Podcasts about Beauvoir

In today's episode exploring how twentieth-century philosophy and biography intersect David talks to philosopher and biographer Kate Kirkpatrick about Jean-Paul Sartre, a thinker whose life has been as closely scrutinised as his ideas. What made Sartre an existentialist? How was he shaped by his wartime experiences? Was he, as his critics claimed, a useful idiot for fashionable causes? Why has his reputation suffered since his death and where does it stand now? Out tomorrow on PPF+: a bonus episode to accompany this series in which David talks to Kate Kirkpatrick about the life and thought of Simone de Beauvoir, existentialist, feminist, memoirist and controversialist. What made Beauvoir the person she became? To get this and all our bonus episodes plus ad-free listening sign up to PPF+ now https://www.ppfideas.com/join-ppf-plus Kate Kirkpatrick is the author of Becoming Beauvoir: A Life https://www.bloomsbury.com/uk/becoming-beauvoir-9781350047174/ You can find out everything you need to know about this podcast – who we are, what we do, plus upcoming events and full lists of all episodes including PPF+ bonus episodes on our website https://www.ppfideas.com Next time: Now & Then with Robert Saunders – Gladstone vs Disraeli Learn more about your ad choices. Visit podcastchoices.com/adchoices

"Some things are up to us and some are not up to us. Our opinions are up to us, and our impulses, desires, aversions—in short, whatever is our own doing. Our bodies are not up to us, nor are our possessions, our reputations... whatever is not our own doing.” - Epictetus "Man is condemned to be free; because once thrown into the world, he is responsible for everything he does.” He also said, "Freedom is what you do with what's been done to you.” - Jean Paul Sartre THE SOURCE:https://en.wikipedia.org/wiki/The_Ethics_of_Ambiguityhttps://raggeduniversity.co.uk/wp-content/uploads/2025/11/The-Ethics-of-Ambiguity_-1948-Simone-de-Beauvoir-1948-.pdfRead Julie's Medium Blog.Support JULIE (and the show!)Support + get some bonus stuff over on PATREON.Get an occasional personal email from me: www.makeyourdamnbedpodcast.comTune in on INSTAGRAM AND YOUTUBE or TIKTOK.Info on War Tax Resistance.Donate to the Palestinian Children's Relief Fund and the Sudan Relief FundThe opinions expressed by Julie Merica and Make Your Damn Bed Podcast are intended for entertainment purposes only. Make Your Damn Bed podcast is not intended or implied to be a substitute for professional medical advice, diagnosis or treatment. Support this show http://supporter.acast.com/make-your-damn-bed. Hosted on Acast. See acast.com/privacy for more information.

Recibimos a María Paz Otero, ganadora del Premio Hiperión 2026 por "Las cosas por su nombre", y a Zoé Hidalgo Lucio, accésit del jurado por "Salvaje rabia trans". Dos jóvenes poetas que exploran, desde dos territorios muy diferentes, sentimientos y experiencias que resultan difícil de verbalizar. Visitamos también la exposición dedicada al diseñador Pedro Moreno en la Biblioteca Nacional junto a nuestra compañera Sonia Castelani y repasamos la trayectoria musical de Franco Battiato con Enrique Rodríguez Abuín, cuando se cumplen cinco años de la muerte del músico italiano. Además, la escritora María Zaragoza comparte sus lecturas de verano y Yolanda Pintor recupera en última parada la obra "La mujer rota", de Simone de Beauvoir.Escuchar audio

W finałowym odcinku tego sezonu „O milimetr do przodu” goszczę Magdę Gessler, malarkę, restauratorkę i jedną z najbardziej rozpoznawalnych osobowości w kraju. Rozmowę zaczynamy od krążącej w Warszawie opinii, że „Magda Gessler jest najlepszą swatką”. Mówimy o łączeniu ludzi, czytaniu ich potrzeb i zachęcaniu do marzeń. Rozmawiamy o wewnętrznej kruchości i załamaniach. Zastanawiamy się, jak przywracać siebie do życia. Magda Gessler wspomina swojego ojca chrzestnego – Ryszarda Kapuścińskiego oraz bliskich jej Wisławę Szymborską i Czesława Miłosza. Mówi o fascynacji Simone de Beauvoir i wolności wyboru. Analizujemy, jak we współczesnym świecie – pełnym oceniania, porównywania się i kreowanych sztucznie obrazów – wywoływać magię? Każdy odcinek zakończony jest apelem gościa. Magda Gessler apeluje o życie zbudowane na uczuciach, kwiatach, jedzeniu, pejzażach i nieustannej ciekawości świata.„O milimetr do przodu” skupia się na drogach do polepszenia życia. W tym celu przyglądamy się czynnikom społecznym, ekonomicznym i zdrowotnym, które działają na naszą szkodę. Oraz tym, które nas rozwijają, sprawiając, że świat posuwa się o milimetr do przodu.W audycji udział biorą politycy, artyści, działacze, psychiatrzy. Osoby mające wpływ. Moje zaproszenie przyjęli Pierwsza Dama Jolanta Kwaśniewska, Agnieszka Holland, profesor Bogdan De Barbaro.Masz pytania lub chcesz podzielić się przemyśleniami na temat odcinka? Instagram: @justyna.kopinska.Podcastu „O milimetr do przodu” możesz posłuchać na platformach Spotify, Apple Podcasts oraz YouTube.

In this episode, J. M. Tyree, the editor of Film Quarterly discusses a dossier of articles about David's Lynch's 2001 Mulholland Drive on its 25th anniversary with dossier editor Eileen G'Sell. Film Quarterly (FQ) is published four times a year by the University of California Press. For more information about the journal, including subscription and submission information, please visit FQ's website. If you are interested in supporting the work of UC Press and its Journals Program, please consider making a charitable donation to the UC Press Foundation. To learn more about the UC Press Foundation and how to contribute, please visit UC Press's Support Us page. Articles mentioned: “Uncanny Intimacies, Abject Desires,” by Eileen G'Sell (Film Quarterly 80 no. 1, Fall 2026) “The Radical Intimacy of Rot: Mulholland Drive's Queer Proliferations,” by Laura Westengard (Film Quarterly 80 no. 1, Fall 2026) “Sweet Dreams (Are Made of This): David Lynch, Simone de Beauvoir, and ‘Feeling Like a Feminist',” by Lori Jo Marso (Film Quarterly 80 no. 1, Fall 2026) “‘That's Not My Voice': Telephonic Logics and Paranoid Listening in Mulholland Drive,” by Temperance Aghamohammadi (Film Quarterly 80 no. 1, Fall 2026) “‘This Is the Girl': Mulholland Drive, Naomi Watts, and the Double Abjection of the Hollywood Starlet(s),” by Eileen G'Sell (Film Quarterly 80 no. 1, Fall 2026) A complete list of University of California Press journals is available at UC Press Journals. J. M. Tyree is the editor-in-chief of Film Quarterly and an associate professor in the Cinema Program at VCUarts. A Rabkin winner for arts journalism, Eileen G'Sell is a film critic and teaching professor at Washington University in St. Louis. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, J. M. Tyree, the editor of Film Quarterly discusses a dossier of articles about David's Lynch's 2001 Mulholland Drive on its 25th anniversary with dossier editor Eileen G'Sell. Film Quarterly (FQ) is published four times a year by the University of California Press. For more information about the journal, including subscription and submission information, please visit FQ's website. If you are interested in supporting the work of UC Press and its Journals Program, please consider making a charitable donation to the UC Press Foundation. To learn more about the UC Press Foundation and how to contribute, please visit UC Press's Support Us page. Articles mentioned: Eileen G'Sell; Uncanny Intimacies, Abject Desires. Film Quarterly Fall 2026; 80 (1): 26-29. Link Laura Westengard; The Radical Intimacy of Rot: Mulholland Drive's Queer Proliferations. Film Quarterly Fall 2026; 80 (1): 30-35. Link Lori Jo Marso; Sweet Dreams (Are Made of This): David Lynch, Simone de Beauvoir, and “Feeling Like a Feminist”. Film Quarterly Fall 2026; 80 (1): 36-41. Link Temperance Aghamohammadi; “That's Not My Voice”: Telephonic Logics and Paranoid Listening in Mulholland Drive. Film Quarterly Fall 2026; 80 (1): 42-47. Link Eileen G'Sell; “This Is the Girl”: Mulholland Drive, Naomi Watts, and the Double Abjection of the Hollywood Starlet(s). Film Quarterly Fall 2026; 80 (1): 48-56. Link A complete list of University of California Press journals is available at UC Press Journals. J. M. Tyree is the editor-in-chief of Film Quarterly and an associate professor in the Cinema Program at VCUarts. A Rabkin winner for arts journalism, Eileen G'Sell is a film critic and teaching professor at Washington University in St. Louis. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In this episode, J. M. Tyree, the editor of Film Quarterly discusses a dossier of articles about David's Lynch's 2001 Mulholland Drive on its 25th anniversary with dossier editor Eileen G'Sell. Film Quarterly (FQ) is published four times a year by the University of California Press. For more information about the journal, including subscription and submission information, please visit FQ's website. If you are interested in supporting the work of UC Press and its Journals Program, please consider making a charitable donation to the UC Press Foundation. To learn more about the UC Press Foundation and how to contribute, please visit UC Press's Support Us page. Articles mentioned: “Uncanny Intimacies, Abject Desires,” by Eileen G'Sell (Film Quarterly 80 no. 1, Fall 2026) “The Radical Intimacy of Rot: Mulholland Drive's Queer Proliferations,” by Laura Westengard (Film Quarterly 80 no. 1, Fall 2026) “Sweet Dreams (Are Made of This): David Lynch, Simone de Beauvoir, and ‘Feeling Like a Feminist',” by Lori Jo Marso (Film Quarterly 80 no. 1, Fall 2026) “‘That's Not My Voice': Telephonic Logics and Paranoid Listening in Mulholland Drive,” by Temperance Aghamohammadi (Film Quarterly 80 no. 1, Fall 2026) “‘This Is the Girl': Mulholland Drive, Naomi Watts, and the Double Abjection of the Hollywood Starlet(s),” by Eileen G'Sell (Film Quarterly 80 no. 1, Fall 2026) A complete list of University of California Press journals is available at UC Press Journals. J. M. Tyree is the editor-in-chief of Film Quarterly and an associate professor in the Cinema Program at VCUarts. A Rabkin winner for arts journalism, Eileen G'Sell is a film critic and teaching professor at Washington University in St. Louis. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

