Podcasts about andr aciman

In this episode of The Writing Life, bestselling author André Aciman shares the intricacies of writing romance, from the magic of first meetings to the nuances of portraying older characters falling in love.   André is the New York Times bestselling author of Call Me By Your Name, Find Me, The Gentleman From Peru, Out of Egypt, Eight White Knights, False Papers, Alibis, Harvard Square, Enigma Variations, and the essay collection Homo Irrealis. He's the editor of the Proust Project and teaches comparative literature at the Graduate Center of the City University of New York.    He joins NCW's Steph McKenna from his home in Manhattan to talk about his latest novella Room on the Sea, a tender love story set in the sweltering heat of New York City. Together, they discuss his writing routines, the process of writing for an audio-first format, and his approach to dialogue, narration, and the art of leaving things between the lines.

Michael's debut novel, The Boyhood of Cain, has been praised by the Times, the Guardian, the New Yorker and Call Me By Your Name author André Aciman. In this episode we talk about the benefits of not knowing yourself, relentless productivity and the forms of knowledge contained in literature that can't be communicated by AI. Michael is also a non-fiction writer with work published in the Guardian, New Statesman, the Spectator, The White Review and Contrappasso magazine. His short fiction has been longlisted for the BBC National Short Story Prize and shortlisted for the Bridport Prize, among others. Meanwhile, his book-length essay, Go the Way Your Blood Beats, a meditation on truth and desire, won the 2019 Stonewall Israel Fishman Award for Nonfiction (sponsored by the American Library Association).He is also the winner of the 2020 Hubert Butler Essay Prize and was shortlisted for the 2021 Observer/Anthony Burgess Prize for Arts. His essay, ‘Does a Silhouette Have a Shadow?', examining the relationship between mind and body through the lens of chronic illness, is published in anthology On Bodies. Previously he has worked for Just Detention International, a health and human rights organisation that seeks to end sexual abuse in all forms of detention. He served as a commissioner on the Howard League's Commission on sex in prisons – the first of its kind in the UK – which reported in 2015.Get the book here or at your local seller.

With Richard Buckham.Bestselling author André Aciman shares with Richard Buckham his abiding preoccupation with the themes of exile, longing and memory – themes that inhabit his new memoir about his teenage life, My Roman Year.Event details: Thu 06 Mar, 10:45am | West Stage

Get your copy of "Paris A Love Story" by Kati Marton here: https://www.amazon.com/Paris-Love-Story-Kati-Marton-ebook/dp/B0078XGFN8/ Get your copy of "Indigo" by Beverly Jenkins here: https://www.amazon.com/Indigo-Beverly-Jenkins-ebook/dp/B006IYGDJ4/ Get your copy of "Call Me By Your Name" by André Aciman here: https://www.amazon.com/Call-Me-Your-Name-Novel/dp/1250169445/ Get your copy of "When Katie Met Cassiday" by Camille Perri here:  https://www.amazon.com/When-Katie-Cassidy-Camille-Perri-ebook/dp/B0768ZKD3X/   Learn more about Jackie and her books here: https://jackieadamssite.wordpress.com/   Until next time!

Hoje quem vos fala são as Elfas do Pai Natal, que vêm diretamente do quentinho de suas casas para responder aos vossos pedidos de recomendações para oferecer no Natal, num formato um bocadinho diferente. Caso queiram mais recomendações, perguntem-nos pelo Discord! Livros mencionados neste episódio: - Demon Copperhead, Barbara Kingsolver (01:18) & (58:07) - Para Onde Vão os Guarda-Chuvas, Afonso Cruz (01:57) Sugestões de presentes de Natal para quem gostou de: - Apneia, Tânia Ganho (05:14) - Blue Sisters (Irmãs Blue), Coco Mellors (09:40) - Hello Beautiful (Olá, Linda), Ann Napolitano (12:17) - A Breve Vida das Flores, Valérie Perrin (14:48) - Tom Lake (Verão no Lago), Ann Patchett (19:13) - Babel, R. F. Kuang (22:12) - A Sombra do Vento, Carlos Ruiz Zafón (25:18) - Call Me By Your Name (Chama-me Pelo Teu Nome), André Aciman (29:54) - A História de Roma, Joana Bértholo (34:00) - A Amiga Genial, Elena Ferrante (36:34) - Where the Crawdads Sing (Lá, Onde o Vento Chora), Delia Owens (38:08) - American Dirt (Terra Americana), Jeanine Cummins (41:29) - As Mulheres, Kristin Hannah (45:38) - Bairro das Cruzes, Susana Amaro Velho (49:02) - Pachinko, Min Jin Lee (51:37) - A Little Life (Uma Pequena Vida), Hanya Yanagihara (55:45) - The Year of Magical Thinking (O Ano do Pensamento Mágico), Joan Didion (59:51) - Almond (Amêndoas), Won-pyung Sohn (01:03:12) - Remarkably Bright Creatures (Criaturas Extremamente Inteligentes), Shelby Van Pelt (01:07:54) - Prophet Song (A Canção do Profeta), Paul Lynch (01:10:54) - The Wishing Game (O Jogo dos Desejos), Meg Shaffer (01:16:03) - Digital Fortress (Fortaleza Digital), Dan Brown (01:21:57) ________________ Enviem as vossas questões ou sugestões para livratepodcast@gmail.com. Encontrem-nos nas redes sociais: www.instagram.com/julesdsilva www.instagram.com/ritadanova twitter.com/julesxdasilva twitter.com/ritadanova Identidade visual do podcast: da autoria da talentosa Mariana Cardoso, que podem encontrar em marianarfpcardoso@hotmail.com. Genérico do podcast: criado pelo incrível Vitor Carraca Teixeira, que podem encontrar em www.instagram.com/oputovitor.

The city of Rome is a legacy locale in countless areas of history and culture. For teenage refugee André Aciman, Rome was also a source of life-changing challenges, charms, and connections that would have a place in his heart for years to come. In his upcoming book Roman Year: A Memoir, Aciman recounts the ways his family adapted to the harsh realities of their transition and how he himself fell in love with the poetry and potential of a new home. Roman Year transports readers back to a tumultuous chapter of Aciman's youth as his Jewish family fled an era of growing political tension and waves of expulsions occurring in 1950's Egypt. Leaving their notions of stability, economic status, and community behind in Alexandria, Aciman ushered his younger brother and their deaf mother into the unfamiliar expanses of Rome. Navigating newfound poverty, acting as interpreter through language barriers, and functioning as liaison amidst family conflicts led young Aciman towards escapism as he buried himself in books. It is here, bolstered by so many words and stories, that he regained his footing and began to truly explore his new city and himself. Roman Year takes the form of a vivid multi-sensory snapshot, going beyond simple time and place in immersing readers in the author's vantage point. Aciman revisits memories ranging from richly depicted sights, smells, and tastes to poignant personal reflections to uncompromising critical observations. This passionate retelling captures the formative elements of Roman life that shaped the perspective Aciman would carry with him into future chapters and well past those city limits. Roman Year unwaveringly explores a complicated coming of age story and the concept of home in a lush, layered landscape. André Aciman is a professor, essayist, and author. He is currently a distinguished professor of comparative literature at the Graduate Center of the City University of New York. His previous publications include the novels Call Me By Your Name, Harvard Square, and Eight White Nights, the memoir Out Of Egypt, and the essay collection False Papers: Essays on Exile and Memory. Marcie Sillman is an award-winning journalist based in Seattle. A former longtime reporter at KUOW radio, Marcie's cultural features have appeared on NPR programs including Morning Edition, All Things Considered and Weekend Edition, as well as in national and international publications including Dance magazine. She co-hosted the podcast ‘Double Exposure' and continues to write for the Seattle Times. She is the recipient of the 2019 Seattle Mayor's Arts Award. Buy the Book Roman Year: A Memoir The Elliott Bay Book Company

Este episódio traz uma conversa de coração aberto. E tivemos direito a momentos mais profundos e a palmas e a risos. Que giro que foi fazer ao vivo. O Vítor começou por falar em camadas e acabou por ir largando algumas. Que convidado generoso. E com livros importantes para os jovens e para os pais. Os livros que o escritor escolheu: Quarto aberto, Tobias Carvalho; De amanhã em amanhã, Gabrielle Zevin; A história que nunca contamos, Lucas Rocha; Impostora, R.F. Kuang. Os livros que escreveu: Quinze dias (vai ser adaptado para cinema); Mais ou menos 9h. Recomendei: Chama-me pelo teu nome, André Aciman; In Memoriam, Alice Winn; Por fim em silêncio, Bruno Leão. Ofereci: As Malditas, Camila Sosa Villada. Os livros aqui: www.wook.pt

Disclosure: We are part of the Amazon Affiliate/LTK Creator programs. We will receive a small commission at no cost if you purchase a book. This post may contain links to purchase books.In this What to Read Next podcast episode, we welcome Victoria from Biblio Lifestyle back to discuss her Minimalist Fall Reading Guide. Victoria shares six to eight top picks for the fall season, offering a preview of her full reading guide, which includes 33 books across eight categories, from literary fiction to gothic horror.Books Mentioned:Literary Fiction:Entitlement by Rumaan Alam https://amzn.to/4gL6r5MNonfiction:Roman Year by André Aciman https://amzn.to/4gxHOJAHistorical Fiction:The Empusiium by Olga Tokarczuk https://amzn.to/3MY91YpFamily & Friendship:Shred Sisters by Betsy Lerner https://amzn.to/3zugF9FMystery & Thriller:You Can't Hurt Me by Emma Cook https://amzn.to/3XVkLkNRomance:Best Hex Ever by Nadia El Fassi https://amzn.to/4eeMKBvScience Fiction & Fantasy:City in Glass by Nghi Vo https://amzn.to/4dbZTdrGothic & Horror:The Night Guest by Hildur Knutsdottir https://amzn.to/3XD8kbWAdditional Information: For the complete list of 33 books in Bibliolifetyle's Fall Reading Guide, visit fallreadingguide.com.Tune In to Novel Nights: This episode was originally recorded as part of Novel Nights, a live show on YouTube every Thursday from 7 to 8 p.m. EST. Join us on YouTube, Twitch, Instagram, and Facebook for more bookish discussions.Thank You for Listening! We hope you enjoyed these recommendations. Be sure to check out the full guide for more fall reading inspiration!Want to check out more book recommendations?Visit What to Read Next Blog for reader tips, popular books like recommendations, and many more posts. Join our What to Read Next Blog Community to get bonus book recommendations, listen to podcasts, and connect with other readers. As a podcast listener, you'll get 20% off your membership forever. Click here to sign up. (

Llega el verano y seguimos en el marco del mes del orgullo. Por eso, y para sumarnos, lo hacemos con el libro escrito por André Aciman donde nos habla de la relación de dos jóvenes en la década de los ochenta en un lugar al norte de Italia donde conviven en un verano. Conoceremos a Elio un joven que está descubrirse y Oliver un joven escritor con una pasantía con el padre de Elio. Más allá de platicar de lo que trata el libro, hablaremos de los puntos de reflexión a los que nos llevo esta historia y las dudas que nos despertó esta lectura.Recuerda que contamos con contenido exclusivo para ti en Patreon. Y nos puedes seguir en nuestras redes sociales de Tipos Móviles en Twitter e Instagram. Ya eres parte de estos Tipos Móviles https://plus.acast.com/s/tiposmoviles. Hosted on Acast. See acast.com/privacy for more information.

NO RE-READING NECESSARY! Kimberly only sought out Aciman because she loved the movie Call Me by Your Name--but she loved the fiction enough to seek out more. Tune in to hear about the use of figurative language, the structure, the pacing and the choice of details that make this work so ATMOSPHERIC.

This week on the She Made Me Read It Pod, Gracie and Lydia discuss Call Me By Your Name by André Aciman and Manacled by SenLin Yu. Spoilers? Call Me By Your Name = Spoiler Free! Manacled = Spoiler Free!

