Podcasts about Armistead Maupin

I was hungry for language. And stories. And how to tell our stories. That's what this book gave me. But let's not make a Bible out of it.Today we meet Kris Kleindienst and we're talking about the queer book that saved her life: Diving Into The Wreck by Adrienne Rich.Kris is a 72-year old queer lesbian writer, bookseller, and activist. She owns Left Bank Books, a 56-year old progressive bookstore in St. Louis, Missouri. Kris edited a collection of activist essays titled This Is What Lesbian Looks Like: Dyke Activists Take on The 21st Century, published by Firebrand Press and winner of a Lambda Literary Award. She was a gold medal winning and 4-time participant in The Gay Games (also the co-founder of Team St. Louis). She has won multiple awards locally, regionally and nationally for my work with Left Bank Books. She is at work on a memoir about growing up in the 50s-60s with a Lesbian mother. Fun fact: She once got high with Armistead Maupin.Diving into the Wreck: Poems 1971–1972 was Adrienne Rich's seventh book of poetry, an anthology of poems described as provocative and which co-won the 1974 National Book Award for Poetry with Allen Ginsberg's The Fall of America. Adrienne Rich (1929-2012) was an award-winning poet and essayist.Special Limited SeriesThis episode is part of a special limited series of episodes featuring only guests who are owners or staff at LGBTQ bookstores. Airing April-June 2025, these episodes will feature six bookstores across the United States and United Kingdom.Today's guest owns Left Bank Books. Opened in 1969 by a group of graduate students at Washington University who wanted to create a place where one could find all kinds of literature, Left Bank Books is the oldest and largest independently-owned full-line bookstore in St. Louis, Missouri. Open seven days a week, Left Bank Books offers a full-line of new and used books, gifts, cards, toys and services. Learn more and get shopping: left-bank.comConnect with Kriswebsite: left-bank.comfacebook: facebook.com/kleindienstBecome an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: John Parker (learn more about my name change)Executive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Bob Bush, Natalie Cruz, Jonathan Fried, Paul Kaefer, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Terry D., Stephen Flamm, Ida Göteburg, Thomas Michna, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1Join us in helping Lambda Literary raise $20k for The Writers Retreat for Emerging LGBTQ Voices to ensure all writers can attend. Donate here: http://bit.ly/3RjW51aSupport the show

durée : 00:12:34 - L'invité de 7h50 du week-end - L'écrivain américain Armistead Maupin présente son roman “Mona et son manoir” aux éditions de l'Olivier. Il explique pourquoi, dans ce nouveau livre, il quitte les Etats-Unis pour les Cotswolds, au cœur de la légendaire Angleterre.

durée : 03:00:05 - Le 6/9 - par : Ali Baddou, Marion L'hour, Benjamin Dussy, Mathilde Khlat, Elodie Royer - Les invités du 6/9 sont, à 7h50, Armistead Maupin, écrivain américain pour son roman “Mona et son manoir” et à 8h20, le journaliste, écrivain Christophe Boltanski et Rym Momtaz, journaliste et géopolitologue. - réalisé par : Marie MéRIER

Guillaume Gallienne, Raphaël Quenard, Judith Perrignon, Philippe Claudel et Armistead Maupin c'est le programme de la semaine, dans la Grande Librairie !Pour "Le Buveur de brume", Guillaume Gallienne a passé une nuit à la Galerie Nationale où est exposé le portrait de son arrière-grand-mère, la princesse Mélita Cholokachvili, dite Babou.Raphaël Quenard publie "Clamser à Tataouine", un premier roman d'un humour noir très grinçant dans il raconte l'histoire d'un psychopathe pervers, provocateur et gouailleur.Dans "L'Autre Amérique", Judith Perrignon imagine ce qu'auraient été les Etats-Unis sans le 32e président Franklin Delano Roosevelt, qui a changé la trajectoire de son pays et du monde.Philippe Claudel publie "Wanted", une dystopie grinçante et burlesque qui montre les fous devenir plus fous et le réel s'en accommoder.Armistead Maupin, l'auteur des célèbres "Chroniques de San Francisco" est de retour et présente "Mona et son manoir" en exclusivité à "La Grande Librairie".

durée : 00:12:38 - Les Midis de Culture - par : Marie Labory - Les critiques discutent de "Mona et son manoir" d'Armistead Maupin, une suite des "Chroniques de San Francisco" qui plonge ses héros dans la campagne anglaise. Un roman toujours aussi drôle, queer et tendre. - réalisation : Laurence Malonda - invités : Johan Faerber Editeur, essayiste, critique littéraire.; Pierre Benetti co-directeur éditorial du journal En attendant Nadeau

