Marco Roth, and Jesse Kavadlo figure in our analysis, and we close by considering whether we do in fact “need a new body” in the film's concluding supermarket song and dance number, which in our view captures some of the novel's themes and distorts others. We'd love to hear on Instagram or email what you think of the film and our reactions, too! We also take a little time to correct a historical error in our Episode 19 on Rachel Kushner's Creation Lake. Texts and sources for this episode: White Noise (dir. Noah Baumbach, 2022) (Netflix). Film adaptation pages at “Don DeLillo's America”:http://www.perival.com/delillo/whitenoise_film_2022.htmlhttp://perival.com/delillo/ddoddsends.html Patrick Brzeski, Alex Ritman, “Noah Baumbach on Getting LCD Soundsystem to Create New Track for ‘White Noise,'” The Hollywood Reporter, August 31, 2022.https://www.hollywoodreporter.com/movies/movie-news/venice-noah-baumbach-white-noise-lcd-soundsystem-1235209318/ Jesse Kavadlo, “Don DeLillo's ‘White Noise' Remains Unfilmable,” Pop Matters, January 11, 2023.https://www.popmatters.com/white-noise-noah-baumbach-unfilmable Tom LeClair, “The Maladaptation of White Noise,” Full Stop, December 29, 2022.https://www.full-stop.net/2022/12/29/features/tomleclair/the-maladaptation-of-white-noise/ Jon Mooallem, “How Noah Baumbach Made ‘White Noise' a Disaster Movie for Our Moment,” New York Times Magazine, November 23, 2022.https://www.nytimes.com/2022/11/23/magazine/white-noise-noah-baumbach.html Marco Roth, “Don DeLillo on Xanax,” Tablet, November 3, 2022.https://www.tabletmag.com/sections/arts-letters/articles/don-delillo-xanax-white-noise-noah-baumbach

Tired of your land-locked hum-drum life? Well, in the style of the great American novel Moby Dick itself, why not look to the sea, and join us a voyage? Join Ishmaivy and ashmael on a voyage of science and art, as we plunge into the depths of cetelogical study, gazing upon depictions of the great leviathanic beast with a scrutinizing eye, swimming through plate-etched waves of Mephistophelean grins and Pagliaccigan noses, past Larsonian sharks and Antedalivian surrialisms, to arrive at that most pressing question, that no great podcast has sought to answer and so we must give our poor attempt: What is a fish? Follow along:  https://www.pinterest.com/asherlark/cetology/ Support the show:  https://ko-fi.com/ivyfoxart Follow the show on Tumblr:  https://soul-mates-podcast.tumblr.com/ Follow the show on YouTube:  https://www.youtube.com/@Soul-Mates-Podcast Listen to Together We'll Shine: An Utena Rewatch Podcast:  https://togetherweshine.podbean.com Art by Ryegarden:  https://www.instagram.com/ryegarden Music by Sueños Electrónicos:  https://suenoselectronicos.bandcamp.com/ Follow and support ash:  https://ko-fi.com/asherlark

Join us as Carl Eby takes us into the nooks and crannies of the Hemingway archives at the John F. Kennedy Presidential Library in Boston. We will discuss the legendary JFK #112 and JFK #113, two discarded and highly provocative chapters from Hemingway's posthumous novel Islands in the Stream.We explore where the discarded material in the JFK Library fits into Islands in the Stream, who cut it and why, and how Hemingway studies would have been different if the novel had included this charged material. We also closely examine certain words from these files, such as "perversions" and "surprize" and “devil.” Eby is President of the Hemingway Society and has focused much of his research on Hemingway's posthumous work. Recently, he published Reading Hemingway's The Garden of Eden for Kent State University Press's Reading Hemingway series. Eby has joined us previously for an episode on The Garden of Eden manuscripts, and he also inaugurated our One True Sentence series with One True Sentence #1, a discussion of Hemingway's "Paris 1922" sketches. Thanks for your continued support of One True Podcast!

As the notable 80-year-old American Indian Movement leader Leonard Peltier walks free from Florida's Coleman Penitentiary, Native American activists are reflecting on the nearly five-decade push to get to this point. Seven presidents passed up the opportunity to free Peltier, until President Joe Biden commuted his sentence to house arrest in the final moments of his term. We'll explore Native direct action from its militant beginnings to its current role in changing both legal outcomes and public opinion. What does Peltier's release mean to you? You can watch the NDN Collective's video of Leonard Peltier's public appearance after his release here. GUESTS Dr. Robert Warrior (Osage), Hall Distinguished Professor of American Literature and Culture at the University of Kansas Lisa Bellanger (Leech Lake Ojibwe), executive director of the American Indian Movement and chair of AIM's Grand Governing Council Ruth Buffalo (Mandan, Hidatsa, and Arikara Nation and Chiricahua Apache descent), former president of the National Native American Boarding School Healing Coalition Janene Yazzie (Navajo), director of policy and advocacy for the NDN Collective

One True Podcast begins this year's occasional commemoration of In Our Time's 100th anniversary with a show devoted to one of its highlights. To discuss Hemingway's classic story “Soldier's Home,” we invite the author of Soldiers Once and Still, Alex Vernon.We discuss Harold Krebs and his war experience on the Western Front of World War I, his painful reentry into his former life, and his strained relationship with his mother. We also examine the extraordinary language Hemingway uses to capture Krebs's tortured consciousness and explore this story's placement among Hemingway's career of chronicling men at war. As the author of the first literary biography of Tim O'Brien, Alex describes Krebs's frustration at the difficulty of telling his own true war stories and compares it with the same idea in O'Brien's The Things They Carried.On this, our 150th episode of One True Podcast, join us for a conversation about an essential Hemingway short story. Thank you for listening, rating the program, and spreading the word! 