This week, Emily Hart speaks to Cristina Fuentes La Roche, International Director of the Hay Festival, about arts curation and festival-making in the era of Artificial Intelligence and social media - and bringing one of the world's most successful literary festivals to Colombia for the last two decades. The Hay Festival is known as 'the Woodstock of the Mind': Nobel Prizewinners and novelists, scientists and politicians, historians, environmentalists and musicians take part in the Festival's global conversation, sharing the latest thinking in the arts and sciences with curious audiences. The festival kicks off in Colombia this month, with chapters this and next week in Medellín and Jericó, Antioquia, then in Cartagena at the end of the month. At this year's festival are Juan Manuel Santos, Wade Davis, Brigitte Baptiste, Rebecca Solnit, André Aciman, Héctor Abad Faciolince, Amalia Andrade, Margarita Rosa de Francisco, Humberto de la Calle, Juan Gabriel Vásquez, Los Danieles and more! Emily and Cristina chat all things Hay, Colombia, and the arts - delving into the importance of spontaneity, connection, and conversation - and how the upcoming global challenges we face will prove to be, above all, challenges of the imagination... Tune in and support the podcast: www.patreon.com/colombiacalling

Incontro con André Aciman. Intervista di Alberto Garlini Il bacio di Swann è una profonda riflessione su come l'immaginazione riesca a plasmare i nostri ricordi sotto l'inesorabile scorrere del tempo. Cos'è reale e cosa non lo è? Per definizione, gli scrittori sono soliti confrontarsi con la magia insita nell'atto creativo: André Aciman in queste pagine si spinge un po' più in là, offrendo al lettore ritratti di uomini che hanno segnato la sua vita e la sua scrittura, tra i quali Freud, Kavafis, Proust e Pessoa, offrendoci inoltre il ritratto di alcune città affascinanti come Alessandria e San Pietroburgo. Edizione 2023 https://pordenonelegge.it/

Hoje não trazemos as recomendações do costume, mas sim uma lista de títulos que nos conquistaram, mesmo que não tenhamos lido todos. Fiquem com estes belos minutos de apreciação a palavras, e partilhem os vossos também! Livros mencionados neste episódio: - Astrid Parker Doesn't Fail, Ashley Herring Blake (1:35) - Encontro, Natasha Brown (4:15) - Penance, Eliza Clark (4:54) - You Made a Fool of Death with your Beauty, Akwaeke Emezi (10:40) - Call Me By Your Name, André Aciman (11:09) - A Insustentável Leveza do Ser, Milan Kundera (11:41) - História de Quem Vai e de Quem Fica, Elena Ferrante (12:59) - The Heart and Other Monsters, Rose Andersen (13:21) - If Nobody Speaks of Remarkable Things, Jon McGregor (13:53) - In My Dreams I Hold A Knife, Ashley Winstead (14:31) - The Heart's Invisible Furies, John Boyne (15:04) - Have I Told You This Already?: Stories I Don't Want to Forget to Remember, Lauren Graham (16:26) - Half of a Yellow Sun, Chimamanda Ngozi Adichie (17:17) - You Have to Make Your Own Fun Around Here, Frances Macken (17:55) - Little Fires Everywhere, Celeste Ng (18:49) - Sea of Tranquility, Emily St. John Mandel (19:24) - Hello Beautiful, Ann Napolitano (20:37) - How High We Go In the Dark & Where We Go When All We Were Is Gone, Sequoia Nagamatsu (21:08) - The Loudness of Unsaid Things, Hilde Hinton (21:51) - The Sun is Also a Star, Nicola Yoon (22:20) - How to Kill Your Family, Bella Mackie (22:43) - All the Lovers in the Night, Mieko Kawakami (23:08) - Swimming in the Dark, Tomasz Jedrowski (23:53) - Things We Do Not Tell The People We Love, Huma Qureshi (24:51) - Alone with You in the Ether, Olivie Blake (25:08) - On Earth We're Briefly Gorgeous, Ocean Vuong (25:15) - The Great Believers, Rebecca Makkai (25:40) - Small Things Like These, Claire Keegan (26:14) - A gente mira no amor e acerta na solidão, Ana Suy (26:53) - We All Want Impossible Things, Catherine Newman (28:45) - All the Light We Cannot See, Anthony Doerr (29:00) - These Precious Days, Ann Patchett (30:25) - Same Bed Different Dreams, Ed Park (32:00) - At Certain Points We Touch, Lauren John Joseph (32:15) - Stay True, Hua Hsu (32:42) - Tudo São Histórias de Amor, Dulce Maria Cardoso (33:51) - What We Kept to Ourselves, Nancy Jooyoun Kim (34:24) - Tudo Pode Ser Roubado, Giovana Madalosso (34:43) - If We're Being Honest, Cat Shook (35:08) - By Grand Central Station I Sat Down and Wept, Elizabeth Smart (35:22) - Once Upon a Broken Heart, Stephanie Garber (35:52) - Enquanto o Fim Não Vem, Mafalda Santos (36:22) - I am, I am, I am, Maggie O'Farrell (36:45) - Pequena Coreografia do Adeus, Aline Bei (37:04) - What We Talk About When We Talk About Love, Raymond Carver (38:09) - How to Love Your Daughter, Hila Blum (38:29) - How Not to Drown in a Glass of Water, Angie Cruz (38:54) - The Particular Sadness of Lemon Cake, Aimee Bender (39:17) - Clap When You Land, Elizabeth Acevedo (40:07) - Apneia, Tânia Ganho (40:26) ________________ Enviem as vossas questões ou sugestões para livratepodcast@gmail.com. Encontrem-nos nas redes sociais: www.instagram.com/julesdsilva www.instagram.com/ritadanova twitter.com/julesxdasilva twitter.com/ritadanova Identidade visual do podcast: da autoria da talentosa Mariana Cardoso, que podem encontrar em marianarfpcardoso@hotmail.com. Genérico do podcast: criado pelo incrível Vitor Carraca Teixeira, que podem encontrar em www.instagram.com/oputovitor.

Te presento la entrevista en inglés al narrador André Aciman. Me contó cómo odia las celebraciones, lo qué significa para él el judaísmo. También conversamos sobre su vida espiritual y conocí su posición sobre la guerra en Israel y profundizamos sobre su relación con sus padres. En especial, cuánto le influyó la sordera de su madre en su carrera literaria. Estoy y más hoy en Espiral. --- Send in a voice message: https://podcasters.spotify.com/pod/show/karencodner/message

Te invito a escuchar el primer Cuestionario Espiral en inglés, donde el famoso escritor André Aciman, quien estuvo de visita en Chile, nos cuenta en este capítulo 93 sobre su negativa a leer autores vivos, cuándo miente, cuál fue momento de felicidad en Chile, la mayor influencia de su vida y más. Puedes encontrar la traducción de esta entrevista en www.karencodner.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/karencodner/message

Andre Aciman is an Italian-American writer, born and raised in Alexandria, Egypt. He currently is a distinguished professor at the CUNY Graduate Center,  where he teaches the history of literary theory and the works of  Marcel Proust. Andre is the author of a memoir, Out of Egypt, and several novels, including Call Me by Your Name, whose film adaptation, written by James Ivory, won an Oscar in 2018 alongside a very long list of other awards. We discussed his cosmopolitan upbringing, the fact that there isn't a place he truly calls home, and how his French and Italian roots have shaped his writing in English.   

Un programa radial sobre libros desde lectores apasionados, pero no expertos, que discuten sobre literatura como sobre la vida misma. Cada sábado a las 21.00 hrs. Antonella Estévez, Patricio López, Alberto Mayol y Omar Sarrás se reúnen en el 102.5 para compartir esta pasión desde la mirada subjetiva y personal de cualquiera que ame los libros. Comentamos y compartamos los libros, y la vida, en nuestro grupo http://facebook.com/groups/128895883789184

Un programa radial sobre libros desde lectores apasionados, pero no expertos, que discuten sobre literatura como sobre la vida misma. Cada sábado a las 21.00 hrs. Antonella Estévez, Patricio López, Alberto Mayol y Omar Sarrás se reúnen en el 102.5 para compartir esta pasión desde la mirada subjetiva y personal de cualquiera que ame los libros. Comentamos y compartamos los libros, y la vida, en nuestro grupo http://facebook.com/groups/128895883789184

Ein 15-Jähriger entdeckt während der Sommerferien, dass er homosexuell ist: Er verliebt sich in einen anderen Jugendlichen, sein Leben gerät durcheinander. Für Simon Leuthold viel mehr als eine queere Sommerromanze: ein Buch über zwei ungleiche Brüder und ein Plädoyer für ein neues «Normal». Für den namenlosen Protagonisten in Florian Gottschicks Roman ist es eine Erkenntnis, die sein Leben grundlegend verändert: Er liebt Männer. Darum herum erzählt der Autor eine abgründige Familiengeschichte über brüderliche Rivalität und die Unmöglichkeit, ganz aus elterlicher Prägung auszubrechen. Warum wählte Florian Gottschick dieses Setting für seinen Roman? Und ist «Heteronormativität» ein Unwort? Darüber (und über viel mehr) sprechen wir in dieser Folge. Dieses Buch steht im Zentrum der Folge: * Florian Gottschick. Damals im Sommer. 192 Seiten. Penguin, 2023. Im Podcast zu hören sind: * Florian Gottschick, Buchautor * Roman Heggli, Geschäftsführer Pink Cross Schweiz Weiter erwähnte Bücher: * John Steinbeck. Jenseits von Eden. 736 Seiten. dtv, 1987. * André Aciman. Call Me by Your Name, Ruf mich bei deinem Namen. Aus dem Englischen von Renate Orth-Guttmann. 288 Seiten. dtv, 2018. Bei Fragen oder Anregungen schreibt uns: literatur@srf.ch Mehr Literatur und den wöchentlichen Literaturnewsletter gibt es unter srf.ch/literatur

Se procurarem a palavra “masoquista” no dicionário encontram lá as nossas caras. Só isso explica que nos tenhamos sujeitado a mais uma edição de más reviews dos nossos favoritos, onde lemos todas as coisas estúpidas, ou melhor, idiotas, ou melhor, negativas que as pessoas dizem sobre os nossos livros do coração. Pedimos novamente desculpa pelos silêncios, mas ou estávamos a pensar ou a processar a parvoíce, quer dizer, a opinião das pessoas. Livros mencionados neste episódio: - Homo Irrealis, André Aciman (1:08) - Leme, Madalena Sá Fernandes (3:10) - Stone Blind, Natalie Haynes (7:25) - A Sombra do Vento, Carlos Ruiz Záfon (8:51) - Swimming in the Dark, Tomasz Jedrowski (10:49) - Heartstopper, Alice Oseman (12:04) - Invisible Life of Addie LaRue, V. E. Schwab (14:52) - Open Water, Caleb Azumah Nelson (17:47) - Almond, Won-Pyung Sohn (21:26) - Funny Feelings, Tarah Dewitt (24:04) - The Wolf Den, Elodie Harper (27:02) - Cleopatra and Frankenstein, Coco Mellors (28:20) - A Breve Vida das Flores, Valérie Perrin (30:24) - Tomorrow, and Tomorrow, and Tomorrow, Gabrielle Zevin (32:54) - Remarkably Bright Creatures, Shelby Van Pelt (33:59) - Dear Dolly, Dolly Alderton (36:15) - Small Things Like These, Claire Keegan (38:13) - Hamnet, Maggie O'Farrell (40:15) - Carrie Soto is Back, Taylor Jenkins Reid (42:39) - It Happened One Summer, Tessa Bailey (46:02) ________________ Enviem as vossas questões ou sugestões para livratepodcast@gmail.com. Encontrem-nos nas redes sociais: www.instagram.com/julesdsilva www.instagram.com/ritadanova/ twitter.com/julesxdasilva twitter.com/RitaDaNova [a imagem do podcast é da autoria da maravilhosa, incrível e talentosa Mariana Cardoso, que podem encontrar em marianarfpcardoso@hotmail.com]

I don't have a new episode this week, but I wanted to post another rerun from our past talking about queer lit for Pride 2023! Let's harken back to our first ever season in 2019 to re-listen to our episode on CALL ME BY YOUR NAME by André Aciman. Hosted on Acast. See acast.com/privacy for more information.

Durante a faculdade, Michele Filgate começou a escrever um ensaio sobre o abuso que sofreu por parte do padrasto. Levou mais de uma década até que ela percebesse que, para além dele, o tema do ensaio era as consequências na sua relação com a mãe. Quando enfim foi publicado, em 2017, o ensaio viralizou e foi compartilhado milhares de vezes nas redes sociais por diversas pessoas, inclusive pelas escritoras Anne Lamott e Rebecca Solnit. A avalanche de respostas positivas deu ânimo para que Michele organizasse esta antologia, que oferece um olhar franco sobre as relações entre mães e filhos.Alguns dos autores não falam com a mãe há muitos anos; outros são extremamente próximos. Leslie Jamison, por exemplo, escreve sobre a tentativa de descobrir quem era a sua mãe, aparentemente perfeita, antes de ela mesma se tornar mãe. No hilariante texto de Cathi Hanauer, ela finalmente tem a oportunidade de ter uma conversa com a mãe sem ser interrompida pelo seu pai, um homem ao mesmo tempo dominador e adorável. Temos textos sobre a surdez de uma mãe (por André Aciman) e sobre a franqueza desmedida de outra (por Julianna Baggott). Melissa Febos, por sua vez, usa a mitologia para analisar a estreita relação que tem com a mãe psicoterapeuta.Há um alívio em quebrar esse silêncio em torno das relações maternas. Reconhecer que nos calamos por tanto tempo, e enfim poder ter essas conversas, é uma forma de curar nosso relacionamento com as mães e, talvez o mais importante, com nós mesmos.Com textos de Cathi Hanauer, Melissa Febos, Alexander Chee, Dylan Landis, Bernice L. McFadden, Julianna Baggott, Lynn Steger Strong, Kiese Laymon, Carmen Maria Machado, André Aciman, Sari Botton, Nayomi Munaweera, Brandon Taylor e Leslie Jamison. Livro: https://amzn.to/3MR0PJ1 Twitter e insta: @termineicast

O Nuno é um homem com óptima energia e de coração grande, que abre nesta conversa. E que boas gargalhadas se deram aqui. Espero que também se divirtam (e lá vai a wish list crescer...). Os livros que o apresentador escolheu: O menino de Cabul, Khaled Hosseini; Chama-me pelo teu nome, André Aciman; As velas ardem até ao fim, Sandór Márai; Mataram a Cotovia, Harper Lee; As vinhas da Ira, John Steinbeck. Outros que referiu, de Khaled Hosseini: Mil sóis resplandecentes; O silêncio das montanhas. Ofereci: Pança de Burro, Andrea Abreu. Sugeri: 8 noites brancas, André Aciman.