Clare Carlisle's biography of George Eliot, The Marriage Question, is one of my favourite modern biographies, so I was really pleased to interview Clare. We talked about George Eliot as a feminist, the imperfections of her “marriage” to George Henry Lewes, what she learned from Spinoza, having sympathy for Casaubon, contradictions in Eliot's narrative method, her use of negatives, psychoanalysis, Middlemarch, and more. We also talked about biographies of philosophers, Kierkegaard, and Somerset Maugham. I was especially pleased by Clare's answer about the reported decline in student attention spans. Overall I thought this was a great discussion. Many thanks to Clare! Full transcript below. Here is an extract from our discussion about Eliot's narrative ideas.Clare: Yes, that's right. The didactic thing, George Eliot is sometimes criticized for this didacticism because what's most effective in the novel is not the narrator coming and telling us we should actually feel sorry for Casaubon and we should sympathize with him. We'd be better people if we sympathize with Casaubon. There's a moralizing lecture about, you should feel sympathy for this unlikable person. What is more effective is the subtle way she portrays this character and, as I say, lets us into his vulnerabilities in some obvious ways, as you say, by pointing things out, but also in some more subtle ways of drawing his character and hinting at, as I say, his vulnerabilities.Henry: Doesn't she know, though, that a lot of readers won't actually be very moved by the subtle things and that she does need to put in a lecture to say, "I should tell you that I am very personally sympathetic to Mr. Casaubon and that if you leave this novel hating him, that's not--"? Isn't that why she does it? Because she knows that a lot of readers will say, "I don't care. He's a baddie."Clare: Yes I don't know, that's a good question.Henry: I'm interested because, in The Natural History of German Life, she goes to all these efforts to say abstract arguments and philosophy and statistics and such, these things don't change the world. Stories change the world. A picture of life from a great artist. Then when she's doing her picture of life from a great artist she constantly butts in with her philosophical abstractions because it's, she can't quite trust that the reader will get it right as it were.Clare: Yes, I suppose that's one way of looking at it. You could say that or maybe does she have enough confidence in her ability to make us feel with these characters. That would be another way of looking at it. Whether her lack of confidence and lack of trust is in the reader or in her own power as an artist is probably an open question.TranscriptHenry: Today I am talking to Clare Carlisle, a philosopher at King's College London and a biographer. I am a big fan of George Eliot's Double Life: The Marriage Question. I've said the title backwards, but I'm sure you'll find the book either way. Clare, welcome.Clare Carlisle: Hi, Henry. Nice to be here.Henry: Is George Eliot a disappointing feminist?Clare: Obviously disappointment is relative to expectations, isn't it? It depends on what we expect of feminism, and in particular, a 19th-century woman. I personally don't find her a disappointing feminist. Other readers have done, and I can understand why that's the case for all sorts of reasons. She took on a male identity in order to be an artist, be a philosopher in a way that she thought was to her advantage, and she's sometimes been criticized for creating heroines who have quite a conventional sort of fulfillment. Not all of them, but Dorothea in Middlemarch, for example, at the end of the novel, we look back on her life as a wife and a mother with some sort of poignancy.Yes, she's been criticized for, in a way, giving her heroines and therefore offering other women a more conventional feminine ideal than the life she managed to create and carve out for herself as obviously a very remarkable thinker and artist. I also think you can read in the novels a really bracing critique of patriarchy, actually, and a very nuanced exploration of power dynamics between men and women, which isn't simplistic. Eliot is aware that women can oppress men, just as men can oppress women. Particularly in Middlemarch, actually, there's an exploration of marital violence that overcomes the more gendered portrayal of it, perhaps in Eliot's own earlier works where, in a couple of her earlier stories, she portrayed abused wives who were victims of their husband's betrayal, violence, and so on.Whereas in Middlemarch, it's interestingly, the women are as controlling, not necessarily in a nasty way, but just that that's the way human beings navigate their relations with each other. It seems to be part of what she's exploring in Middlemarch. No, I don't find her a disappointing feminist. We should be careful about the kind of expectations we, in the 21st century project onto Eliot.Henry: Was George Henry Lewes too controlling?Clare: I think one of the claims of this book is that there was more darkness in that relationship than has been acknowledged by other biographers, let's put it that way. When I set out to write the book, I'd read two or three other biographies of Eliot by this point. One thing that's really striking is this very wonderfully supportive husbands that, in the form of Lewes, George Eliot has, and a very cheerful account of that relationship and how marvelous he was. A real celebration of this relationship where the husband is, in many ways, putting his wife's career before his own, supporting her.Lewes acted as her agent, as her editor informally. He opened her mail for her. He really put himself at the service of her work in ways that are undoubtedly admirable. Actually, when I embarked on writing this book, I just accepted that narrative myself and was interested in this very positive portrayal of the relationship, found it attractive, as other writers have obviously done. Then, as I wrote the book, I was obviously reading more of the primary sources, the letters Eliot was writing and diary entries. I started to just have a bit of a feeling about this relationship, that it was light and dark, it wasn't just light.The ambiguity there was what really interested me, of, how do you draw the line between a husband or a wife who's protective, even sheltering the spouse from things that might upset them and supportive of their career and helpful in practical ways. How do you draw the line between that and someone who's being controlling? I think there were points where Lewes crossed that line. In a way, what's more interesting is, how do you draw that line. How do partners draw that line together? Not only how would we draw the line as spectators on that relationship, obviously only seeing glimpses of the inner life between the two people, but how do the partners themselves both draw those lines and then navigate them?Yes, I do suggest in the book that Lewes could be controlling and in ways that I think Eliot herself felt ambivalent about. I think she partly enjoyed that feeling of being protected. Actually, there was something about the conventional gendered roles of that, that made her feel more feminine and wifely and submissive, In a way, to some extent, I think she bought into that ideal, but also she felt its difficulties and its tensions. I also think for Lewes, this is a man who is himself conditioned by patriarchal norms with the expectation that the husband should be the successful one, the husband should be the provider, the one who's earning the money.He had to navigate a situation. That was the situation when they first got together. When they first got together, he was more successful writer. He was the man of the world who was supporting Eliot, who was more at the beginning of her career to some extent and helping her make connections. He had that role at the beginning. Then, within a few years, it had shifted and suddenly he had this celebrated best-selling novelist on his hands, which was, even though he supported her success, partly for his own financial interests, it wasn't necessarily what he'd bargained for when he got into the relationship.I think we can also see Lewes navigating the difficulties of that role, of being, to some extent, maybe even disempowered in that relationship and possibly reacting to that vulnerability with some controlling behavior. It's maybe something we also see in the Dorothea-Casaubon relationship where they get together. Not that I think that at all Casaubon was modeled on Lewes, not at all, but something of the dynamic there where they get together and the young woman is in awe of this learned man and she's quite subservient to him and looking up to him and wanting him to help her make her way in the world and teach her things.Then it turns out that his insecurity about his own work starts to come through. He reacts, and the marriage brings out his own insecurity about his work. Then he becomes quite controlling of Dorothea, perhaps again as a reaction to his own sense of vulnerability and insecurity. The point of my interpretation is not to portray Lewes as some villain, but rather to see these dynamics and as I say, ambivalences, ambiguities that play themselves out in couples, between couples.Henry: I came away from the book feeling like it was a great study of talent management in a way, and that the both of them were very lucky to find someone who was so well-matched to their particular sorts of talents. There are very few literary marriages where that is the case, or where that is successfully the case. The other one, the closest parallel I came up with was the Woolfs. Leonard is often said he's too controlling, which I find a very unsympathetic reading of a man who looked after a woman who nearly died. I think he was doing what he felt she required. In a way, I agree, Lewes clearly steps over the line several times. In a way, he was doing what she required to become George Eliot, as it were.Clare: Yes, absolutely.Henry: Which is quite remarkable in a way.Clare: Yes. I don't think Mary Ann Evans would have become George Eliot without that partnership with Lewes. I think that's quite clear. That's not because he did the work, but just that there was something about that, the partnership between them, that enabled that creativity…Henry: He knew all the people and he knew the literary society and all the editors, and therefore he knew how to take her into that world without it overwhelming her, giving her crippling headaches, sending her into a depression.Clare: Yes.Henry: In a way, I came away more impressed with them from the traditional, isn't it angelic and blah, blah, blah.Clare: Oh, that's good.Henry: What did George Eliot learn from Spinoza?Clare: I think she learned an awful lot from Spinoza. She translated Spinoza in the 1850s. She translated Spinoza's Ethics, which is Spinoza's philosophical masterpiece. That's really the last major project that Eliot did before she started to write fiction. It has, I think, quite an important place in her career. It's there at that pivotal point, just before she becomes an artist, as she puts it, as a fiction writer. Because she didn't just read The Ethics, but she translated it, she read it very, very closely, and I think was really quite deeply formed by a particular Spinozist ethical vision.Spinoza thinks that human beings are not self-sufficient. He puts that in very metaphysical terms. A more traditional philosophical view is to say that individual things are substances. I'm a substance, you're a substance. What it means to be a substance is to be self-sufficient, independent. For example, I would be a substance, but my feeling of happiness on this sunny morning would be a more accidental feature of my being.Henry: Sure.Clare: Something that depends on my substance, and then these other features come and go. They're passing, they're just modes of substance, like a passing mood or whatever, or some kind of characteristic I might have. That's the more traditional view, whereas Spinoza said that there's only one substance, and that's God or nature, which is just this infinite totality. We're all modes of that one substance. That means that we don't have ontological independence, self-sufficiency. We're more like a wave on the ocean that's passing through. One ethical consequence of that way of thinking is that we are interconnected.We're all interconnected. We're not substances that then become connected and related to other substances, rather we emerge as beings through this, our place in this wider whole. That interconnectedness of all things and the idea that individuals are really constituted by their relations is, I think, a Spinoza's insight that George Eliot drew on very deeply and dramatized in her fiction. I think it's there all through her fiction, but it becomes quite explicit in Middlemarch where she talks about, she has this master metaphor of the web.Henry: The web. Right.Clare: In Middlemarch, where everything is part of a web. You put pressure on a bit of it and something changes in another part of the web. That interconnectedness can be understood on multiple levels. Biologically, the idea that tissues are formed in this organic holistic way, rather than we're not composed of parts, like machines, but we're these organic holes. There's a biological idea of the web, which she explores. Also, the economic system of exchange that holds a community together. Then I suppose, perhaps most interestingly, the more emotional and moral features of the web, the way one person's life is bound up with and shaped by their encounters with all the other lives that it comes into contact with.In a way, it's a way of thinking that really, it questions any idea of self-sufficiency, but it also questions traditional ideas of what it is to be an individual. You could see a counterpart to this way of thinking in a prominent 19th-century view of history, which sees history as made by heroic men, basically. There's this book by Carlyle, Thomas Carlyle, called The Heroic in History, or something like that.Henry: Sure. On heroes and the heroic, yes.Clare: Yes. That's a really great example of this way of thinking about history as made by heroes. Emerson wrote this book called Representative Men. These books were published, I think, in the early 1850s. Representative Men. Again, he identifies these certain men, these heroic figures, which represent history in a way. Then a final example of this is Auguste Comte's Positivist Calendar, which, he's a humanist, secularist thinker who wants to basically recreate culture and replace our calendar with this lunar calendar, which, anyway, it's a different calendar, has 13 months.Each month is named after a great man. There's Shakespeare, and there's Dante, and there's-- I don't know, I can't remember. Anyway, there's this parade of heroic men. Napoleon. Anyway, that's the view of history that Eliot grew up with. She was reading, she was really influenced by Carlisle and Emerson and Comte. In that landscape, she is creating this alternative Spinozist vision of what an exemplar can be like and who gets to be an exemplar. Dorothea was a really interesting exemplar because she's unhistoric. At the very end of Middlemarch, she describes Dorothea's unhistoric life that comes to rest in an unvisited tomb.She's obscure. She's not visible on the world stage. She's forgotten once she dies. She's obscure. She's ordinary. She's a provincial woman, upper middle-class provincial woman, who makes some bad choices. She has high ideals but ends up living a life that from the outside is not really an extraordinary life at all. Also, she is constituted by her relations with others in both directions. Her own life is really shaped by her milieu, by her relationships with the people. Also, at the end of the novel, Eliot leaves us with a vision of the way Dorothea's life has touched other lives and in ways that can't be calculated, can't really be recognized. Yet, she has these effects that are diffused.She uses this word, diffusion or diffuseness. The diffuseness of the effects of Dorothea's life, which seep into the world. Of course, she's a woman. She's not a great hero in this Carlyle or Emerson sense. In all these ways, I think this is a very different way of thinking about individuality, but also history and the way the world is made, that history and the world is made by, in this more Spinozist kind of way, rather than by these heroic representative men who stand on the world stage. That's not Spinoza's, that's Eliot's original thinking. She's taking a Spinozist ontology, a Spinozist metaphysics, but really she's creating her own vision with that, that's, of course, located in that 19th-century context.Henry: How sympathetic should we be to Mr. Casaubon?Clare: I feel very sympathetic to Mr. Casaubon because he is so vulnerable. He's a really very vulnerable person. Of course, in the novel, we are encouraged to look at it from Dorothea's point of view, and so when we look at it from Dorothea's point of view, Casaubon is a bad thing. The best way to think about it is the view of Dorothea's sister Celia, her younger sister, who is a very clear-eyed observer, who knows that Dorothea is making a terrible mistake in marrying this man. She's quite disdainful of Casaubon's, well, his unattractive looks.He's only about 40, but he's portrayed as this dried-up, pale-faced scholar, academic, who is incapable of genuine emotional connection with another person, which is quite tragic, really. The hints are that he's not able to have a sexual relationship. He's so buttoned up and repressed, in a way. When we look at it from Dorothea's perspective, we say, "No, he's terrible, he's bad for you, he's not going to be good for you," which of course is right. I think Eliot herself had a lot of sympathy for Casaubon. There's an anecdote which said that when someone asked who Casaubon was based on, she pointed to herself.I think she saw something of herself in him. On an emotional level, I think he's just a fascinating character, isn't he, in a way, from an aesthetic point of view? The point is not do we like Casaubon or do we not like him? I think we are encouraged to feel sympathy with him, even as, on the one, it's so clever because we're taken along, we're encouraged to feel as Celia feels, where we dislike him, we don't sympathize with him. Then Eliot is also showing us how that view is quite limited, I think, because we do occasionally see the world from Casaubon's point of view and see how fearful Casaubon is.Henry: She's also explicit and didactic about the need to sympathize with him, right? It's often in asides, but at one point, she gives over most of a chapter to saying, "Poor Mr. Casaubon. He didn't think he'd end up like this." Things have actually gone very badly for him as well.Clare: Yes, that's right. The didactic thing, George Eliot is sometimes criticized for this didacticism because what's most effective in the novel is not the narrator coming and telling us we should actually feel sorry for Casaubon and we should sympathize with him. We'd be better people if we sympathize with Casaubon. There's a moralizing lecture about, you should feel sympathy for this unlikable person. What is more effective is the subtle way she portrays this character and, as I say, lets us into his vulnerabilities in some obvious ways, as you say, by pointing things out, but also in some more subtle ways of drawing his character and hinting at, as I say, his vulnerabilities.Henry: Doesn't she know, though, that a lot of readers won't actually be very moved by the subtle things and that she does need to put in a lecture to say, "I should tell you that I am very personally sympathetic to Mr. Casaubon and that if you leave this novel hating him, that's not--"? Isn't that why she does it? Because she knows that a lot of readers will say, "I don't care. He's a baddie."Clare: Yes I don't know, that's a good question.Henry: I'm interested because, in The Natural History of German Life, she goes to all these efforts to say abstract arguments and philosophy and statistics and such, these things don't change the world. Stories change the world. A picture of life from a great artist. Then when she's doing her picture of life from a great artist she constantly butts in with her philosophical abstractions because it's, she