durée : 00:31:34 - Les Nuits de France Culture - par : Albane Penaranda - "Trois voix de femmes se débattent dans des situations sans issue ", avertit Simone de Beauvoir dans la prière d'insérer de ce triptyque. Une intellectuelle à la retraite (l'Age de discrétion) ; une amoureuse abandonnée par son mari (la Femme rompue) ; un femme éperdue de solitude (Monologue). - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Dr. Josh Herring joins Jenn on the Them Before Us podcast to talk about his new book, Sons of Adam, Daughters of Eve: C.S. Lewis' Images of Gender.Simone de Beauvoir said woman is made, not born. Judith Butler picked that up and ran it all the way to "gender is just a script — write your own." C.S. Lewis saw this coming decades before either of them published a word, and he said the opposite: gender isn't a costume to escape or a stereotype to perform, it's a gift to receive — and it's more fundamental than sex itself. Josh walks Jenn through what Lewis actually believed about masculinity and femininity across Narnia, his letters, and his nonfiction, and why it matters for anyone raising kids, teaching kids, or just tired of a culture that can't define what a woman is.Get the book: https://amzn.to/45pkQjF Learn more about Josh's work at the Logres Institute for Classical Liberal Studies: https://www.logresinstitute.org/About Josh Herring, Ph.D.Dr. Josh Herring spent 13 years working for Thales Academy as a classical instructor, administrator, and college professor. He is the author of Sons of Adam, Daughters of Eve: C.S. Lewis's Images of Gender. He loves helping students of all ages and stages discover their intellectual heritage; he is the founder of the Logres Institute for Classical Liberal Studies, a member of both the Ciceronian Society and the Academy of Philosophy and Letters, and a follower of Jesus. He and his wife Jennifer live in the Raleigh, NC area.

Esta cápsula reflexiona sobre cómo los estereotipos y las expectativas pueden influir en la manera en que vemos a otras personas y a nosotros mismos. Inspirada en las ideas de Simone de Beauvoir y Marie Curie, aborda la igualdad de género desde una perspectiva sencilla, humana y cercana, centrada en los derechos, las oportunidades y el respeto mutuo.PRODUCCIÓN Y LOCUCIÓNRUSBEL ISAÍ MONTOYA ALCÁNTARAPRODUCCIÓN FRECUENCIA SONORA FARO TLÁHUACMAURICIO URIBE OROZCO