Como sentimos que estamos sempre a falar dos mesmos livros, esta semana fizemos o esforço de vos falar de alguns que nunca tínhamos trazido para o podcast. Se isto não é amor, não sabemos o que é.

Linton Stephens (BBC Classical Fix) and Bertie from director duo “Bert and Bertie” return to Fixwatcher to review Linton's choice Call Me by Your Name. Call Me by Your Name is a 2017 coming of age romantic drama, directed by Luca Guadagnino with a screenplay by James (Merchant Ivory Productions) Ivory, based on André Aciman's novel of the same name. Set in northern Italy in the summer of 1983 it tells the story of the passionate but ultimately doomed romance between 17-year-old Elio (Timothée Chalamet) and a 24-year-old visiting graduate student Oliver (Armie Hammer). The allure of Call Me By Your Name is undeniable, from the beautiful setting, the 80s nostalgic soundtrack, a moving performance by Chalamet and the all familiar joys and pain of the experience of your first love. Call Me by Your Name isn't without some controversy, the age gap between Elio and Oliver has been seen as problematic and in 2021 a series of allegations of abuse by Hammer makes watching in 2023 difficult. Scores for recommendability for Call Me by Your Name were very high, only dropping a few across repeat and small screen gives a very impressive overall rating of 4.35.   [supsystic-tables id=299 Episode #287Crew Links Thanks to Episode #287 Crew of Linton Stephens and (@LintonStephens) Bertie from BertAndBertie Find their Websites online at https://twitter.com/bbcradio3 Please make sure you give them some love   More about Call Me By Your Name For more info on Call Me By Your Name, you can visit Call Me By Your Name IMDb page here or Call Me By Your Name Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. Learn more about your ad choices. Visit megaphone.fm/adchoices