can't quite trust that the reader will get it right as it were.Clare: Yes, I suppose that's one way of looking at it. You could say that or maybe does she have enough confidence in her ability to make us feel with these characters. That would be another way of looking at it. Whether her lack of confidence and lack of trust is in the reader or in her own power as an artist is probably an open question.Henry: There's a good book by Debra Gettelman about the way that novelists like Eliot knew what readers expected because they were all reading so many cheap romance novels and circulating library novels. There are a lot of negations and arguments with the reader to say, "I know what you want this story to do and I know how you want this character to turn out, but I'm not going to do that. You must go with me with what I'm doing.Clare: Yes. You mean this new book that's come out called Imagining Otherwise?Henry: That's right, yes.Clare: I've actually not read it yet, I've ordered it, but funnily enough, as you said at the beginning, I'm a philosopher so I'm not trained at all as a reader of literary texts or as a literary scholar by any means, and so I perhaps foolishly embarked on this book on George Eliot thinking, "Oh, next I'm going to write a book about George Eliot." Anyway, I ended up going to a couple of conferences on George Eliot, which was interestingly like stepping into a different world. The academic world of literary studies is really different from the world of academic philosophy, interestingly.It's run by women for a start. You go to a conference and it's very female-dominated. There's all these very eminent senior women or at least at this conference I went to there was these distinguished women who were running the show. Then there were a few men in that mix, which is the inverse of often what it can be like in a philosophy conference, which is still quite a male-dominated discipline. The etiquette is different. Philosophers like to criticize each other's arguments. That's the way we show love is to criticize and take down another philosopher's argument.Whereas the academics at this George Eliot conference were much more into acknowledging what they'd learned from other people's work and referencing. Anyway, it's really interestingly different. Debra Gettelman was at this conference.Henry: Oh, great.Clare: She had a book on Middlemarch. I think it was 2019 because it was the bicentenary of Eliot's birth, that's why there was this big conference. Debra, who I'd never met before or heard of, as I just didn't really know this world, gave this amazing talk on Middlemarch and on these negations in Middlemarch. It really influenced me, it really inspired me. The way she did these close readings of the sentences, this is what literary scholars are trained to do, but I haven't had that training and the close reading of the sentences, which didn't just yield interesting insights into the way George Eliot uses language but yielded this really interesting philosophical work where Eliot is using forms of the sentence to explore ontological questions about negation and possibility and modality.This was just so fascinating and really, it was a small paper in one of those parallel sessions. It wasn't one of the big presentations at the conference, but it was that talk that most inspired me at the conference. It's a lot of the insights that I got from Debra Gettelman I ended up drawing on in my own chapter on Middlemarch. I situated it a bit more in the history of philosophy and thinking about negation as a theme.Henry: This is where you link it to Hegel.Clare: Yes, to Hegel, exactly. I was so pleased to see that the book is out because I think I must have gone up to her after the talk and said, "Oh, it's really amazing." Was like, "Oh, thank you." I was like, "Is it published? Can I cite it?" She said, "No. I'm working on this project." It seemed like she felt like it was going to be a long time in the making. Then a few weeks ago, I saw a review of the book in the TLS. I thought, "Oh, amazing, the book is out. It just sounds brilliant." I can't wait to read that book. Yes, she talks about Eliot alongside, I think, Dickens and another.Henry: And Jane Austen.Clare: Jane Austen, amazing. Yes. I think it's to do with, as you say, writing in response to readerly expectation and forming readerly expectations. Partly thanks to Debra Gettelman, I can see how Eliot does that. It'd be really interesting to learn how she sees Jane Austen and Dickens also doing that.Henry: It's a brilliant book. You're in for a treat.Clare: Yes, I'm sure it is. That doesn't surprise me at all.Henry: Now, you say more than once in your book, that Eliot anticipates some of the insights of psychotherapy.Clare: Psychoanalysis.Henry: Yes. What do you think she would have made of Freud or of our general therapy culture? I think you're right, but she has very different aims and understandings of these things. What would she make of it now?Clare: It seems that Freud was probably influenced by Eliot. That's a historical question. He certainly read and admired Eliot. I suspect, yes, was influenced by some of her insights, which in turn, she's drawing on other stuff. What do you have in mind? Your question suggests that you think she might have disapproved of therapy culture.Henry: I think novelists in general are quite ambivalent about psychoanalysis and therapy. Yes.Clare: For what reason?Henry: If you read someone like Iris Murdoch, who's quite Eliotic in many ways, she would say, "Do these therapists ever actually help anyone?"Clare: Ah.Henry: A lot of her characters are sent on these slightly dizzying journeys. They're often given advice from therapists or priests or philosophers, and obviously, Murdoch Is a philosopher. The advice from the therapists and the philosophers always ends these characters up in appalling situations. It's art and literature. As you were saying before, a more diffusive understanding and a way of integrating yourself with other things rather than looking back into your head and dwelling on it.Clare: Of course. Yes.Henry: I see more continuity between Eliot and that kind of thinking. I wonder if you felt that the talking cure that you identified at the end of Middlemarch is quite sound common sense and no-nonsense. It's not lie on the couch and tell me how you feel, is it?Clare: I don't know. That's one way to look at it, I suppose. Another way to look at it would be to see Eliot and Freud is located in this broadly Socratic tradition of one, the idea that if you understand yourself better, then that is a route to a certain qualified kind of happiness or fulfillment or liberation. The best kind of human life there could be is one where we gain insight into our own natures. We bring to light what is hidden from us, whether those are desires that are hidden away in the shadows and they're actually motivating our behavior, but we don't realize it, and so we are therefore enslaved to them.That's a very old idea that you find in ancient philosophy. Then the question is, by what methods do we bring these things to light? Is it through Socratic questioning? Is it through art? Eliot's art is an art that I think encourages us to see ourselves in the characters. As we come to understand the characters, and in particular to go back to what I said before about Spinozism, to see their embeddedness and their interconnectedness in these wider webs, but also in a sense of that embeddedness in psychic forces that they're not fully aware of. Part of what you could argue is being exposed there, and this would be a Spinozist insight, is the delusion of free will.The idea that we act freely with these autonomous agents who have access to and control over our desires, and we pick the thing that's in our interest and we act on that. That's a view that I think Spinoza is very critical. He famously denies free will. He says we're determined, we just don't understand how we're determined. When we understand better how we're determined, then perhaps paradoxically we actually do become relatively empowered through our understanding. I think there's something of that in Eliot too, and arguably there's something of that in Freud as well. I know you weren't actually so much asking about Freud's theory and practice, and more about a therapy culture.Henry: All of it.Clare: You're also asking about that. As I say, the difference would be the method for accomplishing this process of a kind of enlightenment. Of course, Freud's techniques medicalizes that project basically. It's the patient and the doctor in dialogue, and depends a lot on the skills of the doctor, doesn't it? How successful, and who is also a human being, who is also another human being, who isn't of course outside of the web, but is themselves in it, and ideally has themselves already undergone this process of making themselves more transparent to their own understanding, but of course, is going to be liable to their own blind spots, and so on.Henry: Which of her novels do you love the most? Just on a personal level, it doesn't have to be which one you think is the most impressive or whatever.Clare: I'm trying to think how to answer that question. I was thinking if I had to reread one of them next week, which one would I choose? If I was going on holiday and I wanted a beach read for pure enjoyment, which of the novels would I pick up? Probably Middlemarch. I think it's probably the most enjoyable, the most fun to read of her novels, basically.Henry: Sure.Clare: There'd be other reasons for picking other books. I really think Daniel Deronda is amazing because of what she's trying to do in that book. Its ambition, it doesn't always succeed in giving us the reading experience that is the most enjoyable. In terms of just the staggering philosophical and artistic achievement, what she's attempting to do, and what she does to a large extent achieve in that book, I think is just incredible. As a friend of Eliot, I have a real love for Daniel Deronda because I just think that what an amazing thing she did in writing that book. Then I've got a soft spot for Silas Marner, which is short and sweet.Henry: I think I'd take The Mill on the Floss. That's my favorite.Clare: Oh, would you?Henry: I love that book.Clare: That also did pop into my mind as another contender. Yes, because it's so personal in a way, The Mill on the Floss. It's personal to her, it's also personal to me in that, it's the first book by Eliot I read because I studied it for A-Level. I remember thinking when we were at the beginning of that two-year period when I'd chosen my English literature A-Level and we got the list of texts we were going to read, I remember seeing The Mill on the Floss and thinking, "Oh God, that sounds so boring." The title, something about the title, it just sounded awful. I remember being a bit disappointed that it wasn't a Jane Austen or something more fun.I thought, "Oh, The Mill on the Floss." Then I don't have a very strong memory of the book, but I remember thinking, actually, it was better than I expected. I did think, actually, it wasn't as awful and boring as I thought it would be. It's a personal book to Eliot. I think that exploring the life of a mind of a young woman who has no access to proper education, very limited access to art and culture, she's stuck in this little village near a provincial town full of narrow-minded conservative people. That's Eliot's experience herself. It was a bit my experience, too, as, again, not that I even would have seen it this way at the time, but a girl with intellectual appetites and not finding those appetites very easily satisfied in, again, a provincial, ordinary family and the world and so on.Henry: What sort of reader were you at school?Clare: What sort of reader?Henry: Were you reading lots of Plato, lots of novels?Clare: No. I'm always really surprised when I meet people who say things like they were reading Kierkegaard and Plato when they were 15 or 16. No, not at all. No, I loved reading, so I just read lots and lots of novels. I loved Jane Eyre. That was probably one of the first proper novels, as with many people, that I remember reading that when I was about 12 and partly feeling quite proud of myself for having read this grown-up book, but also really loving the book. I reread that probably several times before I was 25. Jane Austen and just reading.Then also I used to go to the library, just completely gripped by some boredom and restlessness and finding something to read. I read a lot and scanning the shelves and picking things out. That way I read more contemporary fiction. Just things like, I don't know, Julian Barnes or, Armistead Maupin, or just finding stuff on the shelves of the library that looked interesting, or Anita Brookner or Somerset Maugham. I really love Somerset Maugham.Henry: Which ones do you like?Clare: I remember reading, I think I read The Razor's Edge first.Henry: That's a great book.Clare: Yes, and just knowing nothing about it, just picking it off the shelf and thinking, "Oh, this looks interesting." I've always liked a nice short, small paperback. That would always appeal. Then once I found a book I liked, I'd then obviously read other stuff by that writer. I then read, so The Razor's Edge and-- Oh, I can't remember.Henry: The Moon and Sixpence, maybe?Clare: Yes, The Moon and Sixpence, and-Henry: Painted Veils?Clare: -Human Bondage.Henry: Of Human Bondage, right.Clare: Human Bondage, which is, actually, he took the title from Spinoza's Ethics. That's the title. Cluelessly, as a teenager, I was like, "Ooh, this book is interesting." Actually, when I look back, I can see that those writers, like Maugham, for example, he was really interested in philosophy. He was really interested in art and philosophy, and travel, and culture, and religion, all the things I am actually interested in. I wouldn't have known that that was why I loved the book. I just liked the book and found it gripping. It spoke to me, and I wanted to just read more other stuff like that.I was the first person in my family to go to university, so we didn't have a lot of books in the house. We had one bookcase. There were a few decent things in there along with the Jeffrey Archers in there. I read everything on that bookshelf. I read the Jeffrey Archers, I read the True Crime, I read the In Cold Blood, just this somewhat random-- I think there was probably a couple of George Eliots on there. A few classics, I would, again, grip by boredom on a Sunday afternoon, just stare at this shelf and think, "Oh, is there anything?" Maybe I'll end up with a Thomas Hardy or something. It was quite limited. I didn't really know anything about philosophy. I didn't think of doing philosophy at university, for example. I actually decided to do history.I went to Cambridge to do history. Then, after a couple of weeks, just happened to meet someone who was doing philosophy. I was like, "Oh, that's what I want to do." I only recognized it when I saw it. I hadn't really seen it because I went to the local state school, it wasn't full of teachers who knew about philosophy and stuff like that.Henry: You graduated in theology and philosophy, is that right?Clare: Yes. Cambridge, the degrees are in two parts. I did Part 1, theology, and then I did Part 2, philosophy. I graduated in philosophy, but I studied theology in my first year at Cambridge.Henry: What are your favorite Victorian biographies?Clare: You mean biographies of Victorians?Henry: Of Victorians, by Victorians, whatever.Clare: I don't really read many biographies.Henry: Oh, really?Clare: [laughs] The first biography I wrote was a biography of Kierkegaard. I remember thinking, when I started to write the book, "I'd better read some biographies." I always tend to read fiction. I'm not a big reader of history, which is so ironic. I don't know what possessed me to go and study history at university. These are not books I read for pleasure. I suppose I am quite hedonistic in my choice of reading, I like to read for pleasure.Henry: Sure. Of course.Clare: I don't tend to read nonfiction. Obviously, I do sometimes read nonfiction for pleasure, but it's not the thing I'm most drawn to. Anyway. I remember asking my editor, I probably didn't mention that I didn't know very much about biography, but I did ask him to recommend some. I'd already got the book contract. I said, "What do you think is a really good biography that I should read?" He recommended, I think, who is it who wrote The Life of Gibbon? Really famous biography of Gibbon.Henry: I don't know.Clare: That one. I read it. It is really good. My mind is going blank. I read many biographies of George Eliot before I wrote mine.Henry: They're not all wonderful, are they?Clare: I really liked Catherine Hughes's book because it brought her down from her pedestal.Henry: Exactly. Yes.Clare: Talking about hedonism, I would read anything that Catherine Hughes writes just for enjoyment because she's such a good writer. She's a very intellectual woman, but she's also very entertaining. She writes to entertain, which I like and appreciate as a reader. There's a couple of big archival biographies of George Eliot by Gordon Haight and by Rosemary Ashton, for example, which are both just invaluable. One of the great things about that kind of book is that it frees you to write a different kind of biography that can be more interpretive and more selective. Once those kinds of books have been published, there's no point doing another one. You can do something more creative, potentially, or more partial.I really like Catherine Hughes's. She was good at seeing through Eliot sometimes, and making fun of her, even though it's still a very respectful book. There's also this brilliant book about Eliot by Rosemary Bodenheimer called The Real Life of Mary Ann Evans. It's a biographical book, but it's written through the letters. She sees Eliot's life through her letters. Again, it's really good at seeing through Eliot. What Eliot says is not always what she means. She can be quite defensive and boastful. These are things that really come out in her letters. Anyway, that's a brilliant book, which again, really helped me to read Eliot critically. Not unsympathetically, but critically, because I tend to fall in love with thinkers that I'm reading. I'm not instinctively critical. I want to just show how amazing they are, but of course, you also need to be critical. Those books were--Henry: Or realistic.Clare: Yes, realistic and just like, "This is a human being," and having a sense of humor about it as well. That's what's great about Catherine Hughes's book, is that she's got a really good sense of humor. That makes for a fun reading experience.Henry: Why do you think more philosophers don't write biographies? It's an unphilosophical activity, isn't it?Clare: That's a very interesting question. Just a week or so ago, I was talking to Clare Mac Cumhaill I'm not quite sure how you pronounce her name, but anyway, so there's--Henry: Oh, who did the four women in Oxford?Clare: Yes. Exactly.Henry: That was a great book.Clare: Yes. Clare MacCumhaill co-wrote this book with Rachael Wiseman. They're both philosophers. They wrote this group biography of Iris Murdoch, Elizabeth Anscombe, Philippa Foot, and Mary Midgley. I happened to be having dinner with a group of philosophers and sitting opposite her. Had never met her before. It was just a delight to talk to another philosopher who'd written biography. We both felt that there was a real philosophical potential in biography, that thinking about a shape of a human life, what it is to know another person, the connection between a person's life and their philosophy. Even to put it that way implies that philosophy is something that isn't part of life, that you've got philosophy over here and you've got life over there. Then you think about the connection between them.That, when you think about it, is quite a questionable way of looking at philosophy as if it's somehow separate from life or detachment life. We had a really interesting conversation about this. There's Ray Monk's brilliant biography of Wittgenstein, The Duty of Genius. He's another philosopher who's written biography, and then went on to reflect, interestingly, on the relationship between philosophy and biography.I think on the one hand, I'd want to question the idea that biography and philosophy