How can content marketing in a tight niche build the audience that launches your book? And how do you decide whether to hand your self-published bestseller to a traditional publisher. Suzanne Smith shares what she learned in four years of going from blog to book deal. In the intro, how to stand out as a writer in the age of AI [Nathan Barry Show; Interview with Nathan Barry]; thoughts on asset maintenance; Goodreads giveaway on Bones of the Deep (Aug 5-20, 2026) This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Suzanne Smith is the founder of The Independent Landlord, and the bestselling author of The Good Landlord Handbook. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How a free blog in a tight niche built the audience for the book Rewriting the book from scratch when the law changed Why speed made self-publishing the only option Building a paid membership after one audience member asked for it Negotiating a Penguin Random House deal with no agent Using AI as a business sidekick, with a control room and an engine room You can find Suzanne at TheIndependentLandlord.com. Transcript of the interview with Suzanne Smith Jo: Suzanne Smith is the founder of The Independent Landlord, and the bestselling author of The Good Landlord Handbook. So welcome to the show, Suzanne. Suzanne: Thank you. Jo: Oh, there's so much to talk about today. But first up— Tell us a bit more about you and your background, and how you got into property and writing after a legal career. Suzanne: Well, I've always loved reading books. In fact, I recently did a French literature degree as a mature student. Being an author was never in the game plan at all. It's not something that I even thought about. I was brought up in New Zealand, so shout out to all the Kiwis and those across the pond in Australia. The thing about it is, Jo, you've lived there yourself. Kiwis are independent, self-reliant and have this great sense of fair play. So that was a very formative experience for me. We moved back to England when I was 16, and I have become thoroughly anglicised since then, but a Kiwi at heart. I always wanted to become a lawyer. New Zealand in some ways on television is quite American, and there was this American programme called The Paper Chase. It was about all of these students at Harvard studying law, and the professor said, “You come here with a skull full of mush and you leave thinking like a lawyer.” I thought, “Oh, I like the sound of that.” I didn't really know what a lawyer was, but everyone seemed to be very happy that I wanted to become one, and then that was it. Jo: So you went into law, and then how did you get into property? Suzanne: So I worked for 25 years as a solicitor. That's like an attorney if you're American. Started off in a law firm, and then I went into pharmaceuticals and I worked for big companies like what is now GSK, GlaxoSmithKline, and small companies as well. When I started out, it was before the internet, before Google. When you're in house, you're very much a generalist. You do a bit of everything. So you help companies grow their business. You're not business prevention, but you're still bound by the code of conduct for solicitors. You've got this role of keeping the company on the right side of the law. Then I had twins, who were born about five years after I became a lawyer, and I decided to work part-time for a while and did an MBA when they were little, part-time through the Open University. I know Jonathan is doing one at the moment. Jo: Yes. He's finished, so that's exciting. Suzanne: That was transformational for me, because I had probably been thinking a bit too much as a lawyer, and it helped me to broaden my view of the world and understand all sorts of things. Sso I continued going up the greasy pole, and then for my last job, in 2015, I joined a biotech company in Cambridge, England, as general counsel and company secretary. It was a long way from home, about two, three hours' drive from home. So I decided to buy a flat, an apartment, and to stay there in the week. I thought to myself, “Well, when I leave this company, I can let it out as a buy-to-let,” but actually as a landlord. So I stayed there for five years, and then when I left, I let out the property. The reason why I decided to leave law after 25 years, I had what I call a sliding doors moment, like in the film. I was 50. I was on holiday with my husband, and we'd probably had one too many rum cocktails. And he said to me, “Well, what do you want to be doing with your life? What would you do if you could do anything?” I was thinking, “Well, I've done law. I want to do something else now.” I didn't really know what that was, and I'd always been thinking about studying French properly, and that's when I left. So I decided, 18 months later, I left to do a French degree at King's College London, full-time. I was the only old person there with lots of 18-year-olds. When I did that, I was able to cash in my share options because I was a good leaver. I retired, and so I started buying properties to let out and became a landlord, without really thinking too much about it, and I used letting agents. They were fine to begin with, but I didn't really have a game plan or anything like that. What I realised is that when I tried to research things online, I couldn't really find anything that was terribly helpful. It was either quite general or it was very legal. So after a while… I became a landlord in 2019. I had the idea, why don't I set up a blog? And this is August 2022, so just four years ago. My husband came up with the idea of the name, The Independent Landlord, because it's that Kiwi spirit, being very independent. I thought, “Right, I'm not going to charge anyone for it. It's a hobby. It's not a business. I'm going to pay it forward and help, use my legal training, practical legal approach, and practical common sense, by doing this blog.” Almost exactly four years ago, I sent my first newsletter to 13 people. Jo: Woo-hoo. Suzanne: And I sent one last week to over 18,000. So it's been quite a journey. Jo: Wow, this is so great. I love this. There's so much in there. The turning 50 and then doing a degree. My master's in death is a little different to your French literature, but I like it. So I love this, and buying properties, starting it on the side, not a business at first, and growing the audience, and obviously you've put so much work in. Then you decide to write a book. So talk about that, because an online blog, although I'm sure your articles and everything were super useful, it's very different to write a blog than a book. So talk about your challenges in writing. Why did you decide to do a book in the first place? Suzanne: Again, I was an accidental landlord, is what they call it when you let a property when you didn't intend to buy it as a buy-to-let, which I did with my Cambridge flat. And I became, in many respects, an accidental author. So I was having a conversation with my husband again and I was saying I'd done this lead magnet to get people to sign up to my newsletter, and a big new law was going through Parliament at the time, called the Renters Reform Bill, that was going to completely transform the way landlords operate. I was saying to my husband, “Oh, I need to update my lead magnet, a little ebook, to explain the new law.” He looked at me and said, “Well, why don't you do a proper book? Write a book.” This was on the 29th of September, 2023. The reason why I mention that is that I thought, “Wow, what a great idea,” and my head was bursting. I went onto Google, and guess what I downloaded on the 1st of October? Jo: My blueprint? Suzanne: Exactly. I found you immediately, the Author Blueprint, and I downloaded it. I checked: on the 1st of October, 2023. Then I listened to almost… well, I think I went back several years on your podcast, just trying to understand. I'm like that. When I try and do something, I just try and learn everything that there is to know about it. So I started writing the book, and I guess the first challenge was I write quickly, and I'm used to writing for people who aren't lawyers, being in-house. So I thought I needed to have a structure. The structure was easy in many respects because, a bit of business at the end, and then you can go through a tenancy. I thought it was important to have a narrative thread all the way through it, just to bring it together. This is the literature degree coming in here. I thought that the mission for everything I do, the reason why I started doing this, is to help landlords, but also to help the experience of renting that people have in England. It's very specific for English law. And to help improve the private rented sector. So that's why I originally set up my blog for free, and I wanted, when people went onto Google, they could find something sensible and very detailed from me. My blog posts were… Well, I've now got over 400,000 words on my blog, so it's a substantial piece of work that is out there free of charge. So what I decided to do was to bring this narrative thread, I call it the good landlord ethos, to the book. Then I wrote very quickly, and I had a pretty good draft by April 2024, because we were all thinking that the law was going to change very soon. But then there was an election, and in the end the government changed and the legislation changed completely, so I had to rewrite the book and start again. So I think that my biggest challenge was that my subject matter, the new law, changed. Because I wanted to publish this book that explained to people practically what they have to do, and make it really straightforward, keeping out of politics, because it is a very politically charged area. I wanted to write it so it's a manual, somebody could literally follow it. So I used an editor, and I did write the book twice. I had a beta reader who is another lawyer, and a landlord as well. Then I got to the get-the-damn-thing-done stage. The really tedious bit of all the typos at the end. Jo: Yes, the finishing energy to get it out there. So at that point, obviously you'd found my blueprint, so you were learning about the indie way of doing things. Did you always decide to self-publish? How did you think about publishing? What were your challenges in publishing? Suzanne: It never occurred to me not to self-publish, because the new law came into effect on the 1st of May, 2026. The law and the details that I needed for the book were finalised in January, and I published on Amazon on the 5th of March, so I had to go so quickly. Even though I'd got a lot of it written, the last bit came in January, and so I needed speed. I knew that for landlords to be able to have something that they can use straightaway to help get them ready for it, and then use as a manual afterwards, I had to be first. Jo: Sorry, just on the year. Was it '24? You said '26. You meant May— Suzanne: 2024? No, no, because I actually published it this year. What happened in 2024, I had the first draft ready, but then I had to do another draft because the law changed when the Labour government came in. Jo: Right. Suzanne: The Renters Reform Bill turned into the Renters' Rights Bill. So I had to rewrite the book. So I finished however many drafts at the end of January 2026. Then it went to an editor, et cetera, et cetera, and I managed to get the book ready for a proof, to get the proof printed, towards the end of February. So it was really quick to go from the law being sufficiently finalised for me to write a book in January, and then having it ready in just over a month. There is no way that I could have done that if I'd gone to a traditional publisher. It didn't even occur to me to go, because I didn't want to be going touting around my book and, “Please publish me,” et cetera. It's just not me. I'm the independent landlord, and that moved very easily to being the independent publisher. So I learnt how to do all the publishing. And a huge thanks: I joined your Patreon and I was a very good student. I went through everything systematically and followed your playbook, and used Vellum and BookFunnel and all the other tools. So I decided to go on Amazon as well as have my own Shopify store, which just about killed me. Jo: I was going to say, you are an excellent student. You really like learning, but you also put this into practice, which is why I also wanted to talk to you. You haven't just talked about all this. You've literally done everything. Suzanne: Sometimes it was like my head was going to burst. Luckily, Claude upped his game earlier this year when we got the Opus 4.5. I didn't use AI really until this year. I decided I need to do exercise all the time, and have that as a have-to-do, because my head was spinning all the time with all these different things. So I would go to the gym, go to a spin class, and then I would walk out with my phone on, with the Claude app, and dictate a stream of consciousness into it. “Oh, I need to do this, or what about that? Oh, I just remembered about this. Oh, I've had this idea, blah.” And then said, “Make sense of it for me, Claude.” So it was very much as a thinking partner, because when you're writing your first book, it's bad enough, but when you're learning how to publish… Even, like, when I got the first proof of the book back from BookVault, I realised that all the footnotes—I have 114 footnotes in my book, and that, again, is the recent degree there—and the formatting had gone skew-whiff. Apparently it was an issue with Vellum, and they were really lovely and they sorted it straight out for me. So it shows: always get a proof of the book. They were able to sort that out very quickly, and BookVault were very quick in getting me another proof, because you can shortcut it and just pay to get a very quick delivery. Amazon, on the other hand, was really slow. It took a week. So I actually published earlier on my Shopify store for my members, of my membership, and I gave them a discount. Then I finally got it onto Amazon on the 5th of March. There are all these different skills you're having to learn. The Shopify store I found very hard, and there was all the tax, because I'm VAT registered. So I think I'm still recovering. Jo: You're still recovering. I wouldn't normally recommend a Shopify store for someone with their first book, doing first of everything. But, as you say, you're someone who learns a lot, puts it into practice, and— I think you were pretty determined to do that because you had a community as well, right? Suzanne: Exactly, yes. The big subscriber list. I think that's why the book did so well. So in the first week, because I met you at the Indie Author Lab put on by— Jo: Yes, London Book Fair, yes. Suzanne: Yes, the Alliance of Independent Authors. I met you there, and it was just my first week, and I had 1,000 sales in the first week. That was because of my audience. I'd been going on about the fact that I'm writing this book for two and a half years, because that's how long it took me to do. So I had a wait list for it, and I had a thing on my website, a landing page on my website, saying how good the book was and why it's the best thing for the Renters' Rights Act. Then I went onto Google, and I think I sent you a screenshot of this at the time. I put into Google, “What's the best book for the Renters' Rights Act for landlords in England?” And it came up with me as a featured snippet, and I hadn't even published it at that time. It was just about there. So the blog really helped, because I'd become an authority on the Renters' Rights Act. Even though I'm not a practising solicitor any more, I spent all my time reading the damn thing, and it is a very complicated bit of legislation. Funnily enough, I have ruffled a lot of feathers. People have even said about me behind my back, “What does she know? She's only got four properties.” But I just took no notice. I thought, “I'm going to try and use my legal brain and my understanding of what it's like being a landlord, there with the rubber gloves cleaning an oven when people have moved out, and try and write something that's not trying to sell anything else, and to help people.” And then it got picked up. Jo: Yes. Wait, let's just slow down. Slow down, because we will get onto that in a minute. But let's just come back to that launch. So as we talked about, you've had a blog for five years— Suzanne: It was three and a half by then. Jo: Three and a half years you've been blogging, but hundreds of thousands of words of useful information. So you've essentially done content marketing. You've attracted people. You had a lead magnet. You got them on your email list. You told them that you were writing a book. You got a sort of pre-sales list up. So that's an email list. You've got a blog. Did you do anything else in terms of marketing? Suzanne: I had YouTube, a big YouTube channel. I'd only set it up at the end of 2024, and I'd had half a million views. And again, just very straightforward advice, and without all the scaremongering and politics. I deliberately keep out of it all. A lot of people joined my newsletter as a result of that. Also a year ago, exactly today, I was running a Facebook group, which was a lot of hard work. There were a few thousand people in it, but there are often a lot of people going in there trying to sell things: insurance, eviction specialists and things. And there was also a lot of people just being unpleasant to other people. I was getting fed up with it. It was taking me a lot of time, and I was doing a lot of speaking events and trying to explain what this new law was doing, and wearing myself out. I'm an extrovert, but even I find speaking events absolutely exhausting, because it's like everything gets sucked out of you. It's strange. Then somebody came up to me in July last year and said, “Suzanne, can you set up a membership?” I said, “Well, landlords aren't going to pay for that.” And they said, “Yes, they will. You build it and they will come.” I asked ChatGPT and thought about it. I asked ChatGPT, who I was dating at the time, now exclusively with Claude, but I know Claude has other people in his life. But I'm very much set with Claude Fable at the moment. So I asked ChatGPT, how can I go about setting up a membership? And I mentioned your one and said, “Should I do it on Patreon?” And then he came back with: go for Circle. So I set up a membership on Circle, exactly a year ago. In fact, it's the anniversary of my first member yesterday. hTe rules I had were, no selling. So I don't sell, no affiliate links, no one else can sell anything, and we have to be supportive. No negativity, no politics. So what it's become, it's like the senior common room of the private rented sector, with landlords, lawyers, letting agents. There's a fantastic forum in there. It's not me doing it, it's peer-to-peer. I have twice-monthly live streams where people can ask me questions. I wonder where I got that from. No, I very much modelled it on your Patreon, but on a different platform. I have courses in there as well. So that has really grown. I launched it in July, and by September, October, I'd gone past the VAT threshold, which has complicated everything, but it means my business now is this membership. I really enjoy doing it, and there hasn't been all the negativity that you have in a Facebook group. So I had them as… talk about your thousand fans. There are about 1,500 in the membership, and their support really helped the launch of my book, as well as the wider people who get my free newsletter. Jo: Yes. Suzanne: So it's all different types of content marketing. Jo: Y, but I do love this. And of course, if people are wondering, I joined Patreon back in 2014, I think it might have even been before that, and there weren't too many places back then to run communities. It wasn't even really a community at the time, it was a sort of, almost a “give me a bit of support for the podcast.” So things have changed a lot in terms of communities, and obviously you went with Circle, which is great. Patreon is slightly different now, and some people are using Substack for something similar. So that's just on the platform, but on the business: early on in our conversation you said, “I wasn't going to have a business. It wasn't a business. It was just putting stuff out there, helping other people,” and then your audience asked for this membership. And so now it is a business, right? Suzanne: Yes, it is. Jo: And you've got a book and all of this. So are you happy with the change to a business? Because obviously you have to treat it quite differently. Suzanne: Yes, I am, because I think to begin with, I was just doing it one or two days a week. I was actually studying a master's in French literature part-time, and I then found that I was enjoying the blog more than the master's, so I dumped the master's after the first year. But after getting 88% for one of my dissertations, which interestingly was on the translation of a Simone de Beauvoir book into English, and the publisher who's got that now is Random House, but that's another thing. Anyway, so I decided to give up my master's and double down