聽眾敲碗第一名

This week André Aciman toasts the genius of Marcel Proust, a century after his death; and Richard Lea on the mesmerising multiverses of John Banville.The works of Marcel Proust‘The Singularities' by John BanvilleProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Narrator Edoardo Ballerini immerses listeners in a lost world with André Aciman's 1996 memoir. Host Jo Reed and AudioFile's Alan Minskoff discuss how Ballerini brings this memoir of Aciman's boyhood to life. The author longs for his home in cosmopolitan Alexandria, Egypt, and Ballerini masterfully portrays the characters, especially his quirky grandmothers, and ensures the other members of his lively Sephardic Jewish family come through vividly. A classic story of a family who lost everything in the fraught years after 1956, when President Nasser expelled English and French nationals and Jews from their homes in Egypt. Read the full review of the audiobook on AudioFile's website. Published by Macmillan Audio. Find more audiobook recommendations at audiofilemagazine.com Listen to AudioFile's fourth season of Audiobook Break, featuring the Japanese American Civil Liberties Collection. Support for AudioFile's Behind the Mic comes from PENGUIN RANDOM HOUSE AUDIO, dedicated to producing top-quality fiction and nonfiction audiobooks written and read by the best in the business. Visit penguinrandomhouseaudio.com/audiofile now to start listening. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the top Jewish podcasts in the U.S., American Jewish Committee's (AJC) The Forgotten Exodus, is the first-ever narrative podcast to focus exclusively on Mizrahi and Sephardic Jews. In this week's episode, we feature Jews from Egypt.   In the first half of the 20th century, Egypt went through profound social and political upheavals culminating in the rise of President Gamal Abdel Nasser and his campaign of Arabization, creating an oppressive atmosphere for the country's Jews, and leading almost all to flee or be kicked out of the country. Hear the personal story of award-winning author André Aciman as he recounts the heart-wrenching details of the pervasive antisemitism during his childhood in Alexandria and his family's expulsion in 1965, which he wrote about in his memoir Out of Egypt, and also inspired his novel Call Me by Your Name.  Joining Aciman is Deborah Starr, a professor of Near Eastern and Jewish Studies at Cornell University, who chronicles the history of Egypt's Jewish community that dates back millennia, and the events that led to their erasure from Egypt's collective memory. Aciman's modern-day Jewish exodus story is one that touches on identity, belonging, and nationality: Where is your home when you become a refugee at age 14? Be sure to follow The Forgotten Exodus before the next episode drops on August 22. ___ Show notes: Sign up to receive podcast updates here. Learn more about the series here. Song credits:  Rampi Rampi, Aksaray'in Taslari, Bir Demet Yasemen by Turku, Nomads of the Silk Road Pond5:  “Desert Caravans”: Publisher: Pond5 Publishing Beta (BMI), Composer: Tiemur Zarobov (BMI), IPI#1098108837 “Sentimental Oud Middle Eastern”: Publisher: Pond5 Publishing Beta (BMI), Composer: Sotirios Bakas (BMI), IPI#797324989. “Frontiers”: Publisher: Pond5 Publishing Beta (BMI); Composer: Pete Checkley (BMI), IPI#380407375 “Adventures in the East”: Publisher: Pond5 Publishing Beta (BMI) Composer: Petar Milinkovic (BMI), IPI#00738313833. “Middle Eastern Arabic Oud”: Publisher: Pond5 Publishing Beta (BMI); Composer: Sotirios Bakas (BMI), IPI#797324989 ___ Episode Transcript: ANDRÉ ACIMAN: I've lived in New York for 50 years. Is it my home? Not really. But Egypt was never going to be my home. It had become oppressive to be Jewish. MANYA BRACHEAR PASHMAN: The world has overlooked an important episode in modern history: the 800,000 Jews who left or were driven from their homes in Arab nations and Iran in the mid-20th century. This series, brought to you by American Jewish Committee, explores that pivotal moment in Jewish history and the rich Jewish heritage of Iran and Arab nations as some begin to build relations with Israel. I'm your host, Manya Brachear Pashman. Join us as we explore family histories and personal stories of courage, perseverance, and resilience.  This is The Forgotten Exodus. Today's episode: leaving Egypt. Author André Aciman can't stand Passover Seders. They are long and tedious. Everyone gets hungry long before it's time to eat. It's also an unwelcome reminder of when André was 14 and his family was forced to leave Egypt – the only home he had ever known. On their last night there, he recounts his family gathered for one last Seder in his birthplace. ANDRÉ: By the time I was saying goodbye, the country, Egypt, had essentially become sort of Judenrein.  MANYA:  Judenrein is the term of Nazi origin meaning “free of Jews”. Most, if not all of the Jews, had already left. ANDRÉ: By the time we were kicked out, we were kicked out literally from Egypt, my parents had already had a life in Egypt. My mother was born in Egypt, she had been wealthy. My father became wealthy. And of course, they had a way of living life that they knew they were abandoning. They had no idea what was awaiting them. They knew it was going to be different, but they had no sense. I, for one, being younger, I just couldn't wait to leave. Because it had become oppressive to be Jewish. As far as I was concerned, it was goodbye. Thank you very much. I'm going. MANYA: André Aciman is best known as the author whose novel inspired the Oscar-winning film Call Me By Your Name – which is as much a tale of coming to terms with being Jewish and a minority, as it is an exquisite coming of age love story set in a villa on the Italian Riviera.  What readers and moviegoers didn't know is that the Italian villa is just a stand-in. The story's setting– its distant surf, serpentine architecture, and lush gardens where Elio and Oliver's romance blooms and Elio's spiritual awakening unfolds – is an ode to André's lost home, the coastal Egyptian city of Alexandria.  There, three generations of his Sephardic family had rebuilt the lives they left behind elsewhere as the Ottoman Empire crumbled, two world wars unfolded, a Jewish homeland was born, and nationalistic fervor swept across the Arab world and North Africa. There, in Alexandria, his family had enjoyed a cosmopolitan city and vibrant Jewish home. Until they couldn't and had to leave.  ANDRÉ: I would be lying if I said that I didn't project many things lost into my novels. In other words, to be able to re-experience the beach, I created a beach house. And that beach house has become, as you know, quite famous around the world. But it was really a portrait of the beach house that we had lost in Egypt.  And many things like that, I pilfer from my imagined past and dump into my books. And people always tell me, ‘God, you captured Italy so well.' Actually, that was not Italy, I hate to tell you. It was my reimagined or reinvented Egypt transposed into Italy and made to come alive again. MANYA: Before he penned Call Me By Your Name, André wrote his first book, Out of Egypt, a touching memoir about his family's picturesque life in Alexandria, the underlying anxiety that it could always vanish and how, under the nationalization effort led by Egypt's President Gamel Abdel Nassar, it did vanish. The memoir ends with the events surrounding the family's last Passover Seder before they say farewell.   ANDRÉ: This was part of the program of President Nasser, which was to take, particularly Alexandria, and turn it into an Egyptian city, sort of, purified of all European influences. And it worked.  As, by the way, and this is the biggest tragedy that happens to, particularly to Jews, is when a culture decides to expunge its Jews or to remove them in one way or another, it succeeds. It does succeed. You have a sense that it is possible for a culture to remove an entire population. And this is part of the Jewish experience to accept that this happens. MANYA: Egypt did not just expunge its Jewish community. It managed to erase Jews from the nation's collective memory. Only recently have people begun to rediscover the centuries of rich Jewish history in Egypt, including native Egyptian Jews dating back millennia. In addition, Egypt became a destination for Jews expelled from Spain in the 15th Century. And after the Suez Canal opened in 1869, a wave of more Jews came from the Ottoman Empire, Italy, and Greece. And at the end of the 19th Century, Ashkenazi Jews arrived, fleeing from European pogroms. DEBORAH STARR: The Jewish community in Egypt was very diverse. The longest standing community in Egypt would have been Arabic speaking Jews, we would say now Mizrahi Jews. MANYA: That's Deborah Starr, Professor of Modern Arabic and Hebrew Literature and Film at Cornell University. Her studies of cosmopolitan Egypt through a lens of literature and cinema have given her a unique window into how Jews arrived and left Egypt and how that history has been portrayed. She says Jews had a long history in Egypt through the Islamic period and a small population remained in the 19th century. Then a wave of immigration came. DEBORAH: We have an economic boom in Egypt. Jews start coming from around the Ottoman Empire, from around the Mediterranean, emigrating to Egypt from across North Africa. And so, from around 5,000 Jews in the middle of the 19th century, by the middle of the 20th century, at its peak, the Egyptian Jews numbered somewhere between 75 and 80,000. So, it was a significant increase, and you know, much more so than just the birth rate would explain. MANYA: André's family was part of that wave, having endured a series of exiles from Spain, Italy, and Turkey, before reaching Egypt. DEBORAH: Egypt has its independence movement, the 1919 revolution, which is characterized by this discourse of coexistence, that ‘we're all in this together.' There are images of Muslims and Christians marching together.  Jews were also supportive of this movement. There's this real sense of a plurality, of a pluralist society in Egypt, that's really evident in the ways that this movement is characterized. The interwar period is really this very vibrant time in Egyptian culture, but also this time of significant transition in its relationship to the British in the various movements, political movements that emerge in this period, and movements that will have a huge impact on the fate of the Jews of Egypt in the coming decades. MANYA: One of those movements was Zionism, the movement to establish a Jewish state in the biblical homeland of the Jews. In 1917, during the First World War, the British government occupying Egypt at the time, issued a public statement of support for the establishment of a "national home for the Jewish people" in Palestine, still an Ottoman region with a small minority Jewish population. That statement became known as the Balfour Declaration. DEBORAH: There was certainly evidence of a certain excitement about the Balfour Declaration of 1917. A certain amount of general support for the idea that Jews are going to live there, but not a whole lot of movement themselves. But we also have these really interesting examples of people who were on the record as supporting, of seeing themselves as Egyptians, as part of the anti-colonial Egyptian nationalism, who also gave financial support to the Jewish project in Palestine. And so, so there wasn't this sense of—you can't be one or the other. There wasn't this radical split. MANYA: Another movement unfolding simultaneously was the impulse to reclaim Egypt's independence, not just in legal terms – Egypt had technically gained independence from the British in 1922 – but suddenly what it meant to be Egyptian was defined against this foreign colonial power that had imposed its will on Egypt for years and still maintained a significant presence. DEBORAH: We also see moves within Egypt, toward the ‘Egyptianization' of companies or laws that start saying, we want to, we want to give priority to our citizens, because the economy had been so dominated by either foreigners or people who were local but had foreign nationality. And this begins to disproportionately affect the Jews.  Because so many of the Jews, you know, had been immigrants a generation or two earlier, some of them had either achieved protected status or, you know, arrived with papers from, from one or another of these European powers. MANYA: In 1929, Egypt adopted its first law giving citizenship to its residents. But it was not universally applied. By this time, the conflict in Palestine and the rise of Zionism had shifted how the Egyptian establishment viewed Jews.   DEBORAH: Particularly the Jews who had lived there for a really long time, some of whom were among the lower classes, who didn't travel to Europe every summer and didn't need papers to prove their citizenship, by the time they started seeing that it was worthwhile for them to get citizenship, it was harder for Jews to be approved. So, by the end, we do have a pretty substantial number of Jews who end up stateless. MANYA: Stateless. But not for long. In 1948, the Jewish state declared independence. In response, King Farouk of Egypt joined four other Arab nations in declaring war on the newly formed nation. And they lost.  The Arab nations' stunning defeat in that first Arab-Israeli War sparked a clandestine movement to overthrow the Egyptian monarchy, which was still seen as being in the pocket of the British. One of the orchestrators of that plot, known as the Free Officers Movement, was Col. Gamel Abdel Nassar. In 1952, a coup sent King Farouk on his way to Italy and Nassar eventually emerged as president. The official position of the Nassar regime was one of tolerance for the Jews. But that didn't always seem to be the case. DEBORAH: Between 1948 and ‘52, you do have a notable number of Jews who leave Egypt at this point who see the writing on the wall. Maybe they don't have very deep roots in Egypt, they've only been there for one or two generations, they have another nationality, they have someplace to go. About a third of the Jews who leave Egypt in the middle of the 20th century go to Europe, France, particularly. To a certain extent Italy. About a third go to the Americas, and about a third go to Israel. And among those who go to Israel, it's largely those who end up stateless. They have no place else to go because of those nationality laws that I mentioned earlier, have no choice but to go to Israel. MANYA: Those who stayed became especially vulnerable to the Nassar regime's sequestration of businesses. Then in 1956, Egypt nationalized the Suez Canal, a 120-mile-long waterway that connected the Mediterranean Sea to the Indian Ocean by way of the Red Sea – that same waterway that created opportunities for migration in the region a century earlier. DEBORAH: The real watershed moment is the 1956 Suez conflict. Israel, in collaboration with France, and Great Britain attacks Egypt, the conflict breaks out, you know, the French and the British come into the war on the side of the Israelis. And each of the powers has their own reasons for wanting, I mean, Nasser's threatening Israeli shipping, and, threatening the security of Israel, the French and the British, again, have their own reasons for trying to either take back the canal, or, just at least bring Nassar down a peg. MANYA: At war with France and Britain, Egypt targeted and expelled anyone with French and British nationality, including many Jews, but not exclusively. DEBORAH: But this is also the moment where I think there's a big pivot in how Jews feel about being in Egypt. And so, we start seeing larger waves of emigration, after 1956. So, this is really sort of the peak of the wave of emigration.  MANYA: André's family stayed. They already had endured a series of exiles. His father, an aspiring writer who copied passages by Marcel Proust into his diary, had set that dream aside to open a textile factory, rebuild from nothing what the family had lost elsewhere, and prepare young André to eventually take over the family business. He wasn't about to walk away from the family fortune – again. DEBORAH: André Aciman's story is quite, as I said, the majority of the Jewish community leaves in the aftermath of 1956. And his family stays a lot longer. So, he has incredible insights into what happens over that period, where the community has already significantly diminished. MANYA: Indeed, over the next nine years, the situation worsened. The Egyptian government took his father's factory, monitored their every move, frequently called the house with harassing questions about their whereabouts, or knocked on the door to issue warrants for his father's arrest, only to bring him in for more interrogation. As much as André's father clung to life in Egypt, it was becoming a less viable option with each passing day. ANDRÉ: He knew that the way Egypt was going, there was no room for him, really. And I remember during the last two years, in our last two years in Egypt, there wAs constantly references to the fact that we were going to go, this was not lasting, you know, what are we going to do? Where do we think we should go? And so on and so forth. So, this was a constant sort of conversation we were having. MANYA: Meanwhile, young André encountered a level of antisemitism that scarred him deeply and shaped his perception of how the world perceives Jews. ANDRÉ: It was oppressive in good part because people started throwing stones in the streets. So, there was a sense of ‘Get out of here. We don't want you here.' MANYA: It was in the streets and in the schools, which were undergoing an Arabization after the end of British rule, making Arabic the new lingua franca and antisemitism the norm. ANDRÉ: There's no question that antisemitism was now rooted in place. In my school, where I went, I went to a British school, but it had become Egyptian, although they taught English, predominantly English, but we had to take Arabic classes, in sort of social sciences, in history, and in Arabic as well. And in the Arabic class, which I took for many years, I had to study poems that were fundamentally anti-Jewish. Not just anti-Israeli, which is a big distinction that people like to make, it doesn't stick. I was reading and reciting poems that were against me. And the typical cartoon for a Jew was a man with a beard, big tummy, hook nose, and I knew ‘This is really me, isn't it? OK.' And so you look at yourself with a saber, right, running through it with an Egyptian flag. And I'll never forget this. This was, basically I was told that this is something I had to learn and accept and side with – by the teachers, and by the books themselves.  And the irony of the whole thing is that one of the best tutors we had, was actually the headmaster of the Jewish school. He was Jewish in very sort of—very Orthodox himself. And he was teaching me how to recite those poems that were anti-Jewish. And of course, he had to do it with a straight face. MANYA: One by one, Jewish neighbors lost their livelihoods and unable to overcome the stigma, packed their bags and left. In his memoir, André recalls how prior to each family's departure, the smell of leather lingered in their homes from the dozens of suitcases they had begun to pack. By 1965, the smell of leather began to waft through André's home. ANDRÉ: Eventually, one morning, or one afternoon, I came back from school. And my father said to me, ‘You know, they don't want us here anymore.' Those were exactly the words he used. ‘They don't want us here.' I said, ‘What do you mean?' ‘Well, they've expelled us.'  And I was expelled with my mother and my brother, sooner than my father was. So, we had to leave the country. We realized we were being expelled, maybe in spring, and we left in May. And so, for about a month or so, the house was a mess because there were suitcases everywhere, and people. My mother was packing constantly, constantly. But we knew we were going to go to Italy, we knew we had an uncle in Italy who was going to host us, or at least make life livable for us when we arrived. We had obtained Italian papers, obtained through various means. I mean, whatever. They're not exactly legitimate ways of getting a citizenship, but it was given to my father, and he took it. And we changed our last name from Ajiman, which is how it was pronounced, to Aciman because the Italians saw the C and assumed it was that. My father had some money in Europe already. So that was going to help us survive. But we knew my mother and I and my brother, that we were now sort of functionally poor. MANYA: In hindsight, André now knows the family's expulsion at that time was the best thing that could have happened. Two years later, Israel trounced Egypt in the Six-Day War, nearly destroying the Egyptian Air Force, taking control of the Gaza Strip and the entire Sinai Peninsula, as well as territory from Egypt's allies in the conflict, Syria and Jordan. The few remaining Jews in Egypt were sent to internment camps, including the chief rabbis of Cairo and Alexandria and the family of one of André's schoolmates whose father was badly beaten. After three years in Italy, André's family joined his mother's sister in America, confirming once and for all that their life in Egypt was gone. ANDRÉ: I think there was a kind of declaration of their condition. In other words, they never overcame the fact that they had lost a way of life. And of course, the means to sustain that life was totally taken away, because they were nationalized, and had their property sequestered, everything was taken away from them. So, they were tossed into the wild sea. My mother basically knew how to shut the book on Egypt, she stopped thinking about Egypt, she was an American now. She was very happy to have become a citizen of the United States.  Whereas my father, who basically was the one who had lost more than she had, because he had built his own fortune himself, never overcame it. And so, he led a life of the exile who continues to go to places and to restaurants that are costly, but that he can still manage to afford if he watches himself. So, he never took cabs, he always took the bus. Then he lived a pauper's life, but with good clothing, because he still had all his clothing from his tailor in Egypt. But it was a bit of a production, a performance for him.  MANYA: André's father missed the life he had in Egypt. André longs for the life he could've had there. ANDRÉ: I was going to study in England, I was going to come back to Egypt, I was going to own the factory. This was kind of inscribed in my genes at that point. And of course, you give up that, as I like to say, and I've written about this many times, is that whatever you lose, or whatever never happened, continues to sort of sub-exist somewhere in your mind. In other words, it's something that has been taken away from you, even though it never existed.  MANYA: But like his mother, André moved on. In fact, he says moving on is part of the Jewish experience. Married with sons of his own, he now is a distinguished professor at the Graduate Center of City University of New York, teaching the history of literary theory. He is also one of the foremost experts on Marcel Proust, that French novelist whose passages his father once transcribed in his diaries. André's own novels and anthologies have won awards and inspired Academy Award-winning screenplays. Like Israel opened its doors and welcomed all of those stateless Egyptian Jews, America opened doors for André. Going to college in the Bronx after growing up in Egypt and Italy? That introduced him to being openly Jewish.  ANDRÉ: I went to Lehman College, as an undergraduate, I came to the States in September. I came too late to go to college, but I went to an event at that college in October or November, and already people were telling me they were Jewish.  You know, ‘I'm Jewish, and this and that,' and, and so I felt ‘Oh, God, it's like, you mean people can be natural about their Judaism? And so, I began saying to people, ‘I'm Jewish, too,' or I would no longer feel this sense of hiding my Jewishness, which came when I came to America. Not before. Not in Italy. Not in Egypt certainly. But the experience of being in a place that was fundamentally all Jewish, like being in the Bronx in 1968, was mind opening for me, it was: I can let everything down, I can be Jewish like everybody else. It's no longer a secret. I don't have to pretend that I was a Protestant when I didn't even know what kind of Protestant I was. As a person growing up in an antisemitic environment. You have many guards, guardrails in place, so you know how not to let it out this way, or that way or this other way. You don't speak about matzah. You don't speak about charoset. You don't speak about anything, so as to prevent yourself from giving out that you're Jewish. MANYA: Though the doors had been flung open and it felt much safer to be openly Jewish, André to this day cannot forget the antisemitism that poisoned his formative years. ANDRÉ: I assume that everybody's antisemitic at some point. It is very difficult to meet someone who is not Jewish, who, after they've had many drinks, will not turn out to be slightly more antisemitic than you expected. It is there. It's culturally dominant. And so, you have to live with this. As my grandmother used to say, I'm just giving this person time until I discover how antisemitic they are. It was always a question of time. MANYA: His family's various displacements and scattered roots in Spain, Turkey, Egypt, Italy, and now America, have led him to question his identity and what he calls home. ANDRÉ: I live with this sense of: I don't know where I belong. I don't know who I am. I don't know any of those things. What's my flag? I have no idea. Where's my home? I don't know. I live in New York. I've lived in New York for 50 years. Is it my home? Not really. But Egypt was never going to be my home. MANYA: André knew when he was leaving Egypt that he would one day write a book about the experience. He knew he should take notes, but never did. And like his father, he started a diary, but it was lost. He started another in 1969.  After completing his dissertation, he began to write book reviews for Commentary, a monthly American magazine on religion, Judaism and politics founded and published, at the time, by American Jewish Committee.  The editor suggested André write something personal, and that was the beginning of Out of Egypt. In fact, three chapters of his memoir, including The Last Seder, appeared in Commentary before it was published as a book in 1994.  André returned to Egypt shortly after its release. But he has not been back since, even though his sons want to accompany him on a trip. ANDRÉ: They want to go back, because they want to go back with me. Question is, I don't want to put them in danger. You never know. You never know how people will react to . . . I mean, I'll go back as a writer who wrote about Egypt and was Jewish. And who knows what awaits me? Whether it will be friendly, will it be icy and chilly. Or will it be hostile? I don't know. And I don't want to put myself there. In other words, the view of the Jews has changed. It went to friendly, to enemy, to friendly, enemy, enemy, friendly, and so on, so forth. In other words, it is a fundamentally unreliable situation.  MANYA: He also doesn't see the point. It's impossible to recapture the past. The pictures he sees don't look familiar and the people he used to know with affection have died. But he doesn't want the past to be forgotten. None of it. He wants the world to remember the vibrant Jewish life that existed in Cairo and Alexandria, as well as the vile hatred that drove all but a handful of Jews out of Egypt. Cornell Professor Deborah Starr says for the first time in many years, young Egyptians are asking tough questions about the Arabization of Egyptian society and how that affected Egyptian Jews. Perhaps, Israel and Zionism did not siphon Jewish communities from the Arab world as the story often goes. Perhaps instead, Israel offered a critical refuge for a persecuted community. DEBORAH: I think it's really important to tell the stories of Mizrahi Jews. I think that, particularly here we are speaking in English to an American audience, where the majority of Jews in North America are Ashkenazi, we have our own identity, we have our own stories. But there are also other stories that are really interesting to tell, and are part of the history of Jews in the 20th and 21st centuries. They're part of the Jewish experience. And so that's some of what has always motivated me in my research, and looking at the stories of coexistence among Jews and their neighbors in Egypt. MANYA: Professor Starr says the rise of Islamist forces like the Muslim Brotherhood has led Egyptians to harken back toward this period of tolerance and coexistence, evoking a sense of nostalgia. DEBORAH: The people are no longer living together. But it's worth remembering that past, it's worth reflecting on it in an honest way, and not, to look at the nostalgia and say: oh, look, these people are nostalgic about it, what is it that they're nostalgic for? What are some of the motivations for that nostalgia? How are they characterizing this experience? But also to look kind of critically on the past and understand, where things were working where things weren't and, and to tell the story in an honest way. MANYA: Though the communities are gone, there has been an effort to restore the evidence of Jewish life. Under Abdel Fattah Al-Sisi, Egypt's president since 2014, there have been initiatives to restore and protect synagogues and cemeteries, including Eliyahu Hanavi Synagogue in Alexandria, Maimonides' original yeshiva in old Cairo, and Cairo's vast Jewish cemetery at Bassatine. But André is unmoved by this gesture. ANDRÉ: In fact, I got a call from the Egyptian ambassador to my house here, saying, ‘We're fixing the temples and the synagogues, and we want you back.' ‘Oh, that's very nice. First of all,' I told him, ‘fixing the synagogues doesn't do anything for me because I'm not a religious Jew. And second of all, I would be more than willing to come back to Egypt, when you give me my money back.' He never called me again. MANYA: Anytime the conversation about reparations comes up, it is overshadowed by the demand for reparations for Palestinians displaced by the creation of Israel, even though their leaders have rejected all offers for a Palestinian state. André wishes the Arab countries that have attacked Israel time and again would invest that money in the welfare of Palestinian refugees, help them start new lives, and to thrive instead of using them as pawns in a futile battle.  He will always be grateful to HIAS, the Hebrew Immigrant Aid Society, for helping his family escape, resettle, and rebuild their lives. ANDRÉ: We've made new lives for ourselves. We've moved on, and I think this is what Jews do all the time, all the time. They arrive or they're displaced, kicked out, they refashion themselves. Anytime I can help a Jew I will. Because they've helped me, because it's the right thing to do for a Jew. If a Jew does not help another Jew, what kind of a Jew are you? I mean, you could be a nonreligious Jew as I am, but I am still Jewish.  And I realize that we are a people that has historically suffered a great deal, because we were oppressed forever, and we might be oppressed again. Who knows, ok? But we help each other, and I don't want to break that chain. MANYA: Egyptian Jews are just one of the many Jewish communities who in the last century left Arab countries to forge new lives for themselves and future generations. Join us next week as we share another untold story of The Forgotten Exodus. Many thanks to André for sharing his story. You can read more in his memoir Out of Egypt and eventually in the sequel which he's working on now about his family's life in Italy after they left Egypt and before they came to America.  Does your family have roots in North Africa or the Middle East? One of the goals of this series is to make sure we gather these stories before they are lost. Too many times during my reporting, I encountered children and grandchildren who didn't have the answers to my questions because they had never asked. That's why one of the goals of this project is to encourage you to find more of these stories.  Call The Forgotten Exodus hotline. Tell us where your family is from and something you'd like for our listeners to know such as how you've tried to keep the traditions alive and memories alive as well. Call 212.891-1336 and leave a message of 2 minutes or less. Be sure to leave your name and where you live now. You can also send an email to theforgottenexodus@ajc.org and we'll be in touch. Atara Lakritz is our producer, CucHuong Do is our production manager. T.K. Broderick is our sound engineer. Special thanks to Jon Schweitzer, Sean Savage, Ian Kaplan, and so many of our colleagues, too many to name really, for making this series possible. And extra special thanks to David Harris, who has been a constant champion for making sure these stories do not remain untold. You can follow The Forgotten Exodus on Apple Podcasts, Spotify, or wherever you listen to podcasts, and you can sign up to receive updates at AJC.org/forgottenexodussignup. The views and opinions of our guests don't necessarily reflect the positions of AJC.  You can reach us at theforgottenexodus@ajc.org. If you've enjoyed this episode, please be sure to spread the word, and hop onto Apple Podcasts to rate us and write a review to help more listeners find us.