are two different things or that a person's life and their thought are two separate questions. On the other hand, we've got these two different literary forms. One of them is a narrative form of writing, and one of them- I don't know what the technical term for it would be- but a more systematic writing where with systematic writing, it's not pinned to a location or a time, and the structure of the text is conceptual rather than narrative. It's not ordered according to events and chronology, and things happening, you've just got a more analytic style of writing.Those two styles of writing are very, very different ways of writing. They're two different literary forms. Contemporary academic philosophers tend to write, almost always-- probably are pretty much forced to write in the systematic analytic style because as soon as you would write a narrative, the critique will be, "Well, that's not philosophy. That's history," or "That's biography," or, "That's anecdote." You might get little bits of narrative in some thought experiment, but by definition, the thought experiment is never pinned to a particular time, place, or context. "Let's imagine a man standing on a bridge. There's a fat man tied to the railway line [crosstalk]." Those are like little narratives, but they're not pinned. There is a sequencing, so I suppose they are narratives. Anyway, as you can tell, they're quite abstracted little narratives.That interests me. Why is it that narrative is seen as unphilosophical? Particularly when you think about the history of philosophy, and we think about Plato's dialogues, which tend to have a narrative form, and the philosophical conversation is often situated within a narrative. The Phaedo, for example, at the beginning of the book, Socrates is sitting in prison, and he's about to drink his poisoned hemlock. He's awaiting execution. His friends, students, and disciples are gathered around him. They're talking about death and how Socrates feels about dying. Then, at the end of the book, he dies, and his friends are upset about it.Think about, I know, Descartes' Meditations, where we begin in the philosopher's study, and he's describing--Henry: With the fire.Clare: He's by the fire, but he's also saying, "I've reached a point in my life where I thought, actually, it's time to question some assumptions." He's sitting by the fire, but he's also locating the scene in his own life trajectory. He's reached a certain point in life. Of course, that may be a rhetorical device. Some readers might want to say, "Well, that's mere ornamentation. We extract the arguments from that. That's where the philosophy is." I think it's interesting to think about why philosophers might choose narrative as a form.Spinoza, certainly not in the Ethics, which is about as un-narrative as you can get, but in some of his other, he experimented with an earlier version of the Ethics, which is actually like Descartes' meditation. He begins by saying, "After experience had taught me to question all the values I'd been taught to pursue, I started to wonder whether there was some other genuine good that was eternal," and so on. He then goes on to narrate his experiments with a different kind of life, giving up certain things and pursuing other things.Then you come to George Eliot. I think these are philosophical books.Henry: Yes.Clare: The challenge lies in saying, "Well, how are they philosophical?" Are they philosophical because there are certain ideas in the books that you could pick out and say, "Oh, here, she's critiquing utilitarianism. These are her claims." You can do that with Eliot's books. There are arguments embedded in the books. I wouldn't want to say that that's where their philosophical interest is exhausted by the fact that you can extract non-narrative arguments from them, but rather there's also something philosophical in her exploration of what a human life is like and how choices get made and how those choices, whether they're free or unfree, shape a life, shape other lives. What human happiness can we realistically hope for? What does a good life look like? What does a bad life look like? Why is the virtue of humility important?These are also, I think, philosophical themes that can perhaps only be treated in a long-form, i.e., in a narrative that doesn't just set a particular scene from a person's life, but that follows the trajectory of a life. That was a very long answer to your question.Henry: No, it was a good answer. I like it.Clare: Just to come back to what you said about biography. When I wrote my first biography on Kierkegaard, I really enjoyed working in this medium of narrative for the first time. I like writing. I'd enjoyed writing my earlier books which were in that more analytic conceptual style where the structure was determined by themes and by concepts rather than by any chronology. I happily worked in that way. I had to learn how to do it. I had to learn how to write. How do you write a narrative?To come back to the Metaphysical Animals, the group biography, writing a narrative about one person's life is complicated enough, but writing a narrative of four lives, it's a real-- from a technical point of view-- Even if you only have one life, lives are not linear. If you think about a particular period in your subject's life, people have lots of different things going on at once that have different timeframes. You're going through a certain period in your relationship, you're working on a book, someone close to you dies, you're reading Hegel. All that stuff is going on. The narrative is not going to be, "Well, on Tuesday this happened, and then on Wednesday--" You can't use pure chronology to structure a narrative. It's not just one thing following another.It's not like, "Well, first I'll talk about the relationship," which is an issue that was maybe stretching over a three-month period. Then in this one week, she was reading Hegel and making these notes that were really important. Then, in the background to this is Carlisle's view of history. You've got these different temporal periods that are all bearing on a single narrative. The challenge to create a narrative from all that, that's difficult, as any biographer knows. To do that with four subjects at once is-- Anyway, they did an amazing job in that book.Henry: It never gets boring, that book.Clare: No. I guess the problem with a biography is often you're stuck with this one person through the whole--Henry: I think the problem with a biography of philosophers is that it can get very boring. They kept the interest for four thinkers. I thought that was very impressive, really.Clare: Yes, absolutely. Yes. There's a really nice balance between the philosophy and the-- I like to hear about Philippa Foot's taste in cushions. Maybe some readers would say, "Oh, no, that's frivolous." It's not the view I would take. For me, it's those apparently frivolous details that really help you to connect with a person. They will deliver a sense of the person that nothing else will. There's no substitute for that.In my book about Kierkegaard, it was reviewed by Terry Eagleton in the London Review of Books. It was generally quite a positive review. He was a bit sneering about the fact that it had what he calls "domestic flourishes" in the book. I'd mentioned that Kierkegaard's favorite flower was the lily of the valley. He's like, "Huh." He saw these as frivolities, whereas for me, the fact that Kierkegaard had a favorite flower tells us something about the kind of man he was.Henry: Absolutely.Clare: Actually, his favorite flower had all sorts of symbolism attached to it, Kierkegaard, it had 10 different layers of meaning. It's never straightforward. There's interesting value judgments that get made. There's partly the view that anything biographical is not philosophical. It is in some way frivolous or incidental. That would be perhaps a very austere, purest philosophical on a certain conception of philosophy view.Then you might also have views about what is and isn't interesting, what is and isn't significant. Actually, that's a really interesting question. What is significant about a person's life, and what isn't? Actually, to come back to Eliot, that's a question she is, I think, absolutely preoccupied with, most of all in Middlemarch and in Daniel Deronda. This question about what is trivial and what is significant. Dorothea is frustrated because she feels that her life is trivial. She thinks that Casaubon is preoccupied with really significant questions, the key to all mythologies, and so on.Henry: [chuckles]Clare: There's really a deep irony there because that view of what's significant is really challenged in the novel. Casaubon's project comes to seem really futile, petty, and insignificant. In Daniel Deronda, you've got this amazing question where she shows her heroine, Gwendolyn, who's this selfish 20-year-old girl who's pursuing her own self-interest in a pretty narrow way, about flirting and thinking about her own romantic prospects.Henry: Her income.Clare: She's got this inner world, which is the average preoccupation of a silly 20-year-old girl.Henry: Yes. [laughs]Clare: Then Eliot's narrator asks, "Is there a slenderer, more insignificant thread in human history than this consciousness of a girl who's preoccupied with how to make her own life pleasant?" The question she's asking is-- Well, I think she wants to tell us that slender thread of the girl's consciousness is part of the universe, basically. It's integral. It belongs to a great drama of the struggle between good and evil, which is this mythical, cosmic, religious, archetypal drama that gets played out on the scale of the universe, but also, in this silly girl's consciousness.I think she's got to a point where she was very explicitly thematizing that distinction between the significant and the insignificant and playing with that distinction. It comes back to Dorothea's unhistoric life. It's unhistoric, it's insignificant. Yet, by the end of Middlemarch, by the time we get to that description of Dorothea's unhistoric life, this life has become important to us. We care about Dorothea and how her life turned out. It has this grandeur to it that I think Eliot exposes. It's not the grandeur of historic importance, it's some other human grandeur that I think she wants to find in the silly girls as much as in the great men.Henry: I always find remarks like that quite extraordinary. One of the things I want a biography to tell me is, "How did they come to believe these things?" and, "How did they get the work done?" The flowers that he likes, that's part of that, right? It's like Bertrand Russell going off on his bicycle all the time. That's part of how it all happened. I remember Elizabeth Anscombe in the book about the four philosophers, this question of, "How does she do it all when she's got these six children?" There's this wonderful image of her standing in the doorway to her house smoking. The six children are tumbling around everywhere. The whole place is filthy. I think they don't own a Hoover or she doesn't use it. You just get this wonderful sense of, "This is how she gets it done."Clare: That's how you do it.Henry: Yes. The idea that this is some minor domestic trivial; no, this is very important to understanding Elizabeth Anscombe, right?Clare: Yes, of course.Henry: I want all of this.Clare: Yes. One of the things I really like about her is that she unashamedly brings that domesticity into her philosophical work. She'll use examples like, "I go to buy some potatoes from the grocer's." She'll use that example, whereas that's not the thing that-- Oxford dons don't need to buy any potatoes because they have these quasi-monastic lives where they get cooked for and cleaned for. I like the way she chooses those. Of course, she's not a housewife, but she chooses these housewifely examples to illustrate her philosophy.I don't know enough about Anscombe, but I can imagine that that's a deliberate choice. That's a choice she's making. There's so many different examples she could have thought of. She's choosing that example, which is an example, it shows a woman doing philosophy, basically. Of course, men can buy potatoes too, but in that culture, the buying of the potatoes would be the woman's work.Henry: Yes. She wasn't going to run into AJ Ayre at the grocer's.Clare: Probably not, no.Henry: No. Are you religious in any sense?Clare: I think I am in some sense. Yes, "religious," I think it's a really problematic concept. I've written a bit about this concept of religion and what it might mean. I wrote a book on Spinoza called Spinoza's Religion. Part of what I learned through writing the book was that in order to decide whether or not Spinoza was religious, we have to rethink the very concept of religion, or we have to see that that's what Spinoza was doing.I don't know. Some people are straightforwardly religious and I guess could answer that question, say, "Oh yes, I've always been a Christian," or whatever. My answer is a yes and no answer, where I didn't have a religious upbringing, and I don't have a strong religious affiliation. Sorry, I'm being very evasive.Henry: What do you think of the idea that we're about to live through or we are living through a religious revival? More people going to church, more young people interested in it. Do you see that, or do you think that's a blip?Clare: That's probably a question for the social scientists, isn't it? It just totally depends where you are and what community you're--Henry: Your students, you are not seeing students who are suddenly more religious?Clare: Well, no, but my students are students who've chosen to do philosophy. Some of them are religious and some of them are not. It will be too small a sample to be able to diagnose. I can say that my students are much more likely to be questioning. Many of them are questioning their gender, thinking about how to inhabit gender roles differently.That's something I perceive as a change from 20 years ago, just in the way that my students will dress and present themselves. That's a discernible difference. I can remark on that, but I can't remark on whether they're more religious.Just actually just been teaching a course on philosophy of religion at King's. Some students in the course of having discussions would mention that they were Muslim, Christian, or really into contemplative practices and meditation. Some of the students shared those interests. Others would say, "Oh, well, I'm an atheist, so this is--" There's just a range-Henry: A full range.Clare: -of different religious backgrounds and different interests. There's always been that range. I don't know whether there's an increased interest in religion among those students in particular, but I guess, yes, maybe on a national or global level, statistically-- I don't know. You tell me.Henry: What do you think about all these reports that undergraduates today-- "They have no attention span, they can't read a book, everything is TikTok," do you see this or are you just seeing like, "No, my students are fine actually. This is obviously happening somewhere else"?Clare: Again, it's difficult to say because I see them when they're in their classes, I see them in their seminars, I see them in the lectures. I don't know what their attention spans are like in their--Henry: Some of the other people I've interviewed will say things like, "I'll set reading, and they won't do it, even though it's just not very much reading,"-Clare: Oh, I see. Oh, yes.Henry: -or, "They're on the phone in the--" You know what I mean?Clare: Yes.Henry: The whole experience from 10, 20 years ago, these are just different.Clare: I'm also more distracted by my phone than I was 20 years ago. I didn't have a phone 20 years ago.Henry: Sure.Clare: Having a phone and being on the internet is constantly disrupting my reading and my writing. That's something that I think many of us battle with a bit. I'm sure most of us are addicted to our phones. I wouldn't draw a distinction between myself and my students in that respect. I've been really impressed by my students, pleasantly surprised by the fact they've done their reading because it can be difficult to do reading, I think.Henry: You're not one of these people who says, "Oh students today, it's really very different than it was 20 years ago. You can't get them to do anything. The whole thing is--" Some people are apocalyptic about-- Actually, you're saying no, your students are good?Clare: I like my students. Whether they do the reading or not, I'm not going to sit here and complain about them.Henry: No, sure, sure. I think that's good. What are you working on next?Clare: I've just written a book. It came out of a series of lectures I gave on life writing and philosophy, actually. Connected to what we were talking about earlier. Having written the biographies, I started to reflect a bit more on biography and how it may or may not be a philosophical enterprise, and questions about the shape of a life and what one life can transmit to another life. Something about the devotional labor of the biographer when you're living with this person and you're-- It's devotional, but it's also potentially exploitative because often you're using your subjects, of course, without their consent because they're dead. You're presenting their life to public view and you're selling books, so it's devotional and exploitative. I think that's an interesting pairing.Anyway, so I gave these lectures last year in St Andrews and they're going to be published in September.Henry: Great.Clare: I've finished those really.Henry: That's what's coming.Clare: That's what's coming. Then I've just been writing again about Kierkegaard, actually. I haven't really worked on Kierkegaard for quite a few years. As often happens with these things, I got invited to speak on Kierkegaard and death at a conference in New York in November. My initial thought was like, "Oh, I wish it was Spinoza, I don't want to--" I think I got to the point where I'd worked a lot on Kierkegaard and wanted to do other things. I was a bit like, "Oh, if only I was doing Spinoza, that would be more up my street." I wanted to go to the conference, so I said yes to this invitation. I was really glad I did because I went back and read what Kierkegaard has written about death, which is very interesting because Kierkegaard's this quintessentially death-fixated philosopher, that's his reputation. It's his reputation, he's really about death. His name means churchyard. He's doomy and gloomy. There's the caricature.Then, to actually look at what he says about death and how he approaches the subject, which I'd forgotten or hadn't even read closely in the first place, those particular texts. That turned out to be really interesting, so I'm writing-- It's not a book or anything, it's just an article.Henry: You're not going to do a George Eliot and produce a novel?Clare: No. I'm not a novelist or a writer of fiction. I don't think I have enough imagination to create characters. What I love about biography is that you get given the characters and you get given the plots. Then, of course, it is a creative task to then turn that into a narrative, as I said before. The kinds of biography I like to write are quite creative, they're not just purely about facts. I think facts can be quite boring. Well, they become interesting in the context of questions about meaning interpretations by themselves. Again, probably why I was right to give up on the history degree. For me, facts are not where my heart is.That amount of creativity I think suits me well, but to create a world as you do when you're a novelist and create characters and plots, and so, that doesn't come naturally to me. I guess I like thinking about philosophical questions through real-life stories. It's one way for philosophy to be connected to real life. Philosophy can also be connected to life through fiction, of course, but it's not my own thing. I like to read other people's fiction. I'm not so bothered about reading other biographies.Henry: No. No, no.[laughter]Clare: I'll write the biographies, and I'll read the fiction.Henry: That's probably the best way. Clare Carlisle, author of The Marriage Question, thank you very much.Clare: Oh, thanks, Henry. It's been very fun to talk to you.Henry: Yes. It was a real pleasure. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