and work full-time on the blog. People were paying to help me with all the big fees and things, the big tech stack, Buy Me a Coffee. I was doing a little bit of consulting and things. I was working six, seven days a week. I was treating it like a business in terms of quality and my effort, but it wasn't a business in terms of revenue. Then it just all came together, and this person said, “Set up a membership,” and I thought, “That's what I'm going to do. I'm now going to put it on a business setting.” I've got an MBA, I know how to do it, and people thought I planned it, but I didn't. It just happened. So now I do very much treat it as a business, but I still don't advertise. I don't allow people to advertise with me, because I want to be independent. If I recommend something, I want people to believe it's me recommending it, not just because someone's paying me, which can be a big issue in the landlord area. Jo: Oh, in any industry. I get pitched every day with loads of random things that people are like, “Oh, a dollar a click or whatever, if you send this to your list.” And it's like, seriously? Just stop it already. I did just want to add there: somebody asked you, they said, “You should have a community,” and that sparked that idea. I just wanted to acknowledge that my Patreon came from Jim Kukral. Some of you will remember, who've been around a long time. Jim Kukral came on my blog around sort of 2013. Amanda Palmer had just put out a book called The Art of Asking, and I was doing a lot of unpaid work on the podcast at the time, and I was either going to give it up or I had to fund it somehow. Jim said, “You should do a Patreon.” And I was like, “Oh, no, I hate asking for money.” So at the time I just felt, oh, weird. Then I was like, “No, I do all this work,” as you were saying. Now the Patreon has changed so much in terms of what it is, but it is the backbone of my business, too. So I love that you listened to one of your fans who said what they wanted, and I love that I've listened as well. Sometimes we just have to listen to those urges, don't we, to take things on? Suzanne: Yes, absolutely. In some ways I didn't really back myself before. I thought, “No one's going to pay for this.” Then the more you give, the more they want. Jo: Yes. Suzanne: What I've been really working on now is having boundaries, because there were two big kind of mottos that I picked up when I was working in pharmaceuticals. One was from a head of the business. He was Canadian, and he was always saying, “You've got to skate to where the puck is heading.” Jo: That's Wayne Gretzky, is it? Suzanne: Exactly. Yes. He would always say it, and so that's what I've done with my blog and my book. When I write things, I don't pay for any tools. I don't do keyword searches and all that. I just think, I do one blog post per topic, and I'm going to guess what people are going to be searching for soon, and I build up all this content around it. That's why most of my blog pages are top five. I've had no advertising. I haven't asked for any backlinks. I don't do it. People backlink to it because it's useful. So that was the first thing, is skate to where the puck is heading, and that was my approach with the book. I knew people would need this book from around May, and they'll need it forever, because it is so complicated and regulated, the rules for being a landlord in England. So that was the first one. The second thing was: when you take something on, you've got to let something go. One in, one out. I found that I was taking on so many different things, and I've just been cutting back, because I can't be doing all the speaking, I can't be answering people's emails. So I now don't do emails. If people want my advice on something, they ask me in the hub, at the twice-monthly live streams. Sometimes I answer in the forums, but I don't have time. When there are 2.4 million landlords in the UK, and even with our 18,000 on my newsletter, I could spend, and I did, I used to spend all my time replying to emails. So anyway, there are the things. Oh, and there was a third one, which is: attract, don't chase. One of my friends gave me that advice and that's exactly what my approach has been. I just don't chase for anything. I just put the stuff there and then build it and they will come. Jo: Yes, and I think another thing is the power of the niche. It's so clear that what you write about, the people you are aiming at, you have an extremely tight target market. That is both a strength and obviously a weakness, because they're the only people. But as you say, there's more than enough of those people for a community, for the book you have. From my own perspective, that's the same for me, the power of the niche. That's how I have a successful podcast, for example, because of that reason. I think you're like a poster child of what a non-fiction author should do. What I like is that you didn't go, “Oh, where's a niche where I could make money?” and then jump in. You've gone about this in a kind of slightly accidental way, but now you're leaning in and this uses all your skills. So this really is a great example of the power of the niche and then making the most of it. But let's move on to what then happened, and— What happened with the book deal? Suzanne: Wow. So you and I met each other on whatever day that was in March at the Indie Author Lab, and the following day I got an email, via my website on a contact form, from Penguin Random House saying, “We love the book. We love the mission, its values,” all this kind of thing. And I was thinking, “Oh, it's another one of those. Must be an—” Jo: AI spam bot, right? Suzanne: Yes, and I remember I sent you a screenshot of it, and then I checked her out on LinkedIn and thought, “Okay, there is somebody with that name there.” You're always saying, and Orna Ross and everyone are always saying, “Watch out for scams.” And in fact, Penguin Random House even this weekend on Instagram put out something saying, “There are lots of people impersonating us.” So I didn't take it too seriously, and it was something like, “Oh, would you be interested in us publishing your book?” And I thought, and I laughed. It was like, no, this is too good to be true. So I replied and said… Oh, I said, “Well, thank you so much. The Renters' Rights Act…” And so this is like the second week in March. “The Renters' Rights Act comes into effect on the 1st of May. If you want to publish it, you're going to need to get your skates on.” I literally did say that. Then she arranged a meeting with me the next day, on the Friday. I still was very dubious about it, and I had a think about it. What helped me, and I have the little booklet here: at the Author Lab, we did some work at the beginning, and Orna said, “Put your phones away.” And it was like, “What? Put my phone away?” Then we had to do this definition of success, and our passion, and our mission, and our purpose. I wrote down things like, I want to help landlords, and in so doing, help improve the private rented sector. I get pleasure from helping people. I want to improve standards and use my legal and practical skills, et cetera. So I thought, “Okay, what is my purpose of doing this book?” It isn't really to make money, because going with Penguin, you wouldn't do that for financial reasons, because you'd make very little money. So I thought, what is my why? My why is I want as many people to read this book as possible. And I've managed to sell a few thousand copies, but there are 2.4 million landlords, and they all need to understand this book, and the only way that I can get it out there, apart from doing ads, is to get it out in bookstores. So I thought about it, and then said, “Yes, I will do it, because I want to get the book out there.” So it's distribution. It's going to be published on the 6th of August, which is really quick, bearing in mind they contacted me in the middle of March. It's exactly the same book, it's just got different copyright wording and different blurb, different paper. Same cover, because I managed to find a fantastic cover person to do it. So they've kept everything the same. So we negotiated that book. I have no agent. They came to me. It's the attract, don't chase. I just put my lawyer hat on, and because one licence is very much like another one… I did turn down their first offer. Jo: Well done. Good negotiation. Suzanne: My daughter said to me, who's an adult daughter, she said, “But it's Penguin.” And I said, “Well, no, but it doesn't work for me.” So I had a call with them, and then they came up with something that worked for me a bit more. I did have to concede on a few things, like I can't sell it in my Shopify store. But in some ways, that was a blessing in disguise, because it means I don't get any more “Where's my book?” emails. Jo: Yes, exactly. Pros and cons of everything, basically. Suzanne: I have very clear rights to get it back. If I want it back, I can get it back and I don't have to give a reason. They're lovely. They have been really very wonderful. When I went up there a month or so ago, they gave me this book bag, and it's got on it, “I'm published by Penguin,” and I burst into tears. Jo: Aw. That's nice. Suzanne: I don't know, it just seemed like such a big deal. Because up until then I was just being all very lawyerly and task-orientated. Then I thought, “Oh my goodness,” and then it dawned on me. So I'm now in this interim period where I've taken it off Amazon and off my Shopify store, and I feel very maternalistic towards the book because, you know, it took me two and a half years, which is longer than a pregnancy. Obviously it's not a child, but it's like my book child. I've sent it off with a backpack and a drink and some snacks, and I hope that they look after him, my book. The day I took it off Amazon it was still number one. And a big shout-out to Publisher Rocket, by the way. Jo: Yes. Very, very useful for niche publishing. Suzanne: Very. It helped me choose the right niche categories. So it was number one on at least one category, often six, all the way through. I thought, “Well, it's over to them now.” They're very lovely people. They've given me some marketing assets, as they call it, some swanky graphics and things to use. We'll have to see what we do in terms of marketing. I don't mind doing marketing. I'm on LinkedIn quite a bit, and my whole blog is marketing. What I've been doing is updating my blog to include one of these graphics and to mention the book, and I got Claude to help me draft the code so it looked right. So I've been going through all of my blog posts and sending people to Amazon rather than to my Shopify store. It is mixed feelings, because I care about my book. I put a lot of effort, a lot of love, a lot of tears. No, not tears, but I put a lot of effort into it, and it's out of my control now. Jo: Yes, you said it's over to them, but obviously you will still be creating content around this topic, so you'll probably still be the biggest driver of book sales. Suzanne: Yes. Jo: Are they also suggesting, for example, a podcast tour, like pitching for podcasts? Are they going to assign you some PR? Because, also if people don't know, as we are recording this, we have a new prime minister who wants to do various things. You said no politics, but this is obviously a political thing. So you have the potential to go on a lot of different podcasts, media, talking about this, becoming almost a talking head in this kind of area. So are you angling for all that, and is that in your contract, or is it literally just going to be whatever you want to do? Suzanne: That's not in the contract. What's in the contract is very minimal. I think I've already done what I'm supposed to do. They are pitching for me to go on podcasts and things. I'll tell you a really funny coincidence. So we now have a new Prime Minister, Andy Burnham, and when he was Mayor of Greater Manchester, he set up something called the Good Landlord Charter. I actually talk about it in the book, and I quote him in my book saying that good landlords mean people trying to do the right thing, or something like that. And I coincidentally came up with the same name, The Good Landlord Handbook. I'd already had the book title for a long time. So this idea of good and landlord coming together, the adjective good as opposed to criminal or rogue, and the cover being green. I'm wanting to change the narrative so it's the norm to have a good landlord, and to help people become good landlords. Or if they're good landlords, help them to understand the new rules, because the new rules are very complicated. So what I don't get involved in is this right or wrong. Is it right that landlords can't do this or have to do this? Because as an in-house lawyer, it doesn't really matter what I think about the law. GDPR, goodness me. Jo: Oh, dear. Let's not start on GDPR. Suzanne: No, exactly. Because we've just got to suck it up. I liken it to the grief cycle, that people have been going through so much change and you have the anger, the depression— Jo: Denial. Suzanne: Bargaining, the denial, and then you get to acceptance. For some people, the acceptance means they want to stop doing it. If you want to accept it and stay, you need to understand the rules. So I've deliberately just kept very practical and have kept out of all the politics of it. I have, funnily enough, become involved because I'm now seen as an expert on the Renters' Rights Act. I've worked behind the scenes with the government to help, and give comment on government guidance for landlords. I was even invited to a reception to mark the passing of the Renters' Rights Act at Downing Street with the previous prime minister, all whilst staying apolitical. I won't let anyone make me be a mouthpiece for their political view. It's more, we just have to do this if we want to continue doing it. I've been very clear on that. Jo: It's interesting you mention the grief cycle there, and you've also mentioned Claude and ChatGPT. I wonder if you might also just comment on use of AI for authors and for marketing and all this. Also with legal stuff, because for me now, if I'm looking at a particular legal thing, I tend to ask Claude. I'm like, “Can you just explain this?” or upload a contract or whatever. Although it is not legal advice, it can be quite useful. So give us your thoughts on using AI as a sidekick in your author business and also for wider life. Suzanne: I now struggle to think what life would be like without Claude. I don't use Claude to write, at all, because I have a very particular voice and a turn of phrase, and if ever Claude writes something for me, it doesn't sound like me. It flattens me, and it makes me sound a bit American. So I don't do that. I've used it in the back end of the business. For instance, my blog was down, and there was something called a recursive bot, which I don't even know what it was, and Claude helped me fix it for free. I went through, I did screenshots. When I did an ElevenLabs audiobook and did it all myself, I was literally, for every screenshot, showing it to Claude. Claude said, “Do this, press this, press that.” So I have all these different projects set up. One is the control room, where it's for my strategic thinking. If I have an idea, I want to think about something, I put it in there. I have the engine room, which is for everything techy. Like when I had the recursive bot, or if I'm wanting to have some code on the website to make it look a particular way. Then I have other things for different subjects, and I put all the resources in there, and I use it a lot as a thinking partner. I've noticed that Fable doesn't hallucinate as much, but the Opus used to. There's something called rental discrimination, and it was proofreading and said, “No, it's not rental discrimination, it's rental income discrimination,” and that was just a load of rubbish. So I would never let it go and change things without me looking at it. I went on one of your webinars a month or so ago about MCPs and all the connectors, which is fantastic. It can go into my community and pull out all the questions for one of my live streams and put it into a document in order, by theme, for instance. It can look at my MailerLite, because that's where my newsletter is with, and analyse the different open rates and click rates and things. It's so good for analysing everything, all the book sales. It helped me with my negotiation with Penguin, and it is pretty good on law. It has sometimes hallucinated things, but not so much now. I think with anything, you've always got to go back to the primary source, and this is what we learn in academia: you have to check the primary source yourself. I have a bit of a magpie brain. I'm very much a discovery writer, like you, and things occur to me as I'm doing it. I think that Claude, at the moment, is incredible. I've been quite open about it on social media that I have Claude as a business partner. I'm a solopreneur, or whatever the word is. I have quite a big business now, and lots of different things, and it's just me doing it, because I can ask Claude how to do this, and how to do that. Claude can go and check my emails and tell me, is there somebody I've not replied to, which helps a lot. Jo: Yes. I think it's empowering as a solopreneur as such. You talk there about the fixing the tech stuff. I have my web host come to me and say, “Look, you're getting so much traffic and bot stuff, and we need to put this thing in, and it's going to be $120 extra a month.” I was like, “Can you just give me an hour? I'll get back to you.” And then I just had Claude code up, and I was like, “Analyse this and tell me what we can do.” It was like, “No, you just need to flip this switch and do that.” And I'm like, “Okay, fair enough.” Then the guy said, “Oh, no, okay, actually you don't need it.” Just stuff like that. As a solopreneur, you're either going to pay somebody technically quite a lot of money, or you can get Claude or ChatGPT. We should say, the ChatGPT Sol is very good, like the Claude Fable, for example. So, yes, using it as a sidekick. I love your control room and your engine room projects as well. That's a great way of doing it. Suzanne: I wouldn't be without it now, and I would have published the book a lot later without Claude, because Claude was helping me with the Shopify store and all the many steps of things. It saved me real time. It is just fantastic. I think, like now when I'm updating my blog, I have a connection between Claude and my blog. Claude can go in, I can give it my Google Search Console results for the page: what should I change, are the headings right? All this kind of thing. And it will give me a view on every single page, which is incredible. Jo: And YouTube, and just everything. Just super useful for that business sidekick. That's what I want authors to think. I feel like authors get so obsessed with the creative side with AI, whereas actually, people like you and me, we're using it as that engine room for the solo business, which is what I love. So we're out of time. I did want to ask one more thing, which is, one of the biggest issues with a specific book like yours is when they change the law again. So do you have a plan in place for if, say, a new government changes the law again? Will you just be updating the book over time? Suzanne: I think that there'll need to be a new edition of the book in three years' time, and I've spoken to Penguin about it. Not all of this new law has been implemented, and there's going to be case law and things. So I expect that I will update the book every few years. I have some other ideas for books as well, but for the moment, I'm just taking a bit of a break. You always say we've got to refill our creative well. I really feel like that at the moment. Recently I've just got myself a personal mobile phone so that I can turn off my work one when I'm on holiday and actually take time off. Because for all the time that I was doing the book, basically from Christmas until May, I didn't have one day off. That is not good. So I'm just trying to be a bit more balanced. I had an idea to write another book for summer, but I've just decided not to, and I'm going to leave it until I feel the urge again. Jo: Oh, well done. Suzanne: Which will come. Jo: Yes, well done. Suzanne: I think there's nothing wrong with that. We just need to think what's right for us. I'm 58. So I want to be able to have time to enjoy things and not be working all the time. Jo: No, that's great. It's a sustainable business. So where can people find you and the book and your community online? Suzanne: The easiest way to find me is theindependentlandlord.com. Or if you put Suzanne Smith and landlord into Google, you'll find me as well, and there's a link on there to the book, The Good Landlord Handbook. In the community, there's a link to that on my website as well. Jo: Brilliant. Well, thanks so much for your time, Suzanne. That was great. Suzanne: Thank you.The post From Blog To Community To Book: A Non-Fiction Author's Journey With Suzanne Smith first appeared on The Creative Penn.