In the first half of the 20th century, Egypt went through profound social and political upheavals culminating in the rise of President Gamal Abdel Nasser and his campaign of Arabization, creating an oppressive atmosphere for the country's Jews, and leading almost all to flee or be kicked out of the country. Hear the personal story of award-winning author André Aciman as he recounts the heart-wrenching details of the pervasive antisemitism during his childhood in Alexandria and his family's expulsion in 1965, which he wrote about in his memoir Out of Egypt, and also inspired his novel Call Me by Your Name.  Joining Aciman is Deborah Starr, a professor of Near Eastern and Jewish Studies at Cornell University, who chronicles the history of Egypt's Jewish community that dates back millennia, and the events that led to their erasure from Egypt's collective memory. Aciman's modern-day Jewish exodus story is one that touches on identity, belonging, and nationality: Where is your home when you become a refugee at age 14? ___ Show notes: Sign up to receive podcast updates here. Learn more about the series here. Song credits:  Rampi Rampi, Aksaray'in Taslari, Bir Demet Yasemen by Turku, Nomads of the Silk Road Pond5:  “Desert Caravans”: Publisher: Pond5 Publishing Beta (BMI), Composer: Tiemur Zarobov (BMI), IPI#1098108837 “Sentimental Oud Middle Eastern”: Publisher: Pond5 Publishing Beta (BMI), Composer: Sotirios Bakas (BMI), IPI#797324989. “Frontiers”: Publisher: Pond5 Publishing Beta (BMI); Composer: Pete Checkley (BMI), IPI#380407375 “Adventures in the East”: Publisher: Pond5 Publishing Beta (BMI) Composer: Petar Milinkovic (BMI), IPI#00738313833. “Middle Eastern Arabic Oud”: Publisher: Pond5 Publishing Beta (BMI); Composer: Sotirios Bakas (BMI), IPI#797324989 ___ Episode Transcript: ANDRÉ ACIMAN: I've lived in New York for 50 years. Is it my home? Not really. But Egypt was never going to be my home. It had become oppressive to be Jewish. MANYA BRACHEAR PASHMAN: The world has overlooked an important episode in modern history: the 800,000 Jews who left or were driven from their homes in Arab nations and Iran in the mid-20th century. This series, brought to you by American Jewish Committee, explores that pivotal moment in Jewish history and the rich Jewish heritage of Iran and Arab nations as some begin to build relations with Israel. I'm your host, Manya Brachear Pashman. Join us as we explore family histories and personal stories of courage, perseverance, and resilience.  This is The Forgotten Exodus. Today's episode: leaving Egypt. Author André Aciman can't stand Passover Seders. They are long and tedious. Everyone gets hungry long before it's time to eat. It's also an unwelcome reminder of when André was 14 and his family was forced to leave Egypt – the only home he had ever known. On their last night there, he recounts his family gathered for one last Seder in his birthplace. ANDRÉ: By the time I was saying goodbye, the country, Egypt, had essentially become sort of Judenrein.  MANYA:  Judenrein is the term of Nazi origin meaning “free of Jews”. Most, if not all of the Jews, had already left. ANDRÉ: By the time we were kicked out, we were kicked out literally from Egypt, my parents had already had a life in Egypt. My mother was born in Egypt, she had been wealthy. My father became wealthy. And of course, they had a way of living life that they knew they were abandoning. They had no idea what was awaiting them. They knew it was going to be different, but they had no sense. I, for one, being younger, I just couldn't wait to leave. Because it had become oppressive to be Jewish. As far as I was concerned, it was goodbye. Thank you very much. I'm going. MANYA: André Aciman is best known as the author whose novel inspired the Oscar-winning film Call Me By Your Name – which is as much a tale of coming to terms with being Jewish and a minority, as it is an exquisite coming of age love story set in a villa on the Italian Riviera.  What readers and moviegoers didn't know is that the Italian villa is just a stand-in. The story's setting– its distant surf, serpentine architecture, and lush gardens where Elio and Oliver's romance blooms and Elio's spiritual awakening unfolds – is an ode to André's lost home, the coastal Egyptian city of Alexandria.  There, three generations of his Sephardic family had rebuilt the lives they left behind elsewhere as the Ottoman Empire crumbled, two world wars unfolded, a Jewish homeland was born, and nationalistic fervor swept across the Arab world and North Africa. There, in Alexandria, his family had enjoyed a cosmopolitan city and vibrant Jewish home. Until they couldn't and had to leave.  ANDRÉ: I would be lying if I said that I didn't project many things lost into my novels. In other words, to be able to re-experience the beach, I created a beach house. And that beach house has become, as you know, quite famous around the world. But it was really a portrait of the beach house that we had lost in Egypt.  And many things like that, I pilfer from my imagined past and dump into my books. And people always tell me, ‘God, you captured Italy so well.' Actually, that was not Italy, I hate to tell you. It was my reimagined or reinvented Egypt transposed into Italy and made to come alive again. MANYA: Before he penned Call Me By Your Name, André wrote his first book, Out of Egypt, a touching memoir about his family's picturesque life in Alexandria, the underlying anxiety that it could always vanish and how, under the nationalization effort led by Egypt's President Gamel Abdel Nassar, it did vanish. The memoir ends with the events surrounding the family's last Passover Seder before they say farewell.   ANDRÉ: This was part of the program of President Nasser, which was to take, particularly Alexandria, and turn it into an Egyptian city, sort of, purified of all European influences. And it worked.  As, by the way, and this is the biggest tragedy that happens to, particularly to Jews, is when a culture decides to expunge its Jews or to remove them in one way or another, it succeeds. It does succeed. You have a sense that it is possible for a culture to remove an entire population. And this is part of the Jewish experience to accept that this happens. MANYA: Egypt did not just expunge its Jewish community. It managed to erase Jews from the nation's collective memory. Only recently have people begun to rediscover the centuries of rich Jewish history in Egypt, including native Egyptian Jews dating back millennia. In addition, Egypt became a destination for Jews expelled from Spain in the 15th Century. And after the Suez Canal opened in 1869, a wave of more Jews came from the Ottoman Empire, Italy, and Greece. And at the end of the 19th Century, Ashkenazi Jews arrived, fleeing from European pogroms. DEBORAH STARR: The Jewish community in Egypt was very diverse. The longest standing community in Egypt would have been Arabic speaking Jews, we would say now Mizrahi Jews. MANYA: That's Deborah Starr, Professor of Modern Arabic and Hebrew Literature and Film at Cornell University. Her studies of cosmopolitan Egypt through a lens of literature and cinema have given her a unique window into how Jews arrived and left Egypt and how that history has been portrayed. She says Jews had a long history in Egypt through the Islamic period and a small population remained in the 19th century. Then a wave of immigration came. DEBORAH: We have an economic boom in Egypt. Jews start coming from around the Ottoman Empire, from around the Mediterranean, emigrating to Egypt from across North Africa. And so, from around 5,000 Jews in the middle of the 19th century, by the middle of the 20th century, at its peak, the Egyptian Jews numbered somewhere between 75 and 80,000. So, it was a significant increase, and you know, much more so than just the birth rate would explain. MANYA: André's family was part of that wave, having endured a series of exiles from Spain, Italy, and Turkey, before reaching Egypt. DEBORAH: Egypt has its independence movement, the 1919 revolution, which is characterized by this discourse of coexistence, that ‘we're all in this together.' There are images of Muslims and Christians marching together.  Jews were also supportive of this movement. There's this real sense of a plurality, of a pluralist society in Egypt, that's really evident in the ways that this movement is characterized. The interwar period is really this very vibrant time in Egyptian culture, but also this time of significant transition in its relationship to the British in the various movements, political movements that emerge in this period, and movements that will have a huge impact on the fate of the Jews of Egypt in the coming decades. MANYA: One of those movements was Zionism, the movement to establish a Jewish state in the biblical homeland of the Jews. In 1917, during the First World War, the British government occupying Egypt at the time, issued a public statement of support for the establishment of a "national home for the Jewish people" in Palestine, still an Ottoman region with a small minority Jewish population. That statement became known as the Balfour Declaration. DEBORAH: There was certainly evidence of a certain excitement about the Balfour Declaration of 1917. A certain amount of general support for the idea that Jews are going to live there, but not a whole lot of movement themselves. But we also have these really interesting examples of people who were on the record as supporting, of seeing themselves as Egyptians, as part of the anti-colonial Egyptian nationalism, who also gave financial support to the Jewish project in Palestine. And so, so there wasn't this sense of—you can't be one or the other. There wasn't this radical split. MANYA: Another movement unfolding simultaneously was the impulse to reclaim Egypt's independence, not just in legal terms – Egypt had technically gained independence from the British in 1922 – but suddenly what it meant to be Egyptian was defined against this foreign colonial power that had imposed its will on Egypt for years and still maintained a significant presence. DEBORAH: We also see moves within Egypt, toward the ‘Egyptianization' of companies or laws that start saying, we want to, we want to give priority to our citizens, because the economy had been so dominated by either foreigners or people who were local but had foreign nationality. And this begins to disproportionately affect the Jews.  Because so many of the Jews, you know, had been immigrants a generation or two earlier, some of them had either achieved protected status or, you know, arrived with papers from, from one or another of these European powers. MANYA: In 1929, Egypt adopted its first law giving citizenship to its residents. But it was not universally applied. By this time, the conflict in Palestine and the rise of Zionism had shifted how the Egyptian establishment viewed Jews.   DEBORAH: Particularly the Jews who had lived there for a really long time, some of whom were among the lower classes, who didn't travel to Europe every summer and didn't need papers to prove their citizenship, by the time they started seeing that it was worthwhile for them to get citizenship, it was harder for Jews to be approved. So, by the end, we do have a pretty substantial number of Jews who end up stateless. MANYA: Stateless. But not for long. In 1948, the Jewish state declared independence. In response, King Farouk of Egypt joined four other Arab nations in declaring war on the newly formed nation. And they lost.  The Arab nations' stunning defeat in that first Arab-Israeli War sparked a clandestine movement to overthrow the Egyptian monarchy, which was still seen as being in the pocket of the British. One of the orchestrators of that plot, known as the Free Officers Movement, was Col. Gamel Abdel Nassar. In 1952, a coup sent King Farouk on his way to Italy and Nassar eventually emerged as president. The official position of the Nassar regime was one of tolerance for the Jews. But that didn't always seem to be the case. DEBORAH: Between 1948 and ‘52, you do have a notable number of Jews who leave Egypt at this point who see the writing on the wall. Maybe they don't have very deep roots in Egypt, they've only been there for one or two generations, they have another nationality, they have someplace to go. About a third of the Jews who leave Egypt in the middle of the 20th century go to Europe, France, particularly. To a certain extent Italy. About a third go to the Americas, and about a third go to Israel. And among those who go to Israel, it's largely those who end up stateless. They have no place else to go because of those nationality laws that I mentioned earlier, have no choice but to go to Israel. MANYA: Those who stayed became especially vulnerable to the Nassar regime's sequestration of businesses. Then in 1956, Egypt nationalized the Suez Canal, a 120-mile-long waterway that connected the Mediterranean Sea to the Indian Ocean by way of the Red Sea – that same waterway that created opportunities for migration in the region a century earlier. DEBORAH: The real watershed moment is the 1956 Suez conflict. Israel, in collaboration with France, and Great Britain attacks Egypt, the conflict breaks out, you know, the French and the British come into the war on the side of the Israelis. And each of the powers has their own reasons for wanting, I mean, Nasser's threatening Israeli shipping, and, threatening the security of Israel, the French and the British, again, have their own reasons for trying to either take back the canal, or, just at least bring Nassar down a peg. MANYA: At war with France and Britain, Egypt targeted and expelled anyone with French and British nationality, including many Jews, but not exclusively. DEBORAH: But this is also the moment where I think there's a big pivot in how Jews feel about being in Egypt. And so, we start seeing larger waves of emigration, after 1956. So, this is really sort of the peak of the wave of emigration.  MANYA: André's family stayed. They already had endured a series of exiles. His father, an aspiring writer who copied passages by Marcel Proust into his diary, had set that dream aside to open a textile factory, rebuild from nothing what the family had lost elsewhere, and prepare young André to eventually take over the family business. He wasn't about to walk away from the family fortune – again. DEBORAH: André Aciman's story is quite, as I said, the majority of the Jewish community leaves in the aftermath of 1956. And his family stays a lot longer. So, he has incredible insights into what happens over that period, where the community has already significantly diminished. MANYA: Indeed, over the next nine years, the situation worsened. The Egyptian government took his father's factory, monitored their every move, frequently called the house with harassing questions about their whereabouts, or knocked on the door to issue warrants for his father's arrest, only to bring him in for more interrogation. As much as André's father clung to life in Egypt, it was becoming a less viable option with each passing day. ANDRÉ: He knew that the way Egypt was going, there was no room for him, really. And I remember during the last two years, in our last two years in Egypt, there wAs constantly references to the fact that we were going to go, this was not lasting, you know, what are we going to do? Where do we think we should go? And so on and so forth. So, this was a constant sort of conversation we were having. MANYA: Meanwhile, young André encountered a level of antisemitism that scarred him deeply and shaped his perception of how the world perceives Jews. ANDRÉ: It was oppressive in good part because people started throwing stones in the streets. So, there was a sense of ‘Get out of here. We don't want you here.' MANYA: It was in the streets and in the schools, which were undergoing an Arabization after the end of British rule, making Arabic the new lingua franca and antisemitism the norm. ANDRÉ: There's no question that antisemitism was now rooted in place. In my school, where I went, I went to a British school, but it had become Egyptian, although they taught English, predominantly English, but we had to take Arabic classes, in sort of social sciences, in history, and in Arabic as well. And in the Arabic class, which I took for many years, I had to study poems that were fundamentally anti-Jewish. Not just anti-Israeli, which is a big distinction that people like to make, it doesn't stick. I was reading and reciting poems that were against me. And the typical cartoon for a Jew was a man with a beard, big tummy, hook nose, and I knew ‘This is really me, isn't it? OK.' And so you look at yourself with a saber, right, running through it with an Egyptian flag. And I'll never forget this. This was, basically I was told that this is something I had to learn and accept and side with – by the teachers, and by the books themselves.  And the irony of the whole thing is that one of the best tutors we had, was actually the headmaster of the Jewish school. He was Jewish in very sort of—very Orthodox himself. And he was teaching me how to recite those poems that were anti-Jewish. And of course, he had to do it with a straight face. MANYA: One by one, Jewish neighbors lost their livelihoods and unable to overcome the stigma, packed their bags and left. In his memoir, André recalls how prior to each family's departure, the smell of leather lingered in their homes from the dozens of suitcases they had begun to pack. By 1965, the smell of leather began to waft through André's home. ANDRÉ: Eventually, one morning, or one afternoon, I came back from school. And my father said to me, ‘You know, they don't want us here anymore.' Those were exactly the words he used. ‘They don't want us here.' I said, ‘What do you mean?' ‘Well, they've expelled us.'  And I was expelled with my mother and my brother, sooner than my father was. So, we had to leave the country. We realized we were being expelled, maybe in spring, and we left in May. And so, for about a month or so, the house was a mess because there were suitcases everywhere, and people. My mother was packing constantly, constantly. But we knew we were going to go to Italy, we knew we had an uncle in Italy who was going to host us, or at least make life livable for us when we arrived. We had obtained Italian papers, obtained through various means. I mean, whatever. They're not exactly legitimate ways of getting a citizenship, but it was given to my father, and he took it. And we changed our last name from Ajiman, which is how it was pronounced, to Aciman because the Italians saw the C and assumed it was that. My father had some money in Europe already. So that was going to help us survive. But we knew my mother and I and my brother, that we were now sort of functionally poor. MANYA: In hindsight, André now knows the family's expulsion at that time was the best thing that could have happened. Two years later, Israel trounced Egypt in the Six-Day War, nearly destroying the Egyptian Air Force, taking control of the Gaza Strip and the entire Sinai Peninsula, as well as territory from Egypt's allies in the conflict, Syria and Jordan. The few remaining Jews in Egypt were sent to internment camps, including the chief rabbis of Cairo and Alexandria and the family of one of André's schoolmates whose father was badly beaten. After three years in Italy, André's family joined his mother's sister in America, confirming once and for all that their life in Egypt was gone. ANDRÉ: I think there was a kind of declaration of their condition. In other words, they never overcame the fact that they had lost a way of life. And of course, the means to sustain that life was totally taken away, because they were nationalized, and had their property sequestered, everything was taken away from them. So, they were tossed into the wild sea. My mother basically knew how to shut the book on Egypt, she stopped thinking about Egypt, she was an American now. She was very happy to have become a citizen of the United States.  Whereas my father, who basically was the one who had lost more than she had, because he had built his own fortune himself, never overcame it. And so, he led a life of the exile who continues to go to places and to restaurants that are costly, but that he can still manage to afford if he watches himself. So, he never took cabs, he always took the bus. Then he lived a pauper's life, but with good clothing, because he still had all his clothing from his tailor in Egypt. But it was a bit of a production, a performance for him.  MANYA: André's father missed the life he had in Egypt. André longs for the life he could've had there. ANDRÉ: I was going to study in England, I was going to come back to Egypt, I was going to own the factory. This was kind of inscribed in my genes at that point. And of course, you give up that, as I like to say, and I've written about this many times, is that whatever you lose, or whatever never happened, continues to sort of sub-exist somewhere in your mind. In other words, it's something that has been taken away from you, even though it never existed.  MANYA: But like his mother, André moved on. In fact, he says moving on is part of the Jewish experience. Married with sons of his own, he now is a distinguished professor at the Graduate Center of City University of New York, teaching the history of literary theory. He is also one of the foremost experts on Marcel Proust, that French novelist whose passages his father once transcribed in his diaries. André's own novels and anthologies have won awards and inspired Academy Award-winning screenplays. Like Israel opened its doors and welcomed all of those stateless Egyptian Jews, America opened doors for André. Going to college in the Bronx after growing up in Egypt and Italy? That introduced him to being openly Jewish.  ANDRÉ: I went to Lehman College, as an undergraduate, I came to the States in September. I came too late to go to college, but I went to an event at that college in October or November, and already people were telling me they were Jewish.  You know, ‘I'm Jewish, and this and that,' and, and so I felt ‘Oh, God, it's like, you mean people can be natural about their Judaism? And so, I began saying to people, ‘I'm Jewish, too,' or I would no longer feel this sense of hiding my Jewishness, which came when I came to America. Not before. Not in Italy. Not in Egypt certainly. But the experience of being in a place that was fundamentally all Jewish, like being in the Bronx in 1968, was mind opening for me, it was: I can let everything down, I can be Jewish like everybody else. It's no longer a secret. I don't have to pretend that I was a Protestant when I didn't even know what kind of Protestant I was. As a person growing up in an antisemitic environment. You have many guards, guardrails in place, so you know how not to let it out this way, or that way or this other way. You don't speak about matzah. You don't speak about charoset. You don't speak about anything, so as to prevent yourself from giving out that you're Jewish. MANYA: Though the doors had been flung open and it felt much safer to be openly Jewish, André to this day cannot forget the antisemitism that poisoned his formative years. ANDRÉ: I assume that everybody's antisemitic at some point. It is very difficult to meet someone who is not Jewish, who, after they've had many drinks, will not turn out to be slightly more antisemitic than you expected. It is there. It's culturally dominant. And so, you have to live with this. As my grandmother used to say, I'm just giving this person time until I discover how antisemitic they are. It was always a question of time. MANYA: His family's various displacements and scattered roots in Spain, Turkey, Egypt, Italy, and now America, have led him to question his identity and what he calls home. ANDRÉ: I live with this sense of: I don't know where I belong. I don't know who I am. I don't know any of those things. What's my flag? I have no idea. Where's my home? I don't know. I live in New York. I've lived in New York for 50 years. Is it my home? Not really. But Egypt was never going to be my home. MANYA: André knew when he was leaving Egypt that he would one day write a book about the experience. He knew he should take notes, but never did. And like his father, he started a diary, but it was lost. He started another in 1969.  After completing his dissertation, he began to write book reviews for Commentary, a monthly American magazine on religion, Judaism and politics founded and published, at the time, by American Jewish Committee.  The editor suggested André write something personal, and that was the beginning of Out of Egypt. In fact, three chapters of his memoir, including The Last Seder, appeared in Commentary before it was published as a book in 1994.  André returned to Egypt shortly after its release. But he has not been back since, even though his sons want to accompany him on a trip. ANDRÉ: They want to go back, because they want to go back with me. Question is, I don't want to put them in danger. You never know. You never know how people will react to . . . I mean, I'll go back as a writer who wrote about Egypt and was Jewish. And who knows what awaits me? Whether it will be friendly, will it be icy and chilly. Or will it be hostile? I don't know. And I don't want to put myself there. In other words, the view of the Jews has changed. It went to friendly, to enemy, to friendly, enemy, enemy, friendly, and so on, so forth. In other words, it is a fundamentally unreliable situation.  MANYA: He also doesn't see the point. It's impossible to recapture the past. The pictures he sees don't look familiar and the people he used to know with affection have died. But he doesn't want the past to be forgotten. None of it. He wants the world to remember the vibrant Jewish life that existed in Cairo and Alexandria, as well as the vile hatred that drove all but a handful of Jews out of Egypt. Cornell Professor Deborah Starr says for the first time in many years, young Egyptians are asking tough questions about the Arabization of Egyptian society and how that affected Egyptian Jews. Perhaps, Israel and Zionism did not siphon Jewish communities from the Arab world as the story often goes. Perhaps instead, Israel offered a critical refuge for a persecuted community. DEBORAH: I think it's really important to tell the stories of Mizrahi Jews. I think that, particularly here we are speaking in English to an American audience, where the majority of Jews in North America are Ashkenazi, we have our own identity, we have our own stories. But there are also other stories that are really interesting to tell, and are part of the history of Jews in the 20th and 21st centuries. They're part of the Jewish experience. And so that's some of what has always motivated me in my research, and looking at the stories of coexistence among Jews and their neighbors in Egypt. MANYA: Professor Starr says the rise of Islamist forces like the Muslim Brotherhood has led Egyptians to harken back toward this period of tolerance and coexistence, evoking a sense of nostalgia. DEBORAH: The people are no longer living together. But it's worth remembering that past, it's worth reflecting on it in an honest way, and not, to look at the nostalgia and say: oh, look, these people are nostalgic about it, what is it that they're nostalgic for? What are some of the motivations for that nostalgia? How are they characterizing this experience? But also to look kind of critically on the past and understand, where things were working where things weren't and, and to tell the story in an honest way. MANYA: Though the communities are gone, there has been an effort to restore the evidence of Jewish life. Under Abdel Fattah Al-Sisi, Egypt's president since 2014, there have been initiatives to restore and protect synagogues and cemeteries, including Eliyahu Hanavi Synagogue in Alexandria, Maimonides' original yeshiva in old Cairo, and Cairo's vast Jewish cemetery at Bassatine. But André is unmoved by this gesture. ANDRÉ: In fact, I got a call from the Egyptian ambassador to my house here, saying, ‘We're fixing the temples and the synagogues, and we want you back.' ‘Oh, that's very nice. First of all,' I told him, ‘fixing the synagogues doesn't do anything for me because I'm not a religious Jew. And second of all, I would be more than willing to come back to Egypt, when you give me my money back.' He never called me again. MANYA: Anytime the conversation about reparations comes up, it is overshadowed by the demand for reparations for Palestinians displaced by the creation of Israel, even though their leaders have rejected all offers for a Palestinian state. André wishes the Arab countries that have attacked Israel time and again would invest that money in the welfare of Palestinian refugees, help them start new lives, and to thrive instead of using them as pawns in a futile battle.  He will always be grateful to HIAS, the Hebrew Immigrant Aid Society, for helping his family escape, resettle, and rebuild their lives. ANDRÉ: We've made new lives for ourselves. We've moved on, and I think this is what Jews do all the time, all the time. They arrive or they're displaced, kicked out, they refashion themselves. Anytime I can help a Jew I will. Because they've helped me, because it's the right thing to do for a Jew. If a Jew does not help another Jew, what kind of a Jew are you? I mean, you could be a nonreligious Jew as I am, but I am still Jewish.  And I realize that we are a people that has historically suffered a great deal, because we were oppressed forever, and we might be oppressed again. Who knows, ok? But we help each other, and I don't want to break that chain. MANYA: Egyptian Jews are just one of the many Jewish communities who in the last century left Arab countries to forge new lives for themselves and future generations. Join us next week as we share another untold story of The Forgotten Exodus. Many thanks to André for sharing his story. You can read more in his memoir Out of Egypt and eventually in the sequel which he's working on now about his family's life in Italy after they left Egypt and before they came to America.  Does your family have roots in North Africa or the Middle East? One of the goals of this series is to make sure we gather these stories before they are lost. Too many times during my reporting, I encountered children and grandchildren who didn't have the answers to my questions because they had never asked. That's why one of the goals of this project is to encourage you to find more of these stories.  Call The Forgotten Exodus hotline. Tell us where your family is from and something you'd like for our listeners to know such as how you've tried to keep the traditions alive and memories alive as well. Call 212.891-1336 and leave a message of 2 minutes or less. Be sure to leave your name and where you live now. You can also send an email to theforgottenexodus@ajc.org and we'll be in touch. Atara Lakritz is our producer, CucHuong Do is our production manager. T.K. Broderick is our sound engineer. Special thanks to Jon Schweitzer, Sean Savage, Ian Kaplan, and so many of our colleagues, too many to name really, for making this series possible. And extra special thanks to David Harris, who has been a constant champion for making sure these stories do not remain untold. You can follow The Forgotten Exodus on Apple Podcasts, Spotify, or wherever you listen to podcasts, and you can sign up to receive updates at AJC.org/forgottenexodussignup. The views and opinions of our guests don't necessarily reflect the positions of AJC.  You can reach us at theforgottenexodus@ajc.org. If you've enjoyed this episode, please be sure to spread the word, and hop onto Apple Podcasts to rate us and write a review to help more listeners find us.