I have a new YouTube video premiering this weekend about the miniseries Tales of the City, based on the books by Armistead Maupin, and for this week's episode we're diving into the Sewers archives to revisit my 2020 interview with Michael — who, like the main character of Tales, moved to San Francisco to discover himself and wound up finding someone he didn't expect. I recorded this conversation almost exactly five years ago, and a lot has changed for Michael since then — stay tuned at the end of our conversation for an update about his life that Michael just recorded.And like I mentioned, I'll have a new YouTube video coming about the miniseries Tales of the City, and the Republican scheme in the 90s to use a gay love story to defund PBS. That's going live this Sunday, October 27, at youtube.com/mattbaume.

On this edition of The Weekly Reader, we review two new books about changing times, changing attitudes, and changing lives: Mona of the Manor, by Armistead Maupin, and Frighten the Horses, by Oliver Radclyffe.See omnystudio.com/listener for privacy information.

After reading about the characters in this book, I made it my mission to have their kind of life for myself. Today we meet David Ciminello and we're talking about the book that saved his life: More Tales of the City by Armistead Maupin.David Ciminello is a Lambda Literary Fellow and author of The Queen of Steeplechase Park. As an actor, David guest starred on Seinfeld (“The Barber”), Murder She Wrote, Matlock, and Kojak. His original screenplay Bruno was made into a motion picture directed by Shirley MacLaine and stars Kathy Bates, Gary Sinese, and Jennifer Tilly.In More Tales of the City, the tenants of 28 Barbary Lane have fled their cozy nest for adventures far afield. Mary Ann Singleton finds love at sea with a forgetful stranger, Mona Ramsey discovers her doppelgänger in a desert whorehouse, and Michael Tolliver bumps into his favorite gynecologist in a Mexican bar. Meanwhile, their venerable landlady takes the biggest journey of all--without ever leaving home.Connect with Davidwebsite: davidciminello.cominstagram: @djciminelloFacebook: facebook.com/david.ciminelloOur BookshopVisit our Bookshop for  new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookTo purchase More Tales of the City visit: https://bookshop.org/a/82376/9780060929381To purchase The Queen of Steeplechase Park visit: https://bookshop.org/a/82376/9781942436614Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: J.P. Der BoghossianExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Natalie Cruz, Jonathan Fried, Paul Kaefer, Nicole Olila, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Stephen Flamm, Ida Göteburg, Thomas Michna, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonMusic and SFX credits: visit thiqueerbook.com/musicQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1June 18: 2-Year Anniversary Livestream: Follow us on Instagram @thisqueerbook. (7:30am EST/6:30am CST)June 22: Queer Speculations: A Reading and Gathering. On Zoom. Visit armenianliterary.org to register. (1pm EST/12pm CST)June 29: Live broadcast from Twin Cities PRIDE. 2pm CST. Listen to AM950 Radio on your radio app or am950radio.com. Or, visit our tent!Support the Show.