What's your most favorite and least-loved songs on Lloyd Cole and the Commotions' debut classic Rattlesnakes? Jim chose this one for a full-on lovefest unifier. We've all dug Lloyd since last century, even seeing him together with Michael Penn in 1990. Mister Cole politely declined to rank his own record but you can hear him kindly chime in on our Highway 61 Revisited episode. Even better, we got Camera Obscura's Tracyanne Campbell to tell us her favorites along with Mike Remoll, the Cool Brother Hall of Famer that introduced Jim to the Commotions 40 years ago (stay tuned & listen post-credits!). Hear it at WeWillRankYouPod.com, Apple, Spotify, Youtube and on Charlotte Street.FILE UNDER/SPOILERS:Tori Amos, Are You Ready to Be Heartbroken, Athens Georgia, Camera Obscura, Tracyanne Campbell, Truman Capote, Charlotte Street, Neil Clark, Leonard Cohen, Lloyd Cole, college rock, the Commotions, Cosmopolitan, Blair Cowan, Simone de Beauvoir, Joan Didion, Lawrence Donegan, Lonnie Donegan, Down At The Mission, Down on Mission Street, Anne Dudley, Bob Dylan, Faces, folk rock, Forest Fire, Four Flights Up, Greta Garbo, Glasgow, golf, hair, Paul Hardiman, Stephen Irvine, Jangle pop, Jim, Jodie, Julie, Grace Kelly, lead acoustic, Arthur Lee, library girl, Lloyd, I'm Ready To Be Heartbroken, Louise, Love, Norman Mailer, Mainstream, one note solo, Patience, Michael Penn, Perfect Skin, Rattlesnakes, REM, Mike Remoll, Ronald, Eva Marie Saint, Scotland, sexual enlightenment, the Smiths, Speedboat, Strava, strings, Tracy Thorn, 2CV, Velvet Underground, 1984US: http://www.WeWillRankYouPod.comwewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://wewillrankyoupod.bsky.social/http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)http://www.LloydCole.comhttps://youtu.be/Oc9BrOdET2U full Mike Remoll interview with historic photos!