En el primer episodio de la serie BNI Presenta: Be Kind and Rewind, Xime revisita la pelicula Call Me By Your Name de Luca Guadagnino de 2017. Ganadora del Oscar a mejor guion adaptado, Call me by your Name es la adaptacion de la novela homonima de André Aciman de 2007. Es un coming of Age, romántico y dramático que se ubica en los primeros años de la década de los 80, en un pueblo al norte de Italia. Es aquí, donde se relata la historia de amor que surge entre Elio Perlman (Timothée Chalamet) y Oliver (Armie Hammer) un estudiante de intercambio y asistente del papá de Oliver, quien es un profesor de arqueología.    Te invitamos a subscribirte a nuestro podcast, califícanos y déjanos una reseña de tu experiencia desde la plataforma en donde nos escuches.    ¡Pasa la voz! Comparte este podcast con tus amigos o cercanos qué gusten de la cultura POP enfocado al cine y la televisión.    Envía tus comentarios, feedback o preguntas a: bateriasnoincluidaspodcast@gmail.com Por favor incluye tu nombre completo y ubicación geográfica en caso de qué mencionemos tu mensaje al aire.    Síguenos en nuestras redes sociales: Instagram.com/bateriaspodcast   Twitter.com/bateriaspodcast   Facebook.com/bateriaspodcast