Taylor Hagood, Professor of American Literature at Florida Atlantic University, joins Dean Michael Horswell in our latest edition of In Conversation. They discuss author Theodore Pratt and his literary work detailing Florida society from the late 1800s to the middle of the twentieth century.Taylor Hagood is Professor of American Literature in FAU's English Department. Much of his scholarship has focused on the writing of William Faulkner, African American literature, Gothic and horror literature, and the literature of the United States South. Among his literary critical publications are the coedited volume Undead Souths: The Gothic and Beyond in Southern Literature and Culture and the monograph, Faulkner, Writer of Disability, winner of the C. Hugh Holman Award for Best Book in Southern Studies. Along with his literary critical work, Professor Hagood has written nonfiction, biography, and true crime. His 2023 book, Stringbean: The Life and Murder of a Country Music Legend, explores the story of David "Stringbean" Akeman. His most recent book, Theodore Pratt: A Florida Writer's Life, draws upon the Pratt archive in FAU's Special Collections to present the life story of the mid-twentieth century's "Literary Laureate of Florida."

Welcome to Campfire Classics, a Literary Comedy Podcast!! Good morning Campers! We're taking on a bug name in American Literature this week. Kurt Vonnegut! So, many of our listeners already know whether they are in or out right there. Ken has chosen the story "The Big Trip Up Yonder." He also does the Fun Facts session and leaves it on a cliffhanger! Who'd have thought the education part of an edutainment podcast could be a cliffhanger. Well, it is. Heather reads and makes up some weird voices since there are no dialects to butcher. Your hosts discuss the Grammy Awards, the Club in your mind, and how long it takes to learn to "conceal your pleasure". "The Big Trip Up Yonder" was published in 1954 and is in public domain. Email us at 5050artsproduction@gmail.com. Remember to tell five friends to check out Campfire Classics. Like, subscribe, leave a review. Now sit back, light a fire (or even a candle), grab a drink, and enjoy.

Taylor Hagood, Professor of American Literature at Florida Atlantic University, joins Dean Michael Horswell in our latest edition of In Conversation. They discuss author Theodore Pratt and his literary work detailing Florida society from the late 1800s to the middle of the twentieth century.Taylor Hagood is Professor of American Literature in FAU's English Department. Much of his scholarship has focused on the writing of William Faulkner, African American literature, Gothic and horror literature, and the literature of the United States South. Among his literary critical publications are the coedited volume Undead Souths: The Gothic and Beyond in Southern Literature and Culture and the monograph, Faulkner, Writer of Disability, winner of the C. Hugh Holman Award for Best Book in Southern Studies. Along with his literary critical work, Professor Hagood has written nonfiction, biography, and true crime. His 2023 book, Stringbean: The Life and Murder of a Country Music Legend, explores the story of David "Stringbean" Akeman. His most recent book, Theodore Pratt: A Florida Writer's Life, draws upon the Pratt archive in FAU's Special Collections to present the life story of the mid-twentieth century's "Literary Laureate of Florida."

Seventy-five years ago, Lillian Ross published “How Do You Like It Now, Gentlemen?” in The New Yorker, her longform profile of Hemingway's 1950 visit to New York City. Ross spent time with Hemingway as he shopped for a coat, visited with Marlene Dietrich, took his son Patrick to the Metropolitan Museum of Art, met with Charles Scribner, and talked enthusiastically about his forthcoming novel, Across the River and into the Trees.This profile has been polarizing since its publication: Did Ross deliver a subtle takedown? Did Hemingway embarrass himself with his odd mannerisms? Should Hemingway never have agreed to it? Should The New Yorker never have published it? Is this, ultimately, the most intimate and penetrating portrait of the later Hemingway ever written?To explore this iconic profile and the journalist who wrote it, we welcome Susan Morrison, who serves as Lillian Ross's literary executor. Morrison is the Articles Editor at The New Yorker and the author of Lorne: The Man Who Invented Saturday Night Live. We hope you enjoy this episode and always remember: “what you win in Boston, you lose in Chicago!” 

Podcast host Amy Chavez talks with Michael Pronko, a Tokyo-based writer of murder, memoir, and music. He is professor of American Literature at Meiji Gakuen University. During his over 20 years in the country, he has written for Newsweek Japan, The Japan Times, and Artscape Japan, and has been featured on NHK TV and Nippon television. He also runs the website Jazz in Japan, which covers the vibrant jazz scene in Tokyo and Yokohama. Today, we're going to talk about Pronko's fiction, as well as his nonfiction books, including his most recently released Tokyo Tempos.Pronko's "Detective Hiroshi" series includes:The Last TrainThe Moving BladeTokyo TrafficTokyo ZangyoAzabu GetawayShitamachi Scam (which we talk about on the podcast today)Pronko's "Tokyo Moments" series includes:Beauty and ChaosTokyo's Mystery DeepensMotions and MomentsTokyo Tempos (which we talk about on the podcast today)Pronko's favorite books on Japan are:Empire of Signs by Roland BarthesThe Anatomy of Dependence by Takeo DoiYou Gotta Have Wa and Tokyo Junkie by Robert WhitingThe Zen books by D.T. Suzuki, and anything by Donald RichieYou can find Michael Pronko online at his website (http://www.michaelpronko.com) and at the following links on social media:AmazonInstagramGoodreadsFacebookLinkedInTwitter (X) @pronkomichael The Books on Asia Podcast is sponsored by Stone Bridge Press. Check out their books on Japan at the publisher's website.Amy Chavez, podcast host, is author of Amy's Guide to Best Behavior in Japan and The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island.Books on AsiaTwitter: @BooksOnAsiaSubscribe to the BOA podcast at https://linktr.ee/booksonasia

Episode Notes Niall McGowan of The BatMinute joins Rob as Miller and Upham begin to discuss American Literature.

MN DHS Commissioner Jodi Harpstead resigns. Is another big fraud to follow? Attempts made to put the CA fires into context including a reading of one of the best paragraphs in American Literature. Confusion continues to reign in the MN house on swearing in day. Heard On The Show:Republicans override Simon's adjournment of House, elect Demuth as speakerDHS Commissioner Jodi Harpstead to resign next monthUnprecedented new extreme fire alert brings danger to SoCal for next two days Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MN DHS Commissioner Jodi Harpstead resigns. Is another big fraud to follow? Attempts made to put the CA fires into context including a reading of one of the best paragraphs in American Literature. Confusion continues to reign in the MN house on swearing in day. Heard On The Show: Republicans override Simon's adjournment of House, elect Demuth as speaker DHS Commissioner Jodi Harpstead to resign next month Unprecedented new extreme fire alert brings danger to SoCal for next two days Learn more about your ad choices. Visit podcastchoices.com/adchoices

What was Ernest Hemingway doing in 1925? Where was he? What were his important relationships? What were his challenges? What was he writing? 1925 is the year that put Hemingway on the map. To guide us through this crucial year, we welcome back J. Gerald Kennedy, author of Imagining Paris, editor of the Norton Critical Edition of In Our Time, and co-editor of what will become the final volume of The Letters of Ernest Hemingway. In this episode, we discuss the publication of In Our Time and the events that would inspire The Sun Also Rises; Hemingway's competitive streak and network of famous friends and rivals; the painting he bought and the influence of modern art on his writing; and much more.We hope you enjoy one of our favorite traditions, spending our first show of the new year by going back one hundred years to explore Hemingway's life, work, and world. Happy New Year! 