In this episode, Lily explores modern feminism, bringing to light distortions of true femininity in modern society. She critiques thinkers like Simone de Beauvoir and emphasizes the Church's role in shaping an authentic vision of womanhood. Get our newsletter and other important updates: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://hildebrandproject.org/#newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Become a monthly donor! Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hildebrandproject.org/giving⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Social Media Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/hildebrand_project⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/@HildebrandProject⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/HildebrandPrj⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/Hildebrandproject⁠⁠⁠⁠

¿Qué pasaría si pudiéramos sentarnos a platicar hoy con Sócrates, con Maquiavelo, Simone de Beauvoir, Frida Kahlo o George Orwell? ¿Qué dirían estos personajes del populismo, de las redes sociales, de la vigilancia digital, del feminismo de nuestros días? Yuriria Sierra, periodista, nos presenta su nuevo libro "Charlas imposibles (y urgentes) en el siglo XXI”.

La série INTIMES : quatre épisodes pour se raconter, en quotidien, en ordinaire, en joies et en orages. Pour nourrir les archives queers, en toute intimité.EPISODE 4 : entre femmes Rencontre avec Alexandre Antolin et Marine Rouch à l'occasion de la parution de leur livre, Entre femmes - Le lesbianisme dans les écrits intimes (1945-1971), aux éditions du Mauconduit.Au sortir de la Deuxième guerre mondiale, l'heure est à la reconstruction nationale : les femmes sont renvoyées au foyer, perçues comme des mères et des épouses contributrices des Trente Glorieuses (1945-1973). Quid de celles qui ne se retrouvent pas dans les normes hétérosexuelles ? les discours scientifiques et moraux condamnent le lesbianisme et continuent d'en faire une perversion. Avant les mouvements féministes, gais et lesbiens des années 1970, lettres et journaux personnels sont le lieu privilégié où les individus peuvent exprimer leurs questionnements et vivre leurs amours. À partir d'archives intimes de ces années d'après-guerre, ce livre explore le « continuum lesbien », selon l'expression d'Adrienne Rich. On y découvrira la correspondance inédite entre l'autrice d'Histoire d'O, Dominique Aury, et son amie et amante Edith Thomas, le journal intime de la jeune Colette Avrane et de Luce Haccard-Perrin ou encore les lettres adressées à Simone de Beauvoir et à Christiane Rochefort â€- Les deux responsables d'ouvrage éclairent chaque ensemble par une mise en contexte historique et partagent leurs propres journaux, dans un geste éthique de réciprocité qui fait résonner ces archives avec les expériences lesbiennes et queer contemporaines. Entre femmes est le 10ème titre de la collection « Vivre/Écrire ». Les textes rassemblés dans ce livre proviennent de l'Association pour l'autobiographie et le Patrimoine Autobiographique (APA), la BNF, l'Imec, les Archives nationales et de collections personnelles.Saison #6 : Univers graphique : Mirion Malle | Habillage sonore : Pierre-Antoine Naline, accompagné de la chorale Dònas d'Òlt d'après le chant La Rota composé par Nadèta Carita | À la conversation et à la réalisation : Soazic Courbet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:58:23 - Avec philosophie - par : Géraldine Muhlmann - Depuis la publication du "Deuxième sexe" en 1949, Simone de Beauvoir a fait couler beaucoup d'encre. Entre scandale et reconnaissance, la philosophe a touché un large public. Mais quelle place a-t-elle aujourd'hui dans les débats féministes ? - équipe : Anna Pheulpin, Carla Michel, Corinne Amar, Nicolas Berger, Nassim El Kabli, Luna Hadjla Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:58:20 - Avec philosophie - par : Géraldine Muhlmann - Dans ses écrits de jeunesse, Simone de Beauvoir manifestait déjà un intérêt et un élan pour l'autre. Prenant acte de la pensée existentialiste, elle développera par la suite une conception ambitieuse du rapport autrui et de la responsabilité. - équipe : Anna Pheulpin, Carla Michel, Corinne Amar, Nicolas Berger, Nassim El Kabli, Luna Hadjla Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:59:18 - Les émissions culturelles de France Culture - par : Marie Richeux - La musicienne et productrice Yael Naim déballe pour nous ses rayonnages littéraires dans lesquels nous trouvons "Le Portrait de Dorian Gray" d'Oscar Wilde, "Un lieu à soi" de Virginia Woolf en passant par "Le Deuxième Sexe" de Simone de Beauvoir. - équipe : Jeanne Aléos, Mathilde Wagman, Marianne Chassort, Alexandre Alajbegovic, Cyril Marchan, Vivien Demeyère, Julie Gastal Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:58:33 - Avec philosophie - par : Géraldine Muhlmann - Beauvoir publie le Deuxième Sexe en 1949 : à cette époque, elle ne se dit pas encore féministe mais plutôt socialiste. Si elle oppose d'abord ces deux formes d'engagement politique, elle assume après mai 68 un féminisme socialiste et matérialiste. - équipe : Anna Pheulpin, Carla Michel, Corinne Amar, Nicolas Berger, Nassim El Kabli, Luna Hadjla Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:58:36 - Avec philosophie - par : Géraldine Muhlmann - D'abord proche de l'existentialisme de Jean-Paul Sartre, Simone de Beauvoir a peu à peu développé son propre existentialisme afin de pouvoir penser la condition des femmes. - équipe : Anna Pheulpin, Carla Michel, Corinne Amar, Nicolas Berger, Nassim El Kabli, Luna Hadjla Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Capturan a instructora vinculada al feminicidio de una menor en Tamaulipas Suman 956 réplicas del sismo M 7.4 en ChiapasIncendio forestal se acerca a Burdeos, FranciaMás información en nuestro podcast#grc

durée : 00:03:36 - Les Matins de France Culture - par : Raphaël Laloum - En 1928, Simone de Beauvoir prépare l'agrégation de philosophie. Élève brillante, elle étouffe au sein de son milieu bourgeois. Grâce à certaines amitiés, la jeune femme parvient à trouver un vent de liberté. Avec Jean-Paul Sartre, elle invente l'union libre. - équipe : Thomas Beau Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Liza Libes is defending literature like it's under siege, and after this conversation, you will understand why. Liza went to Columbia wanting to study Tolstoy and came out having read more Edward Said and Sartre she signed up for. We got into how her English degree turned into a theory degree overnight, why Anna Karenina isn't the feminist manifesto her professors taught it as, and why so much of what gets published now has had the backstory and the beauty edited right out of it by agents chasing a formula. Liza's family fled the Soviet Union, and her grandfather was imprisoned for being Jewish. Watching that same ideology resurface in new packaging on American campuses is terrifying. Find Liza at PensandPoison.org She also runs Advictus Prep and is shopping her first novel, which is basically a love letter to beauty written in spite of a literary world that's decided beauty is suspect. If you've been meaning to finally pick up that classic on your shelf, this is your sign! Memorable Quotes: "I don't think I met anyone in the English department who had the same reaction... A lot of people I think were actively trying to push this agenda because it had been sold to them." — Liza "Good fiction is inherently moral. That's not to say moral in one specific restricted sense, but good fiction should teach us something about the way to live our lives." — Liza "A lot of our art today is ironic, nihilistic, cynical, and just downright amoral." — Liza "If your response to [boredom in a marriage] is I'm just going to abandon this whole thing that gives everyone meaning, then that is going to lead you to a dark place." — Liza, on Anna Karenina "People will hold onto their identity more than the truth." — Polina, paraphrasing Chase Hughes "My family kind of went through horrific examples of antisemitism twice, just in our personal lives... and it's horrific that it's happening again." — Liza "If you're going to make one change in your life to lead a more full and fulfilling life, read classic literature." — Liza Follow us on Instagram  @thecuriousmiddlepod Our Website: https://curiousmiddlepod.com Email us: thecuriousmiddlepod@gmail.com Substack: https://curiousmiddle.substack.com Episode Time Stamps 04:32 — Arriving at Columbia expecting to study literature, getting Edward Said and postcolonial theory on Jane Austen instead 06:36 — Same pattern outside the English department — a philosophy class teaching Hegel through the lens of BLM, and why she eventually stepped back from academia 08:46 — How Pens and Poison started, and the slow, stuck-at-20K-followers climb before it took off 11:05 — The daily messages from silenced students and aspiring writers — and how the same ideological capture spread into publishing 13:15 — Columbia's Core Curriculum as a partial exception, and why STEM friends noticed the politicization more than English majors did 15:29 — Pausing to unpack just how deep this runs — you can't study literature today without studying Marx 17:39 — Edward Said and the "settler colonist" framing; Sartre's introduction to The Wretched of the Earth 19:57 — More on Sartre's radicalization, Simone de Beauvoir, and the ideas of theirs still taught as fact 22:10 — Derrida, deconstruction, and the postmodern claim that literature has no objective meaning 24:21 — Paulo Freire and how "social justice as the point of education" filtered into every subject, not just humanities 28:55 — Why you don't need to be a humanities major to benefit from literature — it as a stand-in for religious meaning 31:19 — Anna Karenina as a case study: Tolstoy's actual argument vs. balancing tradition with modern life 33:37 — T.S. Eliot's The Waste Land, the cost of losing ritual, and the case for reading fiction (not just nonfiction) 38:12 — My Year of Rest and Relaxation as an example of fiction that critiques without offering anything — the retreat from beauty and sincerity in "serious" art 40:14 — Does bleak fiction reflect a bleak culture or create one? Introducing her novel-in-progress, inspired by Mann's Doctor Faustus 44:44 — The same pattern in music, art, and publishing; does fiction need a moral lesson, or is beauty enough? 47:06 — Noticing beauty as the theme of her novel, and the one contemporary book she's excited to read — Theo of Golden, rejected by publishers, self-published, then sold millions 49:12 — Why contemporary fiction gets rejected or forced into a formula: word counts, no backstory, action on page one 51:37 — What's lost without backstory or physical description — fiction that never lets you rest with an idea 53:39 — Her own reading habits: rereading Dostoevsky in the original Russian, and why she's wary of new bestsellers 55:44 — Life-changing book #1: Mann's The Magic Mountain and how it reshaped her sense of time 58:06 — Life-changing book #2: Zweig's The World of Yesterday and the loss of creative freedom 1:00:29 — Why so many young people can't name their own values 1:02:41 — How literature classrooms swap out "morality" for ideology without saying so (Anna Karenina as "anti-feminism") 1:04:58 — Othello and The Merchant of Venice taught through one narrow lens instead of the whole picture 1:07:08 — Social justice as a stand-in religion, and the Columbia encampments 1:09:25 — Her family's history: fleeing the USSR on political asylum, her father imprisoned and her great-grandfather killed for being Jewish, and where to find her — Pens and Poison (pensandpoison.org)

durée : 00:59:23 - Avec philosophie - par : Géraldine Mosna-Savoye - Manon Garcia évoque la première philosophe à avoir fait des femmes un sujet philosophique : Simone de Beauvoir. Dans "Le Deuxième sexe", elle pose cette question d'une grande actualité : comment conjurer les mythes du féminin pour permettre une véritable rencontre entre les hommes et les femmes ? - équipe : Nicolas Berger, Manon de La Selle, Corinne Amar Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