Book Vs. Movie: Tales of the CityThe 1978 Book Vs. The 1993 Limited SeriesThe Margos are celebrating Pride Month with one of the most beloved books and adaptations of the last 50 years. Armistead Maupin's captivating series, Tales of the City, is set in vibrant San Francisco. Initially a newspaper serial in the Pacific Sun and the San Francisco Chronicle, this collection of novels was adapted into a beloved 1993 miniseries focusing on events from the first book. Celebrated for its authentic representation of LGBTQ+ lives and community, the series broke ground in television for its inclusive storytelling. Which did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The background of the stories and settingThe effect the 1993 series had on the gay rights movement. The differences between the first novel and the film. The 1993 film's cast includes Olympia Dukakis (Anna Madrigal,) Laura Linney (Mary Ann Singleton,) Barbara Garrick (DeDe Halcyon Day,) Billy Campbell (Dr. Jon Fielding,) Parker Posey (Connie Bradshaw,) Marcus D'Amico (Mouse,) Paul Gross (Brian Hopkins,) Nina Foch (Frannie Halcyon,) Cynda Williams (D'Orothea Wilson,) Chloe Webb (Mona Ramsey,) Thomas Gibson (Beauchamp Day,) Mary Kay Place (Prue Giroux,) Donald Moffat (Edgar Halcyon,) and Sir Ian McKellen as Archibald Anson Gidde. Clips used:Mary Ann meets Mrs. MadrigalTales of the City (1993 trailer)Edgar meets AnnaBrian meets Mary AnnMary Ann talks to her motherMusic by John E. Keane Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: Tales of the CityThe 1978 Book Vs. The 1993 Limited SeriesThe Margos are celebrating Pride Month with one of the most beloved books and adaptations of the last 50 years. Armistead Maupin's captivating series, Tales of the City, is set in vibrant San Francisco. Initially a newspaper serial in the Pacific Sun and the San Francisco Chronicle, this collection of novels was adapted into a beloved 1993 miniseries focusing on events from the first book. Celebrated for its authentic representation of LGBTQ+ lives and community, the series broke ground in television for its inclusive storytelling. Which did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The background of the stories and settingThe effect the 1993 series had on the gay rights movement. The differences between the first novel and the film. The 1993 film's cast includes Olympia Dukakis (Anna Madrigal,) Laura Linney (Mary Ann Singleton,) Barbara Garrick (DeDe Halcyon Day,) Billy Campbell (Dr. Jon Fielding,) Parker Posey (Connie Bradshaw,) Marcus D'Amico (Mouse,) Paul Gross (Brian Hopkins,) Nina Foch (Frannie Halcyon,) Cynda Williams (D'Orothea Wilson,) Chloe Webb (Mona Ramsey,) Thomas Gibson (Beauchamp Day,) Mary Kay Place (Prue Giroux,) Donald Moffat (Edgar Halcyon,) and Sir Ian McKellen as Archibald Anson Gidde. Clips used:Mary Ann meets Mrs. MadrigalTales of the City (1993 trailer)Edgar meets AnnaBrian meets Mary AnnMary Ann talks to her motherMusic by John E. Keane Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Mara Wilson offers an admirable performance in Armistead Maupin's tenth book in the Tales of the City series. Host Jo Reed and AudioFile's Michele Cobb discuss this lively murder mystery that revives Maupin's series well known from its PBS and Netflix adaptations. Mona Ramsey hosts American tourists Rhonda and Ernie Blaylock at her grand country home in the English countryside. Midsummer festivities approach, and dangerous secrets are discovered. Wilson builds snappy dialogue skillfully, and listeners will enjoy spending time at the manor. Read the full review of the audiobook on AudioFile's website. Published by Harper Audio. Discover thousands of audiobook reviews and more at AudioFile's website. Support for AudioFile's Behind the Mic comes from HarperCollins Focus, and HarperCollins Christian Publishing, publishers of some of your favorite audiobooks and authors, including Reba McEntire, Zachary Levi, Kathie Lee Gifford, Max Lucado, Willie Nelson, and so many more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jan ist im Literaturnobelpreis-Himmel: Gleich zwei Preisträger kommen aus Lübeck - Thomas Mann und Günter Grass. Und beide finden reichlich Platz in dieser Folge, die in der Lübecker Kulturwerft Gollan aufgezeichnet wurde. Die literarische Vorspeise hat dafür Ekelpotential, denn Günter Grass liebte alles, was andere sonst gern auf dem Teller liegen lassen. Auch für das Publikum gab es "Blechtrommel-Vibes", mit einem Tütchen Brausepulver. Der Bestseller von Alex Capus ließ dann auch Daniel auf der Bühne vor Wut schäumen. Und Gast Inger-Maria Mahlke, die mit "Unsereins" einen Lübeck-Roman geschrieben hat, verrät, warum sie selbst nicht mehr genau weiß, wer in ihrem Buch eigentlich wer ist. Alle Infos zum Podcast: https://ndr.de/eatreadsleep Mail gern an: eatreadsleep@ndr.de Alle Lesekreise: https://ndr.de/eatreadsleep-lesekreise Unseren Newsletter gibt es hier: https://ndr.de/eatreadsleep-newsletter Podcast-Tipp der Folge: "I Will Survive - Der Kampf gegen die AIDS-Krise" https://www.ardaudiothek.de/sendung/i-will-survive-der-kampf-gegen-die-aids-krise/13328767/ Die Bücher der Folge: 00:02:45 Günter Grass: "Der Butt" (dtv) 00:05:30 Alex Capus: "Das kleine Haus am Sonnenhang" (Hanser) 00:15:58 Armistead Maupin: "Landgeschichten", übersetzt von Michael Kellner (Rowohlt) 00:21:22 Alia Trabucco Zerán: "Mein Name ist Estela", übersetzt von Benjamin Loy (Hanser Berlin) 00:25:17 Inger-Maria Mahlke: "Unsereins" (Rowohlt) 00:41:22 Thomas Mann: "Der Zauberberg“ (z.B. S. Fischer) 00:47:04 Günter Grass: "Die Blechtrommel" (Steidl) Bestseller für die nächste reguläre Folge: "Windstärke 17" von Caroline Wahl Rezept für (vegetarischen) "Kuttelfleck" à la Günter Grass http://www.ndr.de/kultur/buch/eatREADsleep-113,eatreadsleep870.html eat.READ.sleep. ist der Bücherpodcast, der das Lesen feiert. Jan Ehlert, Daniel Kaiser und Katharina Mahrenholtz diskutieren über Bestseller, stellen aktuelle Romane vor und präsentieren die All Time Favorites der Community. Egal ob Krimis, Klassiker, Fantasy, Science Fiction, Kinder- und Jugendbücher, Urlaubsbücher, Gesellschafts- und Familienromane - hier hat jedes Buch seinen Platz. Und auch kulinarisch (literarische Vorspeise!) wird etwas geboten und beim Quiz am Ende können alle ihr Buch-Wissen testen und Fun Facts für den nächsten Smalltalk mitnehmen.

J.P. DerBoghossian (he/they) is the founder of the Queer Armenian Library - the world's first library devoted to literature, film, and television by, about, and for Queer Armenians. He serves on the Board of the International Armenian Literary Alliance and is a past President of the Armenian Cultural Organization of Minnesota. He hosts the podcast This Queer Book Saved My LIfe which is a 2024 GLAAD Media Award nominee for Outstanding Podcast. He is a Lambda Literary Fellow and his essays have appeared in We Are All Armenian (University of Texas Press), The Sun Isn't Out Long Enough (Anamot Press), and Emerge (Lambda Literary). He started his career in television broadcasting and then transitioned to a ten-year career in higher education where he ultimately served as the Chief Diversity Officer for Normandale Community College and Saint Paul College. With This Queer Book Saved My Life he returns to his broadcasting roots, as he additionally hosts The Gaily Show for AM950-KTNF in Minneapolis. He holds a Master of Public Affairs degree from the University of Minnesota. He resides with his partners, splitting their time between Minneapolis, MN and Barronett, WI.   Episode Highlights Season 7 premieres with our first cross-pollination episode, where we share space with other queer podcasters and creators. We start by floating into a round of: I will share mine (show you mine), if you share yours (if you show me yours) - a lovely space where we each share books/authors that have impacted our queerness. We reflect and share about the books and the aspects of our queerness that are awakened. TanyaMarck & Nick get into some queer spirit medicine and drop into some breathwork + movement + toning with the intentions of bringing and sharing all of theses beautifully awakened frequencies with our bodies and systems sprinkling it all with gratitude. Thank you to books and their authors: Home at the End of the World, by Michael Cunnigham; The Velvet Rage, by Alan Downs; The Claiming of Sleeping Beauty, by Ann Rice writing as A.N. Roquelaure; & Tales of The City, by Armistead Maupin. Web links Find J.P. online at ThisQueerBook.com You can also connect with them on Instagram @thisqueerbook   Join the private Queer Spirit Community to continue the conversation and connect with other listeners.  Join us for FREE meditation + chanting + breath work circles online.   And follow us on Instagram!  Join our mailing list  to get news and podcast updates sent directly to you.

Thomas, Chris, & Dusty talk about the victims of Andrew Cunanan and the novel Tales of the City by Armistead Maupin.

Author Armistead Maupin is a pioneer - writing about AIDS and HIV for a mass audience and daring to include gay, lesbian, trans and queer lives when few others were.   His ‘Tales of the City' series, which started as a newspaper column in 1974, became worldwide best-selling novels and a Netflix series. It chronicles the lives of queer people in San Francisco and pokes fun at morality and social norms, touching millions of readers and viewers over 50 years. The beloved saga is now back for its 10th and final instalment, Mona of the Manor.   Now in his late 70s and living in London, the American writer opens up to Krishnan Guru-Murthy about growing up in the South in a “sexist, homophobic” conservative family, how he came to embrace the LGBTQ community, what life was like at the peak of the AIDS epidemic in the 80s.   Produced by Silvia Maresca.

Jeff & Will kick off this episode discussing books that Jeff's recently read including "A Different Kind of Brave" by Lee Wind, "Mona of the Manor" by Armistead Maupin, and "Radiant: The Life and Line of Keith Haring" by Brad Gooch. Brad then joins Jeff to discuss "Radiant," a biography that explores the life of artist Keith Haring from his earliest drawings through his death in 1990 at age 31. Brad talks about why he wanted to write this book, the fascinating research and interviews that he did, as well as the history he shares with Haring and 1980s New York City. Complete show notes for episode 449 along with a transcript of the show are at BigGayFictionPodcast.com. Look for the next episode of Big Gay Fiction Podcast on Monday, March 25. Big Gay Fiction Podcast is part of the Frolic Podcast Network. Find many more outstanding podcasts at frolic.media/podcasts!

Clive Anderson and Arthur Smith are joined by Armistead Maupin, Ophelia Lovibond and Emmanuel Sonubi for an eclectic mix of conversation, music and comedy. With music from Ayanna Witter-Johnson and Amelia Coburn.

The legendary author of the essential Tales of the City series joins us from London, where a pot roast awaits him, to talk about whether the magic of ‘70s San Francisco can ever exist again, why Breaking Bad and Six Feet Under are his current comforts, the PBS gay kiss that rocked the world, the Early Frost/Our Sons/Consenting Adults TV movie moment that examined gay life strictly in terms of how hard it is on your mom, and whether his character Brian's 1976 prediction that he and his friends would be 50-year-old libertines in a world full of 20-year-old Calvinists has actually come to pass.