Cities are fraught sites in the national imagination, turned into identity markers when “urban” and “rural” indicate tastes rather than places. Cities bring chaos, draining the lifeblood of the nation like a tick draws blood from its host, to paraphrase Thomas Jefferson's anti-urban polemics, which might have been written during any election year—centuries or months ago. Racism and anti-urbanism were born conjoined during the Revolution. Like their Atlantic coastal counterparts in the US North, Southern cities —similarly polyglot and cosmopolitan—resist the dominant, mutually inclusive prejudices of the nation that fails to contain them on its eroding, flooding coasts. Captive City: Meditations on Slavery in the Urban South (University of Pennsylvania Press, 2024) explores the paths of slavery in coastal cities, arguing that captivity haunts the “hospitality” cultures of Charleston, New Orleans, Savannah, and Baltimore. It is not a history of urban slavery, but a literary reflection that argues for coastal cities as a distinct region that scrambles time, resisting the “post” in postindustrial and the “neo” in neoliberalism. Jennie Lightweis-Goff offers a cultural exploration bound by American literature, especially life-writing by the enslaved, as well as compelling reassessments of works by canonical writers such as Frederick Douglass, Harriet Jacobs, and Hector St. John de Crevecoeur. Lightweis-Goff reveals how the preserved yet fragile landscapes of these cities are haunted—not simply by the ghost tours that are signature stops for travelers in their historic districts—but by the echoes of slavery in their economies and built environments. Jennie Lightweis-Goff is a scholar, lyric essayist, and, most essentially, a New Orleans flâneur. She is the author of two scholarly books, Blood at the Root and Captive City. Her essays have appeared in the major journals of U.S. literature, including Signs, American Literature, Mississippi Quarterly, minnesota review, and south. Her creative nonfiction has appeared in The Los Angeles Review of Books, The Point, Liberties, and at her Substack, The Butcher's Darling, where she writes on grief, precarious labor, sobriety, and intellectual work that was "born in the back of the house." Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Cities are fraught sites in the national imagination, turned into identity markers when “urban” and “rural” indicate tastes rather than places. Cities bring chaos, draining the lifeblood of the nation like a tick draws blood from its host, to paraphrase Thomas Jefferson's anti-urban polemics, which might have been written during any election year—centuries or months ago. Racism and anti-urbanism were born conjoined during the Revolution. Like their Atlantic coastal counterparts in the US North, Southern cities —similarly polyglot and cosmopolitan—resist the dominant, mutually inclusive prejudices of the nation that fails to contain them on its eroding, flooding coasts. Captive City: Meditations on Slavery in the Urban South (University of Pennsylvania Press, 2024) explores the paths of slavery in coastal cities, arguing that captivity haunts the “hospitality” cultures of Charleston, New Orleans, Savannah, and Baltimore. It is not a history of urban slavery, but a literary reflection that argues for coastal cities as a distinct region that scrambles time, resisting the “post” in postindustrial and the “neo” in neoliberalism. Jennie Lightweis-Goff offers a cultural exploration bound by American literature, especially life-writing by the enslaved, as well as compelling reassessments of works by canonical writers such as Frederick Douglass, Harriet Jacobs, and Hector St. John de Crevecoeur. Lightweis-Goff reveals how the preserved yet fragile landscapes of these cities are haunted—not simply by the ghost tours that are signature stops for travelers in their historic districts—but by the echoes of slavery in their economies and built environments. Jennie Lightweis-Goff is a scholar, lyric essayist, and, most essentially, a New Orleans flâneur. She is the author of two scholarly books, Blood at the Root and Captive City. Her essays have appeared in the major journals of U.S. literature, including Signs, American Literature, Mississippi Quarterly, minnesota review, and south. Her creative nonfiction has appeared in The Los Angeles Review of Books, The Point, Liberties, and at her Substack, The Butcher's Darling, where she writes on grief, precarious labor, sobriety, and intellectual work that was "born in the back of the house." Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Cities are fraught sites in the national imagination, turned into identity markers when “urban” and “rural” indicate tastes rather than places. Cities bring chaos, draining the lifeblood of the nation like a tick draws blood from its host, to paraphrase Thomas Jefferson's anti-urban polemics, which might have been written during any election year—centuries or months ago. Racism and anti-urbanism were born conjoined during the Revolution. Like their Atlantic coastal counterparts in the US North, Southern cities —similarly polyglot and cosmopolitan—resist the dominant, mutually inclusive prejudices of the nation that fails to contain them on its eroding, flooding coasts. Captive City: Meditations on Slavery in the Urban South (University of Pennsylvania Press, 2024) explores the paths of slavery in coastal cities, arguing that captivity haunts the “hospitality” cultures of Charleston, New Orleans, Savannah, and Baltimore. It is not a history of urban slavery, but a literary reflection that argues for coastal cities as a distinct region that scrambles time, resisting the “post” in postindustrial and the “neo” in neoliberalism. Jennie Lightweis-Goff offers a cultural exploration bound by American literature, especially life-writing by the enslaved, as well as compelling reassessments of works by canonical writers such as Frederick Douglass, Harriet Jacobs, and Hector St. John de Crevecoeur. Lightweis-Goff reveals how the preserved yet fragile landscapes of these cities are haunted—not simply by the ghost tours that are signature stops for travelers in their historic districts—but by the echoes of slavery in their economies and built environments. Jennie Lightweis-Goff is a scholar, lyric essayist, and, most essentially, a New Orleans flâneur. She is the author of two scholarly books, Blood at the Root and Captive City. Her essays have appeared in the major journals of U.S. literature, including Signs, American Literature, Mississippi Quarterly, minnesota review, and south. Her creative nonfiction has appeared in The Los Angeles Review of Books, The Point, Liberties, and at her Substack, The Butcher's Darling, where she writes on grief, precarious labor, sobriety, and intellectual work that was "born in the back of the house." Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Cities are fraught sites in the national imagination, turned into identity markers when “urban” and “rural” indicate tastes rather than places. Cities bring chaos, draining the lifeblood of the nation like a tick draws blood from its host, to paraphrase Thomas Jefferson's anti-urban polemics, which might have been written during any election year—centuries or months ago. Racism and anti-urbanism were born conjoined during the Revolution. Like their Atlantic coastal counterparts in the US North, Southern cities —similarly polyglot and cosmopolitan—resist the dominant, mutually inclusive prejudices of the nation that fails to contain them on its eroding, flooding coasts. Captive City: Meditations on Slavery in the Urban South (University of Pennsylvania Press, 2024) explores the paths of slavery in coastal cities, arguing that captivity haunts the “hospitality” cultures of Charleston, New Orleans, Savannah, and Baltimore. It is not a history of urban slavery, but a literary reflection that argues for coastal cities as a distinct region that scrambles time, resisting the “post” in postindustrial and the “neo” in neoliberalism. Jennie Lightweis-Goff offers a cultural exploration bound by American literature, especially life-writing by the enslaved, as well as compelling reassessments of works by canonical writers such as Frederick Douglass, Harriet Jacobs, and Hector St. John de Crevecoeur. Lightweis-Goff reveals how the preserved yet fragile landscapes of these cities are haunted—not simply by the ghost tours that are signature stops for travelers in their historic districts—but by the echoes of slavery in their economies and built environments. Jennie Lightweis-Goff is a scholar, lyric essayist, and, most essentially, a New Orleans flâneur. She is the author of two scholarly books, Blood at the Root and Captive City. Her essays have appeared in the major journals of U.S. literature, including Signs, American Literature, Mississippi Quarterly, minnesota review, and south. Her creative nonfiction has appeared in The Los Angeles Review of Books, The Point, Liberties, and at her Substack, The Butcher's Darling, where she writes on grief, precarious labor, sobriety, and intellectual work that was "born in the back of the house." Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Looking to start reading Don DeLillo, or already a fan and looking for ways to persuade your friends, relatives, or students to finally access the wonders of White Noise? In Episode Twenty, DDSWTNP offer an introduction to White Noise for the first-time reader of DeLillo, focusing on elements of plot, action, character, humor, and voice that often present stumbling blocks to initiates. We help listeners navigate DeLillo's most popular novel, the “gateway drug” to the joys and challenges that a lifetime of reading his corpus holds in store. We also answer key questions like how to regard Hitler Studies and whether you need to know anything about “postmodernism,” philosophy, or how a media theorist might read the Most Photographed Barn in America before entering DeLillo's world (spoiler: no!). Longtime listeners to the pod will find here, we hope, an episode to send along to anyone they've given a copy of White Noise for Christmas or ever told, “Hey, you should read Don DeLillo.” The first of several episodes to come from us on White Noise as the novel turns 40, this podcast will be followed in 2025 by our deep dives into the novel itself, its massive body of criticism, and the recent film adaptation – so stay tuned, and may you be immensely pleased. First-time readers of White Noise looking for illuminating critical and contextual reading should try some of the essays and excerpts collected in Mark Osteen, ed., White Noise: Text and Criticism (New York: Penguin, 1998), as well as the many excellent resources at Curt Gardner's website “Don DeLillo's America” (http://perival.com/delillo/delillo.html). But as we suggest in the episode, mainly we advise just going back and re-reading all your favorite scenes, or even the whole thing!