Várias sensibilidades se juntaram em uma tempestade perfeita para produzir esse belíssimo filme. O resultado não poderia ter sido melhor: situações e personagens autênticos; fotografia e direção de arte impecáveis; atuações totalmente entregues; roteiro adaptado superior à obra original (Oscarizado inclusive); direção magistral de Luca Guadagnino. Naturalmente tivemos uma deleitosa e enriquecedora discussão sobre primeiro amor, identidade, fluidez sexual, ritos de passagem, pêssegos, relação tutor/aprendiz, e muito mais. Editado de forma brilhante e concisa pelo Thiagão Vergara, a expectativa é de deixar o ouvinte não só feliz e satisfeito, mas querendo um pouco mais. Envie um email a saladeprojecaopodcast@gmail.com ou mande mensagem em nossas redes sociais e continuaremos a discussão com prazer. Ficha do Filme: Me Chame pelo seu Nome (Call me by your Name), 2017. Direção: Luca Guadagnino. Roteiro: James Ivory, adaptado do romance homônimo de André Aciman. Elenco: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois. 132 min. Itália, EUA, França. -- Créditos: Ilustração: Felipe Sobreiro Edição e Identidade Visual: Thiago Vergara - thiagoverg@gmail.com Música de Introdução: https://www.bensound.com -- Músicas do Filme Germination (Ryuichi Sakamoto) Hallelujah Junction, 1st movement (John Adams) Lady Lady Lady (Giorgio Moroder e Joe Esposito) Love My Way (The Psychedelic Furs) Mystery of Love (Sufjan Stevens) Sonatine bureaucratique (Frank Glazer plays) Visions Of Gideon (Sufjan Stevens) -- Música de Crédito ao Editor I'm Waiting For The Man (The Velvet Underground)

André Aciman is the NY Times best-selling author of nine titles including Call Me By Your Name, which was made into an Oscar winning film, Out of Egypt, Eight White Nights, and his latest collection of essays, Homo Irrealis. Edmund de Waal, CBE,  is a contemporary English artist, master potter and NY times best-selling author. His most notable titles are The Hare with Amber Eyes (awarded the Costa Book Award for Biography, Royal Society of Literature Ondaatje Prize, and Windham–Campbell Literature Prize for Non-Fiction); The White Road, and most recently, Letters to Camondo. André and Edmund engage in a passionate discussion about their lives, creative process and the challenges of capturing their family histories for readers. They cover it all, from Penthouse to Proust.

Welcome to DEATH BY ADAPTATION, a bi-weekly book club where we choose one classic book and compare and contrast it against its cinematic adaptations. In this episode, we discuss one of the most beloved LGBT coming-of-age romances: André Aciman's CALL ME BY YOUR NAME, and Luca Guadagnino's 2017 adaptation. We talk about the cathartic power of art, the complexities of desire and love, and the absolute mess that is the 2019 sequel book FIND ME. Host: Nicolò Grasso Featuring: Carson Timar Music: "The Jazz Piano" Royalty Free Music from Bensound, Remix by Nicolò Grasso Follow the Death by Adaptation podcast on Twitter (@DeathAdaptation) and Instagram (@DeathByAdaptationPod). Go listen to the Uncut Gems podcast, which now has its own Patreon page with bonus tie-in episodes and retrospectives.

Bentornati in Bookatini - il podcast per chi è ghiotto di libri. L'episodio 28 è dedicato ai libri a tema “Era meglio il libro?” - adattamenti cinematografici ben riusciti. Nell'episodio di oggi abbiamo chiacchierato di questi libri e di questi film: -Camera con vista, di E.M.Forster, Mondadori editoreFILM: Camera con vista, di James Ivory-Le relazioni pericolose, di Choderlos de Laclos, Feltrinelli editoreFILM: Le relazioni pericolose, di Stephen Frears-Shutter island, di Dennis Lehane, Longanesi editoreFILM: L'isola della paura, di Martin Scorsese-Un giorno, di David Nicholls, Neri Pozza editoreFILM: One day, di Lone SherfigAltri libri e film citati:-Chiamami col tuo nome, di André Aciman, Guanda editoreChiamami col tuo nome, di James Ivory-Mystic river, di Dennis Lehane, TEA editoreMystic river, di Clint Eastwood-La casa buia, di Dennis Lehane Piemme editoreGone Baby Gone diretto da Ben AffleckValmont, diretto da Milos Forman-Il talento di Mr. Ripley, di Patricia Highsmith, La nave di Teseo editoreIl talento di Mr. Ripley, di Anthony Minghella-Molto rumore per nulla, di William Shakespeare, Feltrinelli editoreMolto rumore per nulla, di Kenneth BranaghPotete contattarci, scrivere commenti, suggerimenti, domande e condividete con noi le vostre letture su questo tema contattandoci nella pagina Instagram Bookatini_podcast, dove potete trovare anche le nostre live, in onda a mercoledì alterni La sigla di Bookatini è scritta e suonata da Andrea Cerea

Wherein Beth and Matt gather themselves and approach their second viewing, ponder Francis' liberation, and contemplate the eternal mingling of Hannibal and Will's molecules. We also take side trips to Sicily, Wuthering Heights, and Stonehenge (where the demons dwell). Luc Besson's Leon the Professional The Final Scene from Georges Lautner's The Professional The entirety of Georges Lautner's The Professional This is Spinal Tap's Stonehenge scene An academic discussion of Erice by Aaron Sterngass "Elm Street is Burning" by Bryan Fuller Montaigne's "Of Friendship" Emily Brontë's Wuthering Heights at Project Gutenberg Kate Bush's "Wuthering Heights" (our closing song) André Aciman's Call Me By Your Name

‘Historias de amor en la literatura'. Patricia del Río conversa con diversos personajes del medio periodístico, literario y editorial acerca de cuáles son aquellas novelas o expresiones de amor reflejadas en la ficción literaria o en la realidad que trascienden todos los tiempos. Hoy nos acompañan Carlos Enrique Freyre, Gaby Cevasco, Melissa Ghezzi, Rafaella León, Fernando Vivas, Anahí Barrionuevo y Javier Masías. Ellos nos cuentan cuáles son sus novelas favoritas y por qué deberíamos buscarlas. Por su parte, el periodista Diego Pajares nos lleva al mundo del cine y recomienda cuáles son las mejores películas de amor inspiradas en obras literarias; mientras que el crítico literario y gerente de la librería Escena libre, Julio Zavala, nos da algunos alcances de novelas emblemáticas que reflejan el amor desde diversas perspectivas. También rendiremos un homenaje a la poeta y periodista Doris Bayly, quien partió hace poco hacia otro plano. Los libros mencionados en este capítulo son: ‘El amor en los tiempos del cólera', de Gabriel García Márquez; ‘Cartas a una desconocida', de Stefan Zweig; ‘La balada del café triste' y ‘El corazón es un cazador solitario', CarsonMc Cullers; ‘El Principito', de Antoine de Saint-Exupéry; ‘1Q84', de Haruki Murakami; ‘Seda', de Alessandro Baricco; ‘Como agua para chocolate', de Laura Esquivel; ‘Lo que el viento se llevó', de Margaret Mitchell; ‘Orgullo y prejuicio', de Jane Austen; ‘Llámame por tu nombre', de André Aciman; ‘El gran Gatsby', de Scott Fitzgerald; ‘Una letra femenina azul pálido', de Franz Werfel, y ‘La luz difícil', de Tomás Gonzáles. Las canciones que visten el programa son: ‘Hay amores', de Shakira; ‘Happy shiny people', de REM; ‘I got you babe', de Sony and Cher; y ‘María bonita', en la voz de Natalia Lafourcade. Esto y mucho más hoy en Letras en el tiempo a las 7:00 de la noche por RPP Noticias, la voz de todo el Perú. Escúchanos también por rpp.pe y el podcast del programa. Ficha técnica: Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 9 – Tercera temporada

‘Historias de amor en la literatura'. Patricia del Río conversa con diversos personajes del medio periodístico, literario y editorial acerca de cuáles son aquellas novelas o expresiones de amor reflejadas en la ficción literaria o en la realidad que trascienden todos los tiempos. Hoy nos acompañan Carlos Enrique Freyre, Gaby Cevasco, Melissa Ghezzi, Rafaella León, Fernando Vivas, Anahí Barrionuevo y Javier Masías. Ellos nos cuentan cuáles son sus novelas favoritas y por qué deberíamos buscarlas. Por su parte, el periodista Diego Pajares nos lleva al mundo del cine y recomienda cuáles son las mejores películas de amor inspiradas en obras literarias; mientras que el crítico literario y gerente de la librería Escena libre, Julio Zavala, nos da algunos alcances de novelas emblemáticas que reflejan el amor desde diversas perspectivas. También rendiremos un homenaje a la poeta y periodista Doris Bayly, quien partió hace poco hacia otro plano. Los libros mencionados en este capítulo son: ‘El amor en los tiempos del cólera', de Gabriel García Márquez; ‘Cartas a una desconocida', de Stefan Zweig; ‘La balada del café triste' y ‘El corazón es un cazador solitario', CarsonMc Cullers; ‘El Principito', de Antoine de Saint-Exupéry; ‘1Q84', de Haruki Murakami; ‘Seda', de Alessandro Baricco; ‘Como agua para chocolate', de Laura Esquivel; ‘Lo que el viento se llevó', de Margaret Mitchell; ‘Orgullo y prejuicio', de Jane Austen; ‘Llámame por tu nombre', de André Aciman; ‘El gran Gatsby', de Scott Fitzgerald; ‘Una letra femenina azul pálido', de Franz Werfel, y ‘La luz difícil', de Tomás Gonzáles. Las canciones que visten el programa son: ‘Hay amores', de Shakira; ‘Happy shiny people', de REM; ‘I got you babe', de Sony and Cher; y ‘María bonita', en la voz de Natalia Lafourcade. Esto y mucho más hoy en Letras en el tiempo a las 7:00 de la noche por RPP Noticias, la voz de todo el Perú. Escúchanos también por rpp.pe y el podcast del programa. Ficha técnica: Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 9 – Tercera temporada

Irrealis moods are not about the present, past, or future, they are about what might and could have been but never was. In his latest work, Homo Irrealis, André Aciman explores what time means to artists who cannot grasp life in the present. Join his conversation with Michael Vatikiotis to talk about the power of imagination.