Jason and Brett talk to Armistead Maupin (Mona of the Manor) about living in the world of Tales of the City for 50 years, inspiration for the character of Mona, a day in his life at nearly-80, shows he's seen in the West End recently, Bernadette Peters, and more.Armistead Maupin is the author of the Tales of the City series, which includes Tales of the City, More Tales of the City, Further Tales of the City, Babycakes, Significant Others, Sure of You, Michael Tolliver Lives, Mary Ann in Autumn, and The Days of Anna Madrigal. His other books include the memoir Logical Family and the novels Maybe the Moon and The Night Listener. Maupin was the 2012 recipient of the Lambda Literary Foundation's Pioneer Award. He lives in London with his husband, Christopher Turner.**BOOKS!** Check out the list of books discussed on each episode on our Bookshop page:https://bookshop.org/shop/gaysreading | By purchasing books through this Bookshop link, you can support both Gays Reading and an independent bookstore of your choice!Join our Patreon for exclusive bonus content! Purchase your Gays Reading podcast Merch! Follow us on Instagram @gaysreading | @bretts.book.stack | @jasonblitmanWhat are you reading? Send us an email or a voice memo at gaysreading@gmail.com

Film Reviews - Armistead Maupin - Turning Heads: Rubens, Rembrandt and Vermeer

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.“I was fortunate to be able to be out in Hollywood in the 90s and to be able to work early on seminal LGBT-presenting shows like Tales of the City series, and Six Feet Under with Alan Ball. When it comes to Tokyo Vice, I did push hard for there to be a queer storyline because in the late 90s, in Japan, there was a huge thriving gay subculture. But it wasn't on the table to come out because your sexual orientation was considered irrelevant to your obligations to society.”https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I was fortunate to be able to be out in Hollywood in the 90s and to be able to work early on seminal LGBT-presenting shows like Tales of the City series, and Six Feet Under with Alan Ball. When it comes to Tokyo Vice, I did push hard for there to be a queer storyline because in the late 90s, in Japan, there was a huge thriving gay subculture. But it wasn't on the table to come out because your sexual orientation was considered irrelevant to your obligations to society.”Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."I feel like I'm always telling young people, I know you want to make your own films, and I know you think you know everything. And that's one way to do it is to take an iPhone and just make a terrible first feature and then learn as you go. But I'm such a believer in mentorship. And when you have the time when you're young, find people that you admire and put yourselves in their orbit and just absorb and it will serve you so well later in life. I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I feel like I'm always telling young people, I know you want to make your own films, and I know you think you know everything. And that's one way to do it is to take an iPhone and just make a terrible first feature and then learn as you go. But I'm such a believer in mentorship. And when you have the time when you're young, find people that you admire and put yourselves in their orbit and just absorb and it will serve you so well later in life. I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."My most formative TV experience having been Six Feet Under, I tend to want to take a rather conservative approach to score, in that if a scene works brilliantly without music, why do you need music? And that score, especially, is usually there to provide an element that you're not getting fully from the dry–when there's no score, we call it dry. So with the dry footage, that was always our philosophy on Six Feet Under: if the scene works just as well without music, we don't need music. And that just runs a little counter to what was, and kind of still is, the prevailing philosophy on television, which is that everything needs music. Like, people won't know what to feel if you don't score it, which I think is a really very insulting underestimation of the intelligence of the audience.And so there's always pressure to put more music in, and our feeling is, no, if we don't need it, we don't need it. Now, that changes, like when we get to Tokyo Vice because of the genre elements of the show. You know, if you have an action sequence, you need music. If you have a really tense, suspenseful moment, it probably needs music.”https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"My most formative TV experience having been Six Feet Under, I tend to want to take a rather conservative approach to score, in that if a scene works brilliantly without music, why do you need music? And that score, especially, is usually there to provide an element that you're not getting fully from the dry–when there's no score, we call it dry. So with the dry footage, that was always our philosophy on Six Feet Under: if the scene works just as well without music, we don't need music. And that just runs a little counter to what was, and kind of still is, the prevailing philosophy on television, which is that everything needs music. Like, people won't know what to feel if you don't score it, which I think is a really very insulting underestimation of the intelligence of the audience. And so there's always pressure to put more music in, and our feeling is, no, if we don't need it, we don't need it. Now, that changes, like when we get to Tokyo Vice because of the genre elements of the show. You know, if you have an action sequence, you need music. If you have a really tense, suspenseful moment, it probably needs music.”Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I was always a film and theater kid. I just was completely starstruck and only wanted to have some kind of contact with showbiz. I didn't really understand in what creative shape that would take. It was when I was trying to work in theater. Stephen Sondheim was a close friend and advisor for the period. I was trying to work in theater, and he really changed how I think about art. And then before I went to do Mishima, I spent 3 years working with Robert Wilson, the great international stage director. Bob is a complete genius, and I adore him. Just being an apprentice to him and being one of his many producers working on his big international projects was a hugely formative and nurturing experience. And then finally Schrader [was an important mentor] because Schrader just sort of said, 'Here, you're going to work in movies. Come with me.'"Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain."I was always a film and theater kid. I just was completely starstruck and only wanted to have some kind of contact with showbiz. I didn't really understand in what creative shape that would take. It was when I was trying to work in theater. Stephen Sondheim was a close friend and advisor for the period. I was trying to work in theater, and he really changed how I think about art. And then before I went to do Mishima, I spent 3 years working with Robert Wilson, the great international stage director. Bob is a complete genius, and I adore him. Just being an apprentice to him and being one of his many producers working on his big international projects was a hugely formative and nurturing experience. And then finally Schrader [was an important mentor] because Schrader just sort of said, 'Here, you're going to work in movies. Come with me.'"https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from."Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I was fortunate to be able to be out in Hollywood in the 90s and to be able to work early on seminal LGBT-presenting shows like Tales of the City series, and Six Feet Under with Alan Ball. When it comes to Tokyo Vice, I did push hard for there to be a queer storyline because in the late 90s, in Japan, there was a huge thriving gay subculture. But it wasn't on the table to come out because your sexual orientation was considered irrelevant to your obligations to society.”Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What does learning another language and living in another culture do for your humanity and creative process?Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.“I was fortunate to be able to be out in Hollywood in the 90s and to be able to work early on seminal LGBT-presenting shows like Tales of the City series, and Six Feet Under with Alan Ball. When it comes to Tokyo Vice, I did push hard for there to be a queer storyline because in the late 90s, in Japan, there was a huge thriving gay subculture. But it wasn't on the table to come out because your sexual orientation was considered irrelevant to your obligations to society.”https://www.imdb.com/name/nm0693561 https://www.imdb.com/title/tt2887954/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

This week on the Coming Out & Beyond: LGBTQIA+ Stories podcast, we are thrilled to feature film and television producer and storyteller, Frank McGowan.TW: Frank's story relates anecdotes from his lived experience that describe homophobic-based violence, physical and mental trauma and CSA. Listener discretion is advised. Frank McGowan's remarkable life represents a mix of hardships and triumphs. Frank, who was born and raised in North Glasgow, was a sensitive, creative child in a culture that vehemently rejected Queer people. Frank's main childhood ally – his mother, Eileen – instilled in him a sense of pride that sustained him through dark days of violence and rejection. Frank has emerged from adversity to become an award-winning filmmaker. As Executive Producer of Bad Pony Media, Frank and his team produce content across all genres for the likes of Netflix, Amazon Prime and Braw TV in Scotland - which will be available around the world for FREE from late 2023. Frank tells authentic stories across series drama, factual entertainment, comedy, documentary and children's programming - and aims to engage, entertain and inspire.To connect with Frank and Bad Pony Media online, visit:Instagram: @glasgowfranko81 | @badponymedia_Twitter: @glasgowfranko81 | @badponymediaWeb: www.badponymediagroup.co.uk Creative Blog: www.badponymediaproductions.webs.com/apps/blog/Books that have inspired Frank are: Armistead Maupin (prolific LGBT writer) - "Tales of the City" - https://www.penguin.co.uk/series/TALECITY/tales-of-the-cityandSheila Lavelle (fellow later in life coming out story) - "Holiday with the Fiend" - https://www.amazon.co.uk/Holiday-Fiend-Lavelle-Sheila/dp/0140385665Frank's coming out song is "Horny Horny Horny" by Moose T. - https://www.youtube.com/watch?v=-j6muYHRX90In addition to being a filmmaker, Frank is also a musician in a band called Eric and the Bunny Boilers. You can catch their music on the following platforms:YouTube - https://www.youtube.com/watch?v=t_XuThHy-O8Amazon Music - https://www.amazon.co.uk/15ft/dp/B07DLFM22WLive @ King Tuts EP - https://soundcloud.com/bunniesontourThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

This week on the Coming Out & Beyond: LGBTQIA+ Stories podcast, we are thrilled to feature film and television producer and storyteller, Frank McGowan.TW: Frank's story relates anecdotes from his lived experience that describe homophobic-based violence, physical and mental trauma and CSA. Listener discretion is advised. Frank McGowan's remarkable life represents a mix of hardships and triumphs. Frank, who was born and raised in North Glasgow, was a sensitive, creative child in a culture that vehemently rejected Queer people. Frank's main childhood ally – his mother, Eileen – instilled in him a sense of pride that sustained him through dark days of violence and rejection. Frank has emerged from adversity to become an award-winning filmmaker. As Executive Producer of Bad Pony Media, Frank and his team produce content across all genres for the likes of Netflix, Amazon Prime and Braw TV in Scotland - which will be available around the world for FREE from late 2023. Frank tells authentic stories across series drama, factual entertainment, comedy, documentary and children's programming - and aims to engage, entertain and inspire.To connect with Frank and Bad Pony Media online, visit:Instagram: @glasgowfranko81 | @badponymedia_Twitter: @glasgowfranko81 | @badponymediaWeb: www.badponymediagroup.co.uk Creative Blog: www.badponymediaproductions.webs.com/apps/blog/Books that have inspired Frank are: Armistead Maupin (prolific LGBT writer) - "Tales of the City" - https://www.penguin.co.uk/series/TALECITY/tales-of-the-cityandSheila Lavelle (fellow later in life coming out story) - "Holiday with the Fiend" - https://www.amazon.co.uk/Holiday-Fiend-Lavelle-Sheila/dp/0140385665Frank's coming out song is "Horny Horny Horny" by Moose T. - https://www.youtube.com/watch?v=-j6muYHRX90In addition to being a filmmaker, Frank is also a musician in a band called Eric and the Bunny Boilers. You can catch their music on the following platforms:YouTube - https://www.youtube.com/watch?v=t_XuThHy-O8Amazon Music - https://www.amazon.co.uk/15ft/dp/B07DLFM22WLive @ King Tuts EP - https://soundcloud.com/bunniesontourThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Do we have the ability to laugh at ourselves? Bill Weber shares that this is a terrific way to work with one of the foundations of Buddhist wisdom: the concept of Non-self. The allure of our sense of self can easily lead us to become overly attached to our identity. We become competitive, demanding, and obsessive about the way we are treated.  To counter this, Bill encourages us to instead find humor in the demands that our ego makes of us (and others). If we observe our mind playing these games, it allows us to lighten up and disconnect from our sense of self. We gain the ability to laugh at embarrassing situations rather than see them as personal failures. It helps us connect with who we really are behind our social facade - the observer, rather than the performer of acts. This ability to find the absurdity in the human condition is actually a deep practice, one perfected by the late Wes Nisker, a teacher, author and Buddhist comedian. Bill speaks about the tradition of Crazy Wisdom and its role in breaking through the illusion of reality. He encourages us to find the clown, the trickster, the jester and the fool within and learn how not to take ourselves so seriously. He also mentions the organization, "Clowns Without Borders" and reflects on the work of Bernie Glassman, founder of the New York Zen Center. Although Glassman founded a retreat where participants lived among the homeless, and one that took place in Nazi concentration camps, he later pursued humor and went on to found the "Order of Disorder" and the "Zen Peacemakers." Bill closes with Wes Nisker's poem "Why I Meditate"https://inquiringmind.com/article/2301_50_nisker_why-i-meditate/______________ Bill Weber is a senior Vipassana practitioner and a graduate of Spirit Rock's Community Dharma Leaders program. He has twenty-five years of extensive retreat practice and currently practices at home with his husband or sits with a small group of gay men. He is also a documentary filmmaker and video editor, whose latest projects are “To Be Takei,”  “The Untold Tales of Armistead Maupin,” and "Hallelujah: Leonard Cohen, a Journey, a Song." Support the show______________ To participate live and be notified of upcoming speakers in advance, please Like us on Facebook (https://www.facebook.com/gaybuddhistfellowship) or visit https://gaybuddhist.org/calendar/ To support our efforts to share these talks with LGBTQIA audiences worldwide, please visit www.GayBuddhist.org.There you can: Donate Learn how to participate live Find our schedule of upcoming speakers Join our mailing list or discussion forum Enjoy many hundreds of these recorded talks dating back to 1996 CREDITSAudio Engineer: George HubbardProducer: Tom BrueinMusic/Logo/Artwork: Derek Lassiter