Welcome to our eighteenth and final show celebrating the centenary of the Paris edition of Hemingway's book of vignettes, in our time.In this quirky narrative that would come to be known as “L'Envoi” in the following year's In Our Time collection, our narrator meets a king and a queen in the garden, leading us to a discussion of The Beatles, gardens in in our time, Hemingway's complex use of narrative perspective, the role of America within all of the various settings of these sketches, how his journalism spawns his fiction, and more. We also hand out awards for Favorite Sketch, Favorite Character, and Most Memorable Image in in our time.Join us -- one more time -- as we explore in our time before it became In Our Time!

Detroit has an essential relationship to genre in American literature and popular culture. The contemporary formations of the suburban sitcom, the post-apocalyptic genre, the sci-fi dystopia, crime fiction, the superhero genre, and contemporary horror would not exist in the way they do today without the aesthetic material and racial history of Detroit. When DC Comics wanted to compete with Marvel and market “socially relevant” comics, especially ones dealing with issues of race, they swapped Gotham and Metropolis for Detroit. What about vampires concerned with de-industrialization, heritage conservation, and impending water wars? Must be Detroit. A story about a half-man, half-robot wrestling with what it means to be human by fighting crime? Improbably, Detroit has two. Author Vincent Haddad's The Detroit Genre: Race, Dispossession, and Resilience in American Literature and Film, 1967-2023 (Lever Press, 2024) provides the first comprehensive literary and cultural investigation of the representations of Detroit in popular and literary culture. The book first establishes the concept of the “Detroit genre” that emerged in late 1960s and traces the tropes of this white-centric narrative genre in popular culture, touching on key texts including Blue Collar, Robocop, The Crow, It Follows, and Barbarian. The second part shows how Black writers, including Alice Randall, adrienne maree brown, Stephen Mack Jones, and Angela Flournoy, reclaimed and revised the Detroit genre by un-fixing Detroit narratives of dispossession, criminality, and industrial and social failure through formal experimentations on genre itself. Where Detroit has typically been painted in the news as one of three things—the center of the automotive industry; crime-ridden and in ruins; or as a “blank canvas” with limitless potential of entrepreneurship—Vincent Haddad shows that the Detroit genre in literature and film can be far more powerful than news media in narrating Black dispossession as a pragmatic, even liberal consensus. The texts studied here condition forgetfulness about Detroit's history or expose it to a full reckoning, direct attention toward or away from the city's agents of injustice, fetishize resilience or model resistance, and foreclose or imagine a future of Black liberation. Appealing to scholars of popular literature, media, race, and American studies, The Detroit Genre is an accessible and engaging study of the city's influence on a wide array of genres in pop culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Detroit has an essential relationship to genre in American literature and popular culture. The contemporary formations of the suburban sitcom, the post-apocalyptic genre, the sci-fi dystopia, crime fiction, the superhero genre, and contemporary horror would not exist in the way they do today without the aesthetic material and racial history of Detroit. When DC Comics wanted to compete with Marvel and market “socially relevant” comics, especially ones dealing with issues of race, they swapped Gotham and Metropolis for Detroit. What about vampires concerned with de-industrialization, heritage conservation, and impending water wars? Must be Detroit. A story about a half-man, half-robot wrestling with what it means to be human by fighting crime? Improbably, Detroit has two. Author Vincent Haddad's The Detroit Genre: Race, Dispossession, and Resilience in American Literature and Film, 1967-2023 (Lever Press, 2024) provides the first comprehensive literary and cultural investigation of the representations of Detroit in popular and literary culture. The book first establishes the concept of the “Detroit genre” that emerged in late 1960s and traces the tropes of this white-centric narrative genre in popular culture, touching on key texts including Blue Collar, Robocop, The Crow, It Follows, and Barbarian. The second part shows how Black writers, including Alice Randall, adrienne maree brown, Stephen Mack Jones, and Angela Flournoy, reclaimed and revised the Detroit genre by un-fixing Detroit narratives of dispossession, criminality, and industrial and social failure through formal experimentations on genre itself. Where Detroit has typically been painted in the news as one of three things—the center of the automotive industry; crime-ridden and in ruins; or as a “blank canvas” with limitless potential of entrepreneurship—Vincent Haddad shows that the Detroit genre in literature and film can be far more powerful than news media in narrating Black dispossession as a pragmatic, even liberal consensus. The texts studied here condition forgetfulness about Detroit's history or expose it to a full reckoning, direct attention toward or away from the city's agents of injustice, fetishize resilience or model resistance, and foreclose or imagine a future of Black liberation. Appealing to scholars of popular literature, media, race, and American studies, The Detroit Genre is an accessible and engaging study of the city's influence on a wide array of genres in pop culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Detroit has an essential relationship to genre in American literature and popular culture. The contemporary formations of the suburban sitcom, the post-apocalyptic genre, the sci-fi dystopia, crime fiction, the superhero genre, and contemporary horror would not exist in the way they do today without the aesthetic material and racial history of Detroit. When DC Comics wanted to compete with Marvel and market “socially relevant” comics, especially