« Les Français·es veulent moins d'enfants. » Le titre de cet article de Population & Sociétés l'affirme, sans équivoque. Et pour cause : les auteurs, un sociologue et un démographe, y démontrent que les intentions de fécondité sont en baisse, dans toutes les catégories sociales, de genre et d'origine.Incertitudes liées à l'avenir, angoisse climatique, difficultés économiques, inégalités de genre… Les raisons de la baisse du désir d'enfant sont aussi multiples que personnelles. Dans quelle mesure cette projection dans l'avenir, en dehors de la parentalité, explique-t-elle toutefois la chute des naissances en France ?De fait, les Français et les Françaises n'ont jamais fait aussi peu d'enfants : en 2025, seulement 645 000 naissances ont été enregistrées, soit 24 % de moins qu'il y a quinze ans. Alors, avons-nous moins envie de faire des enfants ? Depuis quand ? Et est-ce si grave ?Dans cet épisode du podcast « L'Heure du Monde », Solène Cordier, journaliste au service Société du Monde, retrace l'histoire du désir d'enfant et interroge, chiffres à l'appui, son incidence réelle sur la chute de la natalité.Un épisode de Marion Bothorel. Réalisation : Quentin Tenaud. Présentation et rédaction en chef : Claire Leys. Dans cet épisode : extraits de deux émissions d'« Aujourd'hui madame », diffusées sur Antenne 2 le 25 juin 1976 et le 16 novembre 1978 ; de l'émission « Actualité du livre » de la RDF du 4 novembre 1949 ; de lectures du deuxième tome du Deuxième Sexe de Simone de Beauvoir, paru en 1949, et d'un texte publié par Nelly Roussel dans le journal Le Malthusien en 1911 ; d'un discours d'Emmanuel Macron prononcé le 16 janvier 2024 ; d'un clip de campagne de Bruno Retailleau publié sur les réseaux sociaux le 30 avril 2026 ; d'une interview de Clément Beaune sur RTL le 5 mai 2026 ; d'une interview de Bettina Zourli accordée à 20 Minutes le 13 février 2024 ; d'une prise de parole de Jordan Guitton à l'Assemblée nationale le 13 janvier 2026. Cet épisode comporte également des extraits de vidéos publiées sur YouTube par Chakeup le 11 juin 2023 et par Antastesia le 23 mars 2023 et sur Instagram par Louise Melodie le 6 avril 2026, merci à elles pour leur autorisation.Cet épisode a été publié le 6 juillet 2026. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Todo devir é uma modificação que ocorre após um encontro. Inclusive, ele se faz apenas através dos encontros, nas relações. Mas a diferença é que este conceito não contém a ideia de finalidade. Ou seja, sem telos, sem ponto final, ele é uma abertura para novos sentidos. Pois bem, se todo devir se faz no encontro, o que acontece quando um filósofo  olha através de um telescópio? O que aconteceria se Simone de Beauvoir e Madame Curie sentassem para conversar? É o que tentamos imaginar nessa conversa!ParticipantesRafael LauroRafael TrindadeLinksTexto lidoOutros LinksFicha TécnicaCapa: Felipe FrancoEdição: Pedro JanczurAss. Produção: Bru AlmeidaTexto: Rafael TrindadeGosta do nosso programa?Contribua para que ele continue existindo, seja um assinante!Support the show

On this episode we welcome back Ginie Servant-Miklos, founder and director of the Bildung Climate School in Rotterdam, the Netherlands, to check in on how this initiative has evolved and also about her recent book, Pedagogies of Collapse: A Hopeful Education for the End of the World as We Know it. The Bildung Climate School is in its third year and set to receive formal accreditation within Erasmus University Rotterdam, one of the great research universities of Europe. Deeply informed by the vision of "Bildung," the model of human development expressed in the Danish folk high schools, BCS seeks to empowers young people drawn from all sectors of post-secondary education in the Netherlands to "face sustainability challenges with resilience, creativity, and care" in the context of "an interdisciplinary learning community, combining science, hands-on skills, and personal development to prepare the next generation for a just and sustainable world." Ginie is an experienced experimental educator and a scholar with a broad range of expertise, as well as a passionate practitioner and promoter of martial arts. She pulls no punches in her book and in our conversation about the dire situation we are in as a species and about how challenging it is to be a young person coming of age today. But her message, and the mission of the Bildung Climate School, is ultimately about hope and an embrace of the most profound facets of what it means to be human. Her work and writing is deeply marked by her own life experiences and the ideas of her intellectual heroes, including Simone de Beauvoir, Paulo Freire, Viktor Frankl, and Hannah Arendt, whose work we discuss in this conversation.Ginie Servant-Miklos is an engaged environmental educator with fifteen years of experience in education practice, research, and advocacy. She currently holds an Associate Professorship with an Education Profile at the Erasmus School of Social and Behavioural Sciences in Rotterdam, The Netherlands. Her research and education work focuses on developing innovative pedagogies for societal impact. She developed the Experimental Pedagogics educational design framework, is the Director of the Bildung Climate School and the author of "Pedagogies of Collapse: A Hopeful Education for the End of the World as We Know It". She is a Leadership Fellow of the Comenius Network for educational innovators in the Netherlands. She is the founder and chair of the board of the FairFight Foundation, an organisation that provides girls and women from Zambia, Zimbabwe, and India with the mental and physical benefits of martial arts practice, as well as educational support. Ginie is a vocal activist for sustainability and gender equality, advocating for change through public engagements like TEDx talks, debates, podcasts, and other digital media outlets. Ginie obtained a Bachelor of Arts in Politics, Philosophy and Economics from the University of Kent, an LLM in International Law from Kent Law School, an MA in International Relations from Sciences Po Lille, a PhD in Education Philosophy and Psychology from Erasmus University Rotterdam, and a post-doctoral research grant in Sustainability Education from Aalborg University in Denmark. She was also a visiting professor in Experimental Pedagogics at Tyumen University in Russia.Bildung Climate School - https://www.bildungclimateschool.com/Pedagogies of Collapse - https://www.bloomsbury.com/uk/pedagogies-of-collapse-9781350400498/https://thoreaucollege.org/

POUR COMMANDER MON LIVRE :https://www.editions-larousse.fr/livre/la-philosophie-cest-pour-vous-aussi-9782036070325/POUR COMMANDER MA BANDE DESSINÉE PHILORAMA : https://www.editions-larousse.fr/livre/philorama-9782036082434/Disponible aussi dans toutes les bonnes librairies !

Dans cet épisode, Cathy reçoit Annamaria, professeure de FLE (français langue étrangère) et passionnée de littérature française. Annamaria raconte comment la littérature a transformé son rapport au français, puis elle partage des conseils pratiques pour choisir des textes adaptés, afin de lire avec plaisir sans chercher à tout comprendre. Elles évoquent aussi la lecture avec des adolescents et le projet de club de lecture « Voix de femmes et Société ».Ensemble, elles explorent comment la lecture peut devenir un vrai levier pour progresser en français, enrichir son vocabulaire, mieux comprendre la culture francophone et prendre confiance à l'oral comme à l'écrit.Le Club de Lecture : https://voixdefemmesfle.my.canva.site/voix-de-femmes-et-soci-t-formation-fleRecommandations de lectures accessibles dès le niveau intermédiaire et transcription de l'interview: https://francais.mypolyglotlife.com/2026/07/01/comment-utiliser-des-livres-pour-apprendre-le-francais/Fiche de vocabulaire pour les membres Patreon: https://www.patreon.com/cathyintroSommaire00:00 Introduction et présentation d'Annamaria2:42 Comment la littérature a changé son rapport au français5:55 L'Enseignement d'une Matière par l'Intégration d'une Langue Étrangère au lycée, quand le français devient une langue de communication et non un objet d'étude12:26 S'identifier à ce qu'on lit. Les auteurs existentialistes (Sartre, Camus, de Beauvoir): la lecture comme déclencheur d'une introspection et un prétexte pour partager ses émotions et réflexions14:01 Comment utiliser des livres pour apprendre le français ? Objectifs, goûts et choix des supports20:24 Faut-il tout comprendre et apprendre du vocabulaire quand on lit ?24:00 La littérature avec des adolescents: multimodalité, créativité et lecture active en classe28:23 Un résumé des points-clés à retenir pour utiliser des livres pour apprendre le français30:00 Le projet de club de lecture « Voix de femmes et Société »Abonne-toi à la newsletter pour ne rien rater: https://mypolyglotlife.kit.com/feuillederoute *********************

What if the greatest limitation in your life isn't your circumstances—but the identity you've spent years building and protecting? In this profound Dead Talk, Simone de Beauvoir and Sri Nisargadatta Maharaj reveal why true freedom isn't found by becoming someone better, but by becoming free enough to stop insisting you are any one thing. Together they uncover the hidden second half of the Hero's Journey, where identity softens, participation replaces self-protection, and life becomes an unfolding expression of consciousness rather than a role to defend. Earlier this week, Christy and I appeared on the Jeff Mara podcast and Christy brought in Helen Keller. Listen here Read about The Freedom Project 7-day Boosts here Schedule a call with Christy to learn about The Freedom Project here Schedule a call with Gary to learn about The Freedom Project here  

¿Estamos realmente en una guerra entre hombres y mujeres... o hemos olvidado cómo complementarnos?En este episodio de CEO Latinas Podcast, Charissa Vargas explora una de las conversaciones más polémicas de nuestra época: la supuesta batalla entre los géneros. Inspirada por las ideas de Simone de Beauvoir y su famosa frase "No se nace mujer, se llega a serlo", Chary comparte una reflexión profunda sobre lo que significa ser mujer en el mundo moderno.Hablamos de energía femenina, energía masculina, feminismo, maternidad, amor propio, sombra, liderazgo y la importancia de integrar todas las partes de nosotras mismas para construir relaciones más conscientes y auténticas.Descubrirás por qué una mujer verdaderamente empoderada no rechaza la energía masculina, sino que aprende a equilibrarla dentro de sí misma. Porque la verdadera libertad no está en hacerlo todo sola, sino en crear una vida donde la estructura y la creatividad puedan coexistir.Si alguna vez te has preguntado cómo encontrar equilibrio entre tu ambición, tu sensibilidad, tu independencia y tu deseo de ser sostenida, este episodio es para ti.