Nat and Alli discuss 2017's bisexual romance/coming-of-age film Call Me By Your Name, directed by Luca Guadagnino and written by James Ivory, based on the novel of same name by André Aciman. The conversation ranges from full-frontal nudity and Greco-Roman statuary to the commonplace erasure of bisexual men in contemporary cultural analysis. Follow us on Twitter Snails & Oysters: twitter.com/SnailsOysters Alli Rogers: twitter.com/allinotallie Nat Roberts: twitter.com/GnatRoberts Our theme song is Gumballs by Billy Libby: twitter.com/billylibbymusic And our cover art was designed by Abby Austin: instagram.com/abigailbaustin --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In homage to the BBC's classic Desert Island Discs, the Books to Last Podcast challenges book lovers and readers from all over to select the five books they would take to their mystery remote locale. Tangents and anecdotes likely.This week we are joined by Delima, host of the Pieces of Books podcast and we talk magical realism, parallel worlds, one of my all-time favourite authors, thrillers and romance - enjoy! Guest Details: Podcast: https://open.spotify.com/show/17pfP8JYYQr40KdwOWi5Zi?autoplay=trueTwitter: @pievesofbooks Instagram: @pievesofbooksPodcast:W: https://www.bookstolastpodcast.co.uk/Twitter: @BooksToLastPodInstagram: @BooksToLastPodSpoiler WarningAll Books Discussed:Howl's Moving Castle by Diana Wynne Jones1Q84 by Haruki MurakamiKilling Commendatore by Haruki MurakamiPride and Prejudice by Jane AustenEmma by Jane AustenMansfield Park by Jane AustenPersuasion by Jane AustenHarry Potter and the Half-blood PrinceEverything I Never Told You by Celeste NgFind Me by André AcimanCall Me By Your Name by André Aciman

Subscribe on Apple Podcasts: https://podcasts.apple.com/us/podcast/iliketoread/id1523232250BOOKS MENTIONED:“Every Last Fear” by Alex Finlayhttps://www.goodreads.com/book/show/53138046-every-last-fear?ac=1&from_search=true&qid=rBDxDIuODU&rank=1“No One Is Talking About This” by Patricia Lockwoodhttps://www.goodreads.com/book/show/53733106-no-one-is-talking-about-this?ac=1&from_search=true&qid=7NiCpRJrBs&rank=2“Love Is An Ex-Country” by Randa Jarrarhttps://www.goodreads.com/book/show/54783434-love-is-an-ex-country?ac=1&from_search=true&qid=VOM4ELlUuM&rank=1“Infinite Country” by Patricia Engelhttps://www.goodreads.com/book/show/54303848-infinite-country?ac=1&from_search=true&qid=3A2f74LcMh&rank=1“Homo Irrealis: Essays” by André Aciman https://www.goodreads.com/book/show/53317371-homo-irrealisOnly True Book Lovers Will Score 100% On This Quiz: https://www.buzzfeed.com/farrahpenn/whats-your-book-nerd-score?bfsource=bfocompareonFOLLOW ME ON INSTAGRAM AND GOODREADS @ILIKETOREADPOD TWITTER: @rpolansky77FACEBOOK: https://www.facebook.com/iliketoreadpodMEDIA MAVEN BLOG: https://rpolansky77.wixsite.com/website

Show Notes and Links to Edoardo Ballerini's Work and Allusions/Texts from Episode   On Episode 42, Pete talks with Edoardo Ballerini about a myriad of topics, all revolving around art and creativity in some way. They discuss Edoardo's artistic upbringing, language and translation, his writing for film and other forms, his acting, his award-winning narration of audiobooks and newspaper articles, his literary inspiration, and much more. Edoardo Ballerini, described on multiple occasions as “The Golden-Voiced Edoardo Ballerini,” is a two time winner of the Audiobook Publishers Association's Best Male Narrator Audie Award (2013, Beautiful Ruins, by Edoardo Ballerini; 2019, Watchers by Dean Koontz). He has recorded nearly 300 titles, including classic works by Tolstoy, Dante, Stendhal, Kafka, Calvino, Poe, Emerson, Whitman and Camus, best-sellers by James Patterson and David Baldacci, modern masterpieces by Tom Wolfe, Karl Ove Knausgaard, and André Aciman, and spiritual titles by The Dalai Lama and Thich Nhat Hahn. On screen, Ballerini is best known for his role as junkie "Corky Caporale" on The Sopranos (HBO) and as the star chef in the indie classic Dinner Rush. He has appeared in over 50 films and tv shows, including a series regular role in the critically acclaimed Quarry, (Cinemax)  and recurring roles in Boardwalk Empire (HBO), 24 (Fox) and Elementary (CBS). Ballerini's work as a narrator has garnered international attention. Articles on his work and career have appeared in The New York Times (US), The Guardian (UK), Aftenposten (Norway) and MediaPost (US), among others. In 2019 he recorded Robert Alter's translation of The Hebrew Bible in its entirety. In 2020 he added Leo Tolstoy's War and Peace to his growing list of titles. He is also a two time winner of the Society of Voice Arts Award, and was recently named a “Golden Voice” by AudioFile Magazine, an honorific bestowed to only 35 narrators in the magazine's 20 year history. Other authors Edoardo has voiced include Chuck Palahniuk, Eve Ensler, Carson McCullers, Jay McInerney, Stephen Greenblatt, Jeffrey Deaver, Danielle Steel, Chuck Palahniuk, Louis L'Amour, Adriana Trigiani, Isabel Allende, Stieg Larsson, James Salter, Paul Theroux and Jodi Picoult. Besides narrating audiobooks, Edoardo  is also a regular contributor to Audm, where he narrates the best in long-form journalism for The New York Times, The New Yorker, Vanity Fair, Atlantic Monthly, The London Review of Books, and many other publications. He is a graduate of Wesleyan University and lives in New York. Edoardo Ballerini reads an excerpt from Martin Eden by Jack London Edoardo Ballerini's Personal Website Edoardo Ballerini on Italics-”The Voice of God” Video Edoardo Ballerini Profile in The New York Times: "The Voice of God. (And Knausgaard, Whitman, Machiavelli..." May 13, 2020 Edoardo Ballerini reads Beautiful Ruins, Chapter One-YouTube excerpt -at about 4:35, Edoardo describes his life growing up among family in New York and Milan, as well as growing up with artsy and creative parents and their parents' artistic friends   -at about 6:45, Edoardo talks about his dual identities as Italian-American (or “Italian AND American”), as well as his love of language being fueled by growing up bilingual/multilingual   -at about 9:35, Edoardo talks about his reading interests as a kid, including myths, followed by a “dip away” into math and science, and then a return to poetry in high school and then his interest in being a writer in late adolescence   -at about 11:25, Edoardo talks about the importance of “place” in his writing, acting, and other art   -at about 14:05, Edoardo talks about the literature that has given him “chills at will,” especially the “book that changed [his] life”-Joyce's Ulysses   -at about 17:10, Edoardo talks about being a man of many talents and interests, and he hones in on audiobook narration and the importance and tough balance of being an interprete as an audiobook narrator   -at about 21:05, Edoardo talks about what it means on a daily basis to be a “creative”   -at about 24:25, Edoardo talks about his mom's influence on him as she was a photo historian, especially with regard to him becoming an actor, a visual and literary medium   -at about 25:55, Edoardo talks about his beginnings as an actor   -at about 27:45, Edoardo talks about his beautiful interaction with Aaliyah during the filming of Romeo Must Die   -at about 29:40, Edoardo talks about his run of four episodes on The Sopranos, including the incredible circumstances involved in filming a crucial scene with Michael Imperioli as a relapsing Christopher Moltisanti   -at about 34:45, Edoardo talks about his role as Ignatius D'Alessio in Boardwalk Empire, including how the run ended   -at about 36:25, Edoardo talks about the movie in which he starred and that he directed, Good Night, Valentino   -at about 44:05, Edoardo talks about how he got started as an audiobook narrator about 10 years ago, which coincided with the growth of the iPod, iPhone, Audible.com, etc.   -at about 47:35, Edoardo talks about continuity and recording long books   -at about 49:50, Edoardo talks about “one of the luckiest breaks of [his] life” in getting to narrate (and doing a stellar and award-winning job) Jess Walter's Beautiful Ruins   -at about 54:00, Edoardo talks about his love for Martin Eden by Jack London, the wonderful recent Italian movie adaption, and Edoardo's recording of Martin Eden on audiobook   -at about 1:01:50, Edoardo thrills with a reading from Martin Eden   -at about 1:03:25, Edoardo talks future projects and laughs in response to The New York Times dubbing his voice “The Voice of God…”   You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Spotify and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.

感谢收听“普通读者”的第11期播客节目！ 这一期我们玩了一个从一本书想到另外一本书的书籍接龙小游戏。 书单（按照出现顺序）: Oona Out of Order, by Margarita Montimore; The Midnight Library, by Matt Haig 《海边的卡夫卡》，村上春树 The Uncommon Reader, by Alan Bennett 《书店》，佩内洛普·菲兹杰拉德 Weird Things Customers Say in Bookshops, by Jen Campbell 《焚舟纪》, 安吉拉·卡特 Circe, by Madeline Miller （中译本《喀耳刻》） The Other Bennet Sister, by Janicr Hadlow Fangirl, by Rainbow Rowell（中译本《少女作家的梦和青春》 《Waltz华尔滋》，伊坂幸太郎&大须贺惠（提到电影《蚱蜢》） Call Me by Your Name, by André Aciman（中译本《夏日终曲》） Price of Salt, by Patricia Highsmith（中译本《卡罗尔》） 阿加莎的马普尔小姐系列（这里提到的演员是Geraldine McEwan） 《告白》，凑佳苗 ================= 收听和订阅渠道： 小宇宙App，Apple Podcast, Anchor，Spotify，Pocket Casts， Google Podcast，Breaker， Radiopublic；网易云“普通-读者” 电邮：commonreader@protonmail.com 微博： 普通读者播客 豆瓣：普通读者播客：https://www.douban.com/people/commonreaders/ 片头音乐credit： Flipper's Guitar - 恋とマシンガン- Young, Alive, in Love - 片尾音乐credit：John Bartman - Happy African Village (Music from Pixabay)

Gülşah Özük ve Ayça Yönyül André Aciman'ın 2007 yılında kaleme aldığı Adınla Çağır Beni kitabından yola çıkarak aynı isimle 2017 yılında Luca Guadagnino tarafından beyazperdeye uyarlanan yapımını masaya yatırıyor, kitap mı yoksa film mi daha iyi sorusunu tartışıyorlar.

*SPOILERS* In this episode of WE CAN'T READ we discuss our June book club pick, Call Me By Your Name by André Aciman!  Listen to us chat about the things we loved, found interesting, and analyzed in this iconic novel. Instagram: https://www.instagram.com/wecantreadpodcast/ Some links to our discussion topics and references: https://www.litcharts.com/lit/call-me-by-your-name https://www.poetryfoundation.org/poems/44477/ode-on-a-grecian-urn https://www.goodreads.com/book/show/36336078-call-me-by-your-name?from_search=true&from_srp=true&qid=zXG6jCrTq0&rank=1

What will fans of André Aciman's Call Me By Your Name make of his follow-up novel, Find Me?

Only on the "CBS This Morning" podcast, best-selling author André Aciman of the novel "Call Me By Your Name" joins CBS News' Jamie Wax to discuss the highly-anticipated sequel, "Find Me." This installment of the story picks up 10 years after the original story ends. Aciman shares the real-life interaction he had that inspired him to start writing this book and explains why it's not the sequel that many readers will be expecting. Plus, he shares why film adaptations shouldn't be as explicit as the source material and why he trusted the 'Call Me By Your Name' filmmakers with his story. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

André Aciman takes the intensity, complexity, and variety of his Call Me by Your Name still further in his new novel, Enigma Variations.