ones dealing with issues of race, they swapped Gotham and Metropolis for Detroit. What about vampires concerned with de-industrialization, heritage conservation, and impending water wars? Must be Detroit. A story about a half-man, half-robot wrestling with what it means to be human by fighting crime? Improbably, Detroit has two. Author Vincent Haddad's The Detroit Genre: Race, Dispossession, and Resilience in American Literature and Film, 1967-2023 (Lever Press, 2024) provides the first comprehensive literary and cultural investigation of the representations of Detroit in popular and literary culture. The book first establishes the concept of the “Detroit genre” that emerged in late 1960s and traces the tropes of this white-centric narrative genre in popular culture, touching on key texts including Blue Collar, Robocop, The Crow, It Follows, and Barbarian. The second part shows how Black writers, including Alice Randall, adrienne maree brown, Stephen Mack Jones, and Angela Flournoy, reclaimed and revised the Detroit genre by un-fixing Detroit narratives of dispossession, criminality, and industrial and social failure through formal experimentations on genre itself. Where Detroit has typically been painted in the news as one of three things—the center of the automotive industry; crime-ridden and in ruins; or as a “blank canvas” with limitless potential of entrepreneurship—Vincent Haddad shows that the Detroit genre in literature and film can be far more powerful than news media in narrating Black dispossession as a pragmatic, even liberal consensus. The texts studied here condition forgetfulness about Detroit's history or expose it to a full reckoning, direct attention toward or away from the city's agents of injustice, fetishize resilience or model resistance, and foreclose or imagine a future of Black liberation. Appealing to scholars of popular literature, media, race, and American studies, The Detroit Genre is an accessible and engaging study of the city's influence on a wide array of genres in pop culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Detroit has an essential relationship to genre in American literature and popular culture. The contemporary formations of the suburban sitcom, the post-apocalyptic genre, the sci-fi dystopia, crime fiction, the superhero genre, and contemporary horror would not exist in the way they do today without the aesthetic material and racial history of Detroit. When DC Comics wanted to compete with Marvel and market “socially relevant” comics, especially ones dealing with issues of race, they swapped Gotham and Metropolis for Detroit. What about vampires concerned with de-industrialization, heritage conservation, and impending water wars? Must be Detroit. A story about a half-man, half-robot wrestling with what it means to be human by fighting crime? Improbably, Detroit has two. Author Vincent Haddad's The Detroit Genre: Race, Dispossession, and Resilience in American Literature and Film, 1967-2023 (Lever Press, 2024) provides the first comprehensive literary and cultural investigation of the representations of Detroit in popular and literary culture. The book first establishes the concept of the “Detroit genre” that emerged in late 1960s and traces the tropes of this white-centric narrative genre in popular culture, touching on key texts including Blue Collar, Robocop, The Crow, It Follows, and Barbarian. The second part shows how Black writers, including Alice Randall, adrienne maree brown, Stephen Mack Jones, and Angela Flournoy, reclaimed and revised the Detroit genre by un-fixing Detroit narratives of dispossession, criminality, and industrial and social failure through formal experimentations on genre itself. Where Detroit has typically been painted in the news as one of three things—the center of the automotive industry; crime-ridden and in ruins; or as a “blank canvas” with limitless potential of entrepreneurship—Vincent Haddad shows that the Detroit genre in literature and film can be far more powerful than news media in narrating Black dispossession as a pragmatic, even liberal consensus. The texts studied here condition forgetfulness about Detroit's history or expose it to a full reckoning, direct attention toward or away from the city's agents of injustice, fetishize resilience or model resistance, and foreclose or imagine a future of Black liberation. Appealing to scholars of popular literature, media, race, and American studies, The Detroit Genre is an accessible and engaging study of the city's influence on a wide array of genres in pop culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Happy holidays from One True Podcast, and it wouldn't be the holiday season without Suzanne del Gizzo—the celebrated editor of The Hemingway Review—here to discuss another one of Hemingway's seasonally appropriate works. In previous years, we have talked together about “God Rest You Merry, Gentlemen,” “Christmas on the Roof of the World,” “The Christmas Gift,” and “A North of Italy Christmas.” This year, we explore “The Blind Man's Christmas Eve,” an article Hemingway wrote for The Toronto Star in December 1923.With Suzanne, we place the story in its historical and biographical contexts, delve into the relationship between the main character and the curious narrative perspective, examine how physical and metaphorical blindness works in the story, and connect the story to other Hemingway works such as “The Snows of Kilimanjaro," "A Clean, Well-Lighted Place," "Get a Seeing-Eyed Dog," and Islands in the Stream. We also think about the importance of the song “My Old Kentucky Home,” which the main character hears an Italian organ grinder play. As a special gift to our listeners, we begin the episode with a reading of “The Blind Man's Christmas Eve” by former guest Mackenzie Astin, star of The Facts of Life, The Magicians, and In Love and War, where he played the young Henry Villard opposite Chris O'Donnell's Hemingway and Sandra Bullock's Agnes von Kurowsky. We also end the episode with another treat--a moving rendition of "My Old Kentucky Home" by Hemingway scholar Michael Kim Roos, who appeared as a guest on one of our previous shows on A Farewell to Arms.Thanks for another great year, everybody. Enjoy!