 Dennis is joined via Zoom by historian JD Doyle to discuss his new book, "1981: My Gay American Road Trip, A Slice Of Our Pre-AIDS Culture." The book is comprised mostly of diary entries JD kept during a road trip he took in 1981 that spanned 24 states,180 gay bars and lots of hot hookups. In the interview, JD discusses how his father encouraged him to take the trip after he got laid off of his chemical engineering job, the '77 Skylark he took the journey in by himself with no air conditioning, using his background in gay media to network and how the entire experience changed him. He also talks about the matter-of-fact way gay men would hook up back then, his attraction to clones and how you could send a message that you were DTF by unbuttoning the bottom button of your Levis 501s. He also talks about his work as a historian and the founder of the Queer Music Heritage radio show, which is how Dennis first met JD in 2000. Other topics include: how the specter of AIDS hangs over the book, staying at the Coral Sands hotel in LA, encountering icons like Vito Russo, Armistead Maupin, Liza Minelli and Sylvester while on his journey, falling in love with and in Houston, Texas and his obsession with sassy T-shirts. www.jddoylearchives.org

Listen in as Skye discusses her love of the talented, yet warped mind, of V.C Andrews.  Covering the book series of Flowers in the Attic, Heaven and other twisted tales of incest, abuse and murder!  The personal struggles and tragedy that befell the author and how her legacy continued to grow after her death. While Sean covers Armistead Maupin, the talented author that penned the Tales of the City series - a collection of nine novels spanning from 1978 to 2014. The books paint a vivid portrait of a circle of friends in San Francisco, with many of them belonging to the LGBT community. Like, share and subscribe! Access all of our current and future episodes via the link in Bio. Follow us on our socials and YouTube - @stupidbsaywhat #StupidBSayWhat #winepodcast #2ndbottle #NoJudgement #DrinkandSing #StupidBitches #StupidBitchesDecant #aussiepodcast #SBSWProject #HoldontoYourHeadsets #PopCulture #BookClub #ArmisteadMaupin #TalesoftheCity #NightListener #VCAndrews #FlowersintheAttic #Heaven

Join comedian and author ROSIE WILBY, co-founder of UK Black Pride LADY PHYLL and founder of Lesbian Visibility Week LINDA RILEY for a discussion on queer community. Are we still the ‘logical family' that Armistead Maupin once wrote about? Or now that we are more conscious of the complex intersectional identities represented within the LGBTQ+ community, is it more difficult to represent everyone all of the time? As LGBTQ+ venues close down, is it a sign of progress or a concern that our safe spaces, not to mention our history, are disappearing? Hosted on Acast. See acast.com/privacy for more information.

Happy Pride! A vintage conversation today with a major figure inLGBTQ lierature. E. Lynn Harris quit his job as a computer salesman in 1990 to begin a full-time writing career. His first novel, Invisible Life, won widespread acclaim. His second book was Just As I Am, and that was when I firstmet and interviewed him. In this 1995 interview Harris faces the struggles a gay black author os up against, and how he got past them. Get Just As I Am by E Lynn Harris Get E Lynn Harris's memoir What Becomes of the Brokenhearted You may also enjoy my interviews with authors Armistead Maupin and Maya Angelou For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. or wherever you listen to podcasts. #Pride #LGTBQ #fiction

Louise and Virginia jet off to San Francisco in the episode, where they discuss the origins of the City and County, and why it became the home and haven for people wanting to discard façades and identities they may have held in their home towns. They also discuss the original gold rush and the modern tech gold rush and the impact these have had on the city, as well as the serialisation of novels and they way this can shape the overall architecture of a novel. They also revisit the issue of Nazism and the presence of monsters living in plain sight among us. Books The Maltese Falcon by Dashiell Hammett, 1941Tales of the City by Armistead Maupin, 1978Daughter of Fortune by Isabelle Allende, 1998Mr Penumbra's 24 Hour Bookstore by Robin Sloan, 2012Days Without End by Sebastian Barry, 2016Television Clarkson's Farm – PrimeMy Mother and Other Strangers, BBC, ABC iViewBlogLiterary Hub by Megan Abbotthttps://lithub.com/megan-abbott-on-the-difference-between-hardboiled-and-noir/ 

Welcome to Book Chat! A new monthly books podcast hosted by Pandora Sykes and Bobby Palmer, which does what it says on the tin: we each bring one book, and we chat. Our one rule? The books have to be more than 2 years old. For our inaugural episode, Bobby has chosen Tin Man by Sarah Winman, and Pandora has chosen Tales of the City, by Armistead Maupin. So join us for a meaty book chat and beware for those who have not read the books: there will be spoilers. Other books mentioned:The Happy Couple by Naoise DolanThe Arrest by Jonathan LethemNormal People by Sally RooneyGrief is the Thing With Feathers by Max PorterTomorrow, and Tomorrow, and Tomorrow by Gabrielle ZevinA Man Called Ove by Fredrick BackmanWhen God Was A Rabbit and Still Life by Sarah WinmanFurther Tales of The City, Babycakes and Michael Tolliver Lives, by Armistead MaupinClip attributions:Sarah Winman on Writer's Bone podcast, 2018Armistead Maupin on Radio 4's Desert Island Discs, 2007Ian McKellan reads Letter to Mama for Letters Live, 2017You can get in touch with us at bookchatpod@gmail.comSound by Joel Grove and production by Pandora Sykes. Hosted on Acast. See acast.com/privacy for more information.

Welcome to our LGBT podcast and in this episode we're talking with actor Troy Stanley (he/him) about Tales of the City by Armistead Maupin. This novel kicked off a landmark series as well as numerous television adaptations. For Troy, he told us, "I think what Tales of the City said to me was be who you are don't apologize for who you are be who you want to be." See Troy live in these upcoming productions!MNM Theatre Company's production of The 25th Annual Putnam County Spelling Bee. The show opens December 2, 2022 and runs through the 18th. https://mnmtheatre.org Anything Goes at the Wick Theatre. It runs from January 12, 2023 through February 12th. https://thewicktheatre.thundertix.com/events/197579 Maltz Jupiter Theatre's production of Oliver. It runs from March 14 through April 2nd. https://www.jupitertheatre.org/season-productionsBuy Tales of the City and other books from our LGBT podcast at our Bookshop:  https://bookshop.org/thisqueerbookSupport the show

Harvey Fierstein has won four Tony Awards, for writing and acting in Torch Song Trilogy, for writing La Cage aux Folles, and for acting in Hairspray. He has appeared in Mrs. Doubtfire, Bullets Over Broadway, Independence Day, Death to Smoochy, and more. He has sung to Muppets, he has voiced Disney characters, and he's been in the Macy's Thanksgiving Day Parade. Armistead Maupin has called Fierstein “a true American original who has blazed his own trail through popular culture for half a century.” Harvey Fierstein joins us for the hour. GUEST: Harvey Fierstein: An actor on stage and screen, a playwright, and a screenwriter; he is the author of I Was Better Last Night: A Memoir The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe, Cat Pastor, and Michael Savitt contributed to this show, which originally aired March 10, 2022.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

This week, we're continuing our Trailblazer episodes with Vincent Virga—author of the Gaywyck trilogy, the first m/m gothic romance, and one of the first m/m romances ending with a happily ever after. He talks about writing gay romance and about the way reading about love and happiness change readers lives. He also shares rich, wonderful stories about his vibrant life as a picture editor in publishing, about the literary set in New York City in the 70s and 80s, about writing during the AIDS epidemic in the 1980s, about the times in a writer's life when the words don't come easily, and about the times when they can't be stopped. We are honored and so grateful that Vincent took the time to speak with us, and we hope you enjoy this conversation as much as we did. There's still time to buy the Fated Mates Best of 2021 Book Pack from our friends at Old Town Books in Alexandria, VA, and get eight of the books on the list, a Fated Mates sticker and other swag! Order the book box as soon as you can to avoid supply chain snafus. Thank you, as always, for listening! If you are up for leaving a rating or review for the podcast on your podcasting app, we would be very grateful! Our next read-alongs will be the Tiffany Reisz Men at Work series, which is three holiday themed category romances. Read one or all of them: Her Halloween Treat, Her Naughty Holiday and One Hot December.Show NotesWelcome Vincent Virga, author of Gaywyck, the first gay gothic romance, and one of the earliest gay romances with a happily ever after. It was published by Avon in 1980. He has written several other novels, including Vadriel Vail and A Comfortable Corner. He was also the premier picture editor in the book industry. He has been with his partner, author James McCourt, author of Mawrdew Czgowchwz, for 56 years. Their collected papers are housed at the Beinecke Library at Yale University. Today is the 41st anniversary of The Ramrod Massacre in New York City, where Vernon Kroening and Jorg Wenz were killed. Six other men were shot and injured inside the bar or on the streets near the Ramrod. Author Malinda Lo and Librarian Angie Manfredi sound the warning bell about the fights that we are facing around access to books and libraries and calls for book banning happening all around the country. Here is what you can do to help support your local library. Check out Runforsomething.net for ideas about local races where you live. Want more Vincent in your life? Here is a great interview from 2019 on a blog called The Last Bohemians, and this 2011 interview on Live Journal. Daisy Buchanan cries that she's never seen such beautiful shirts in The Great Gatsby, and We Get Lettersis a song from the Perry Como show.People Vincent mentioned: Susan Sontag, Maria Callas, opera singer Victoria de los Ángeles, editor Elaine Markson, Jane Fonda, Armistead Maupin, poets John Ashbery and James Merrill, Hillary and Bill Clinton, editor Alice Mayhew, Gwen Edelman at Avon Books, Gwen Verdon and Bob Fosse, publisher Bob Wyatt, John Ehrlichman from Watergate, author Colm Tóibín, poet Mark Doty, Truman Capote, poet and translator Richard Howard, Shelley Winters, John Wayne, Lauren Bacall, and Kim Novak. The museum Vincent was a part of in County Mayo, Ireland, is The Jackie Clarke Collection.The twisty turny secret book that made him a lover of Gothics was Wilkie Collins's Woman in White. Vincent is also a lover of Samuel Richardson's Clarissa, and Henry Bellamann's King's Row.A few short pieces abaout the AIDS epidemic: the impact of the epidemic on survivors in the queer community, and how the American government ignored the crisis.