Welcome to the seventeenth of our eighteen shows celebrating the centenary of the Paris edition of Hemingway's book of vignettes, in our time.Hemingway captures a scene out of the American newspapers, the execution by hanging of an Italian-American mobster, Sam Cardinella. We discuss Hemingway's career-long treatment of executions and the behavior of those facing death, along with the detached behavior of those administering punishment. We parse out the discrepancy of a vocabulary word, and we also analyze the eventual placement of this episode into the dreamscape of a young Nick Adams. The power of this chapter represents one of the great achievements of this book.Join us as we explore in our time before it became In Our Time!

As an adult, Sarah Winnemucca spent a lot of time trying to advocate for the Northern Paiute, although her legacy in that regard has some complexities. Research: ·       Carpenter, Cari M. “Sarah Winnemucca Goes to Washington: Rhetoric and Resistance in the Capital City.” American Indian Quarterly , Vol. 40, No. 2 (Spring 2016). Via JSTOR. https://www.jstor.org/stable/10.5250/amerindiquar.40.2.0087 ·       Dolan, Kathryn Cornell. “Cattle and Sovereignty in the Work of Sarah Winnemucca Hopkins.” The American Indian Quarterly, Volume 44, Number 1, Winter 2020. https://doi.org/10.1353/aiq.2020.a752911 ·       Eves, Rosalyn Collings. “Finding Place to Speak: Sarah Winnemucca's Rhetorical Practices in Disciplinary Spaces.” Legacy , Vol. 31, No. 1 (2014). Via JSTOR. https://www.jstor.org/stable/10.5250/legacy.31.1.0001 ·       Eves, Rosalyn. “Sarah Winnemucca Devoted Her Life to Protecting Native Americans in the Face of an Expanding United States.” Smithsonian. 7/27/2016. https://www.smithsonianmag.com/history/sarah-winnemucca-devoted-life-protecting-lives-native-americans-face-expanding-united-states-180959930/ ·       Hanrahan, Heidi M. “"[W]orthy the imitation of the whites": Sarah Winnemucca and Mary Peabody Mann's Collaboration.” MELUS , SPRING 2013, Vol. 38, No. 1, Cross-Racial and Cross-Ethnic Collaboration and Scholoarship (SPRING 2013). Via JSTOR. https://www.jstor.org/stable/42001207 ·       Hopkins, Sarah Winnemucca. “Life Among the Piutes: Their Wrongs and Claims.” Boston: G.P. Putnam's Sons. 1883. https://digital.library.upenn.edu/women/winnemucca/piutes/piutes.html ·       Kohler, Michelle. “Sending Word: Sarah Winnemucca and the Violence of Writing.” Arizona Quarterly: A Journal of American Literature, Culture, and Theory, Volume 69, Number 3, Autumn 2013. https://doi.org/10.1353/arq.2013.0021 ·       Martin, Nicole. “Sarah Winnemucca.” Fort Vancouver Historical Site. National Parks Service. https://www.nps.gov/people/sarah-winnemucca.htm ·       Martínez, David. “Neither Chief Nor Medicine Man: The Historical Role of the “Intellectual” in the American Indian Community.” Studies in American Indian Literatures , Vol. 26, No. 1 (Spring 2014). https://www.jstor.org/stable/10.5250/studamerindilite.26.1.0029 ·       McClure, Andrew S. “Sarah Winnemucca: [Post]Indian Princess and Voice of the Paiutes.” MELUS , Summer, 1999, Vol. 24, No. 2, Religion, Myth and Ritual (Summer, 1999). Via JSTOR. https://www.jstor.org/stable/467698 Nevada Women's History Project. “Sarah Winnemucca.” https://nevadawomen.org/research-center/biographies-alphabetical/sarah-winnemucca/ ·       "Sarah Winnemucca." Encyclopedia of World Biography Online, Gale, 1998. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631007030/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=fff26ec7. Accessed 10 Oct. 2024. ·       "Sarah Winnemucca." Historic World Leaders, edited by Anne Commire, Gale, 1994. Gale In Context: U.S. History, ·       link.gale.com/apps/doc/K1616000622/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=e5a6b25f. Accessed 10 Oct. 2024. ·       Scherer, Joanna Cohan. “The Public Faces of Sarah Winnemucca.” Cultural Anthropology , May, 1988, Vol. 3, No. 2 (May, 1988). Via JSTOR. http://www.jstor.com/stable/656350 ·       Shaping History: Women in Capital Art. “Sarah Winnemucca and Sakakawea: Native American Voices in the Capitol Collection.” Podcast. 5/26/2020. ·       Slattery, Ryan. “Winnemucca statue erected in U.S. Capitol.” ICT. 3/23/2005. https://ictnews.org/archive/winnemucca-statue-erected-in-us-capitol ·       Sneider, Leah. “Gender, Literacy, and Sovereignty in Winnemucca's Life among the Piutes.” American Indian Quarterly , Vol. 36, No. 3 (Summer 2012). Via JSTOR. https://www.jstor.org/stable/10.5250/amerindiquar.36.3.0257 ·       Sorisio, Carolyn.” Playing the Indian Princess? Sarah Winnemucca's Newspaper Career and Performance of American Indian Identities.” Studies in American Indian Literatures , Vol. 23, No. 1 (Spring 2011) ·       "Winnemucca, Sarah." Westward Expansion Reference Library, edited by Allison McNeill, et al., vol. 2: Biographies, UXL, 2000, pp. 227-236. Gale In Context: U.S. History, link.gale.com/apps/doc/CX3426500057/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=e5519449. Accessed 10 Oct. 2024. ·       Zanjani, Sally. “Sarah Winnemucca.” University of Nebraska Press. 2001.  See omnystudio.com/listener for privacy information.

Sarah Winnemucca was Northern Paiute and was born not long before her band had their first contact with people of European descent. That happened in the middle of the 19th century, which means she lived through a lot – this episode covers her early life. Research: ·       Carpenter, Cari M. “Sarah Winnemucca Goes to Washington: Rhetoric and Resistance in the Capital City.” American Indian Quarterly , Vol. 40, No. 2 (Spring 2016). Via JSTOR. https://www.jstor.org/stable/10.5250/amerindiquar.40.2.0087 ·       Dolan, Kathryn Cornell. “Cattle and Sovereignty in the Work of Sarah Winnemucca Hopkins.” The American Indian Quarterly, Volume 44, Number 1, Winter 2020. https://doi.org/10.1353/aiq.2020.a752911 ·       Eves, Rosalyn Collings. “Finding Place to Speak: Sarah Winnemucca's Rhetorical Practices in Disciplinary Spaces.” Legacy , Vol. 31, No. 1 (2014). Via JSTOR. https://www.jstor.org/stable/10.5250/legacy.31.1.0001 ·       Eves, Rosalyn. “Sarah Winnemucca Devoted Her Life to Protecting Native Americans in the Face of an Expanding United States.” Smithsonian. 7/27/2016. https://www.smithsonianmag.com/history/sarah-winnemucca-devoted-life-protecting-lives-native-americans-face-expanding-united-states-180959930/ ·       Hanrahan, Heidi M. “"[W]orthy the imitation of the whites": Sarah Winnemucca and Mary Peabody Mann's Collaboration.” MELUS , SPRING 2013, Vol. 38, No. 1, Cross-Racial and Cross-Ethnic Collaboration and Scholoarship (SPRING 2013). Via JSTOR. https://www.jstor.org/stable/42001207 ·       Hopkins, Sarah Winnemucca. “Life Among the Piutes: Their Wrongs and Claims.” Boston: G.P. Putnam's Sons. 1883. https://digital.library.upenn.edu/women/winnemucca/piutes/piutes.html ·       Kohler, Michelle. “Sending Word: Sarah Winnemucca and the Violence of Writing.” Arizona Quarterly: A Journal of American Literature, Culture, and Theory, Volume 69, Number 3, Autumn 2013. https://doi.org/10.1353/arq.2013.0021 ·       Martin, Nicole. “Sarah Winnemucca.” Fort Vancouver Historical Site. National Parks Service. https://www.nps.gov/people/sarah-winnemucca.htm ·       Martínez, David. “Neither Chief Nor Medicine Man: The Historical Role of the “Intellectual” in the American Indian Community.” Studies in American Indian Literatures , Vol. 26, No. 1 (Spring 2014). https://www.jstor.org/stable/10.5250/studamerindilite.26.1.0029 ·       McClure, Andrew S. “Sarah Winnemucca: [Post]Indian Princess and Voice of the Paiutes.” MELUS , Summer, 1999, Vol. 24, No. 2, Religion, Myth and Ritual (Summer, 1999). Via JSTOR. https://www.jstor.org/stable/467698 Nevada Women's History Project. “Sarah Winnemucca.” https://nevadawomen.org/research-center/biographies-alphabetical/sarah-winnemucca/ ·       "Sarah Winnemucca." Encyclopedia of World Biography Online, Gale, 1998. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631007030/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=fff26ec7. Accessed 10 Oct. 2024. ·       "Sarah Winnemucca." Historic World Leaders, edited by Anne Commire, Gale, 1994. Gale In Context: U.S. History, ·       link.gale.com/apps/doc/K1616000622/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=e5a6b25f. Accessed 10 Oct. 2024. ·       Scherer, Joanna Cohan. “The Public Faces of Sarah Winnemucca.” Cultural Anthropology , May, 1988, Vol. 3, No. 2 (May, 1988). Via JSTOR. http://www.jstor.com/stable/656350 ·       Shaping History: Women in Capital Art. “Sarah Winnemucca and Sakakawea: Native American Voices in the Capitol Collection.” Podcast. 5/26/2020. ·       Slattery, Ryan. “Winnemucca statue erected in U.S. Capitol.” ICT. 3/23/2005. https://ictnews.org/archive/winnemucca-statue-erected-in-us-capitol ·       Sneider, Leah. “Gender, Literacy, and Sovereignty in Winnemucca's Life among the Piutes.” American Indian Quarterly , Vol. 36, No. 3 (Summer 2012). Via JSTOR. https://www.jstor.org/stable/10.5250/amerindiquar.36.3.0257 ·       Sorisio, Carolyn.” Playing the Indian Princess? Sarah Winnemucca's Newspaper Career and Performance of American Indian Identities.” Studies in American Indian Literatures , Vol. 23, No. 1 (Spring 2011) ·       "Winnemucca, Sarah." Westward Expansion Reference Library, edited by Allison McNeill, et al., vol. 2: Biographies, UXL, 2000, pp. 227-236. Gale In Context: U.S. History, link.gale.com/apps/doc/CX3426500057/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=e5519449. Accessed 10 Oct. 2024. ·       Zanjani, Sally. “Sarah Winnemucca.” University of Nebraska Press. 2001.  See omnystudio.com/listener for privacy information.

Melvyn Bragg and guests discuss Louisa May Alcott's 1868 novel, credited with starting the new genre of young adult fiction. When Alcott (1832-88) wrote Little Women, she only did so as her publisher refused to publish her father's book otherwise and as she hoped it would make money. It made Alcott's fortune. This coming of age story of Meg, Jo, Beth and Amy March, each overcoming their own moral flaws, has delighted generations of readers and was so popular from the start that Alcott wrote the second part in 1869 and further sequels and spin-offs in the coming years. Her work has inspired countless directors, composers and authors to make many reimagined versions ever since, with the sisters played by film actors such as Katherine Hepburn, Elizabeth Taylor, Winona Ryder, Claire Danes, Kirsten Dunst, Saoirse Ronan and Emma Watson. With Bridget Bennett Professor of American Literature and Culture at the University of LeedsErin Forbes Senior Lecturer in African American and U.S. Literature at the University of BristolAndTom Wright Reader in Rhetoric and Head of the Department of English Literature at the University of SussexProducer: Simon TillotsonReading list:Louisa May Alcott (ed. Madeline B Stern), Behind a Mask: The Unknown Thrillers of Louisa May Alcott (William Morrow & Co, 1997)Kate Block, Jenny Zhang, Carmen Maria Machado and Jane Smiley, March Sisters: On Life, Death, and Little Women (Library of America, 2019)Anne Boyd Rioux, Meg, Jo, Beth, Amy: The Story of Little Women and Why It Still Matters (W. W. Norton & Company, 2018)Azelina Flint, The Matrilineal Heritage of Louisa May Alcott and Christina Rossetti (Routledge, 2021)Robert Gross, The Transcendentalists and Their World (Farrar, Straus and Giroux, 2022)John Matteson, Eden's Outcasts: The Story of Louisa May Alcott and Her Father (W. W. Norton & Company, 2007)Bethany C. Morrow, So Many Beginnings: A Little Women Remix (St Martin's Press, 2021)Anne K. Phillips and Gregory Eiselein (eds.), Critical Insights: Louisa May Alcott (Grey House Publishing Inc, 2016)Harriet Reisen, Louisa May Alcott: The Woman Behind Little Women (Picador, 2010)Daniel Shealy (ed.), Little Women at 150 (University of Mississippi Press, 2022)Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx (Virago, 2009)Simon Sleight and Shirleene Robinson (eds.), Children, Childhood and Youth in the British World (Palgrave, 2016), especially “The ‘Willful' Girl in the Anglo-World: Sentimental Heroines and Wild Colonial Girls” by Hilary EmmettMadeleine B. Stern, Louisa May Alcott: A Biography (first published 1950; Northeastern University Press, 1999) In Our Time is a BBC Studios Audio Production

John J. Miller is joined by Bradley J. Birzer of Hillsdale College to discuss James Fenimore Cooper's 'The Last of the Mohicans.'

Charles Farrar Browne is often called the first standup comedian. He was, in the 1860s, wildly famous, but his early death, and the soaring career of one of his friends, have contributed to Browne fading from the spotlight in history. Research: “Born 1834; Married 1835. Artemus Ward's Alleged Widow Claims His Estate.” The Savannah Morning News. April 15, 1891. https://www.newspapers.com/image/852548808/?match=1&terms=artemus%20ward Britannica, The Editors of Encyclopaedia. "Artemus Ward". Encyclopedia Britannica, 22 Apr. 2024, https://www.britannica.com/biography/Artemus-Ward Dahl, Curtis. “Artemus Ward: Comic Panoramist.” The New England Quarterly, vol. 32, no. 4, 1959, pp. 476–85. JSTOR, https://doi.org/10.2307/362502 Hingston, Edward P. “The Genial Showman, Reminiscences of the Life of Artemus Ward.” London: Chatto and Windus. 1881. https://archive.org/details/genialshowmanrem00hingiala/page/n5/mode/2up Hofferth, Micah. “Charles Farrar Browne, the Sometimes-racist Father of Standup Comedy.” Vulture. Feb. 28, 2012. https://www.vulture.com/2012/02/charles-farrar-browne-the-sometimes-racist-father-of-standup-comedy.html “Mark Twain on Artemus Ward.” The Albany Evening Journal. Nov. 29, 1871. https://twain.lib.virginia.edu/roughingit/lecture/awlectaj.html Reed, John Q. “Artemus Ward's First Lecture.” American Literature, vol. 32, no. 3, 1960, pp. 317–19. JSTOR, http://www.jstor.org/stable/2922080 Seitz, Don C. “Artemus Ward.” Harper & Brothers. 1919. Accessed online: https://archive.org/stream/artemuswardchar00seituoft/artemuswardchar00seituoft_djvu.txt “Ward, Artemus (1834-1867).” The Vault at Pfaff's, Lehigh University. https://pfaffs.web.lehigh.edu/node/54123 Ward, Artemus. “The Complete Works of Artemus Ward.” https://www.gutenberg.org/files/6946/6946-h/6946-h.htm#bio      See omnystudio.com/listener for privacy information.

Melvyn Bragg and guests discuss Thomas Hardy (1840 -1928) and his commitment to poetry, which he prized far above his novels. In the 1890s, once he had earned enough from his fiction, Hardy stopped writing novels altogether and returned to the poetry he had largely put aside since his twenties. He hoped that he might be ranked one day alongside Shelley and Byron, worthy of inclusion in a collection such as Palgrave's Golden Treasury which had inspired him. Hardy kept writing poems for the rest of his life, in different styles and metres, and he explored genres from nature, to war, to epic. Among his best known are what he called his Poems of 1912 to 13, responding to his grief at the death of his first wife, Emma (1840 -1912), who he credited as the one who had made it possible for him to leave his work as an architect's clerk and to write the novels that made him famous. With Mark Ford Poet, and Professor of English and American Literature, University College London Jane Thomas Emeritus Professor of English at the University of Hull and Senior Visiting Research Fellow at the University of Leeds Tim Armstrong Professor of Modern English and American Literature at Royal Holloway, University of London Producer: Simon TillotsonIn Our Time is a BBC Studios Audio Production