C'est la femme forte, libre, par excellence. L'éminence féministe et existentialiste. Son fameux turban, ses grandes boucles d'oreilles et sa relation si spéciale avec Sartre. Mais Simone de Beauvoir a aimé un autre homme, avec une intensité toute particulière : Nelson Algren. Un podcast Bababam Originals Ecrit et raconté par Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comHarvey is a political philosopher. He's been on the faculty at Harvard since 1962, and he's currently the William R. Kenan Jr. Professor of Government. His 13 books include Taming the Prince, Manliness, and Machiavelli's Effectual Truth. His new book is The Rise and Fall of Rational Control: The History of Modern Political Philosophy. Harvey was my tutor as a graduate student at Harvard, an overseer of my dissertation, and I was a teaching fellow for the course in modern political thought that his latest book reprises brilliantly. To be honest, my reverence for him made me nervous for this podcast. But his brilliance and dry humor and joie de vivre all came through, and he put me at ease.For two clips of the episode — on the shift from virtue to freedom during the Enlightenment, and how Nietzsche reframed the West — head to our YouTube page.Other topics: raised by New Deal liberals in New Haven and DC; his dad a Yale professor and mom a musician; Leo Strauss an academic mentor; thymos and masculinity; Plato's Apology of Socrates; Aristotle; Aquinas; why democracy leads to tyranny; the humor of Machiavelli; Spinoza and dissent; Locke's Two Treatises; the incest prohibition; Hegel; Hobbes; common sense; Nietzsche and nihilism; deconstructing Christianity; science as a product of “white supremacy”; the sex binary; de Beauvoir's Second Sex; the postmodern view of science; Rawls; AI and human obsolescence; grade inflation; Judith Shklar and her love of Montaigne; Oakeshott; anti-semitism on campus after 10/7; and how moderns set aside the deepest questions.Browse the Dishcast archive for an episode you might enjoy. We have some real stars coming up: Ben Rhodes on Iran and speech-writing, HW Brands on the life of George Washington, John Gray on Trump's new world, Bob Wright on the evolutionary force of AI, Tiffany Jenkins on privacy in a liberal democracy, Daniel McCarthy on conservatism, Stephen Grosz on the struggles of love, and Robby George on all our disagreements. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

En esta sección de El Café de la Lluvia, conversamos con Rubén Almarza sobre algunos de los libros y autores más censurados de la historia de España. Desde las Biblias traducidas a lenguas vernáculas perseguidas por la Iglesia y la Inquisición, hasta obras prohibidas durante el franquismo por motivos políticos, morales o ideológicos. Hablamos de la censura a Voltaire y las ideas ilustradas, el exilio de Vicente Blasco Ibáñez, la prohibición del Ulises de James Joyce, la persecución de Homenaje a Cataluña de George Orwell y el impacto de El segundo sexo de Simone de Beauvoir frente al modelo femenino del franquismo. También analizamos el caso de La colmena de Camilo José Cela, una novela censurada por mostrar la crudeza de la posguerra española. Una conversación sobre literatura, poder, religión y control ideológico en la historia cultural española. ☕ Hazte socio/a de El Café de la Lluvia y forma parte de nuestra comunidad: https://elcafedelalluvia.com/hazte-socio-a-de-el-cafe-de-la-lluvia/ Escúchanos y léenos en nuestra web: https://elcafedelalluvia.com/ ▶️ Suscríbete a nuestro canal de YouTube: https://www.youtube.com/c/ElCafédelaLluvia Recibe nuestros contenidos en tu correo: https://elcafedelalluvia.com/suscripcion-newsletter/ Síguenos en redes sociales: Twitter: https://twitter.com/cafelluvia Instagram: https://www.instagram.com/elcafedelalluvia/ Facebook: https://www.facebook.com/Cafedelalluvia Tu apoyo nos ayuda a seguir dando voz a la cultura, la literatura y el pensamiento crítico. Gracias por acompañarnos ☕✨

A partir do encontro entre o Existencialismo de Simone de Beauvoir e o Behaviorismo de B.F. Skinner, conversamos sobre a frase "Seja Homem!" como uma imposição de performance que esconde a inexistência de uma essência masculina. Como seria uma vida que não se submete à cartilha de comportamentos imputados a um corpo, mas que se entende como um feixe de relações bio-psico-sociais em constante construção? É possível escapar dessa coação que tenta transformar hábitos culturais em naturezas imutáveis, reduzindo a potência singular a uma categoria pré-fabricada? Partimos da análise da seleção pelas consequências para entender que o "tornar-se homem" não é um destino, mas a condição de possibilidade para que possamos, finalmente, recusar os modelos dados e florescer em múltiplas almas e caminhos.ParticipantesRafael LauroRafael TrindadeLinksTexto lidoOutros LinksFicha TécnicaCapa: Felipe FrancoEdição: Pedro JanczurAss. Produção: Bru AlmeidaTexto: Rafael TrindadeGosta do nosso programa?Contribua para que ele continue existindo, seja um assinante!Support the show

Who was Stanley DeSantis? Why is a 2004 Slipknot tee selling for $2,000? And what does a Daft Punk Roulette residency shirt have to do with how fashion brands sell you a lifestyle in 2026?Sol Thompson and Michael Smith return from their Neuehouse live recording for Episode 3 of Pair of Kings Season 14, continuing the season's deep dive into integrated fashion — the symbiotic loop where brands, hobbies, and ephemera matter more than the clothes. This week the boys go solo on the post-COVID explosion of the vintage band tee resale market and the story of Stanley DeSantis, the late character actor turned licensing impresario whose 90s company Passing For Sane made some of the most collectible all-over print T-shirts ever: X-Files, Aeon Flux, Spawn, Wizard of Oz, Speed Racer, Beavis and Butt-Head, Gone With the Wind, Pink Panther, Independence Day. The man licensed everything.Sol and Michael unpack why vintage T-shirts became fashion's most contested asset class: NYC's 8x vintage multiplier, why Slipknot Iowa-era merch and Daft Punk Vegas Roulette tees command four-figure resale on eBay and Whatnot, single stitch vs. double stitch hems, and the rodent-brain instinct of saving a Dub Tribe Sound System eBay search for years. They revisit the Miu Miu Literary Club through intellectual signaling (Simone de Beauvoir, Fumiko Enchi), the Aimé Leon Dore x Porsche 993 Turbo collab, defend RRL as American integrated fashion's original blueprint, and confront the imposter syndrome of wearing someone else's faded jeans.Other topics: Hedi Slimane Dior Homme resale gatekeeping, Charlie XCX Pop 2 merch as a future grail, the $3,700 Lady Gaga Schott Perfecto, why Akira and Ghost in the Shell tees became NFTs from first principles, scenecore and metalcore history (Suicide Silence, Dance Gavin Dance, The Used, Odd Future), Graceland Ridgewood, Rick Birkenstocks, and a moment for the goat — Stanley DeSantis, 1953–2005.Brought to you by ScentSplit. Tune in next week for a conversation on the artist as avatar.Lots of love!SolTags: Stanley DeSantis, Passing For Sane, vintage band tees, 90s licensed apparel, all over print t-shirts, integrated fashion, Pair of Kings podcast, fashion podcast 2026, menswear podcast, Slipknot Iowa shirt, Daft Punk Roulette, Hedi Slimane Dior Homme, Lady Gaga Fame Monster, Charlie XCX Pop 2, Aimé Leon Dore Porsche, Miu Miu Literary Club, RRL, Aeon Flux shirt, X-Files vintage, Ghost in the Shell tee, NYC vintage multiplier, Graceland Ridgewood, scenecore, archive fashion, ephemera fashionSol Thompson and Michael Smith explore the world and subcultures of fashion, interviewing creators, personalities, and industry insiders to highlight the new vanguard of the fashion world. Subscribe for weekly uploads of the podcast, and don't forgot to follow us on our social channels for additional content, and join our discord to access what we've dubbed “the happiest place in fashion”.Message us with Business Inquiries at pairofkingspod@gmail.comSubscribe to get early access to podcasts and videos, and participate in exclusive giveaways for $4 a monthLinks:InstagramTikTokTwitter/XSol's Substack (One Size Fits All)Sol's InstagramMichael's InstagramMichael's TikTok

Viaje comigo, Vogel e Barbarussa pra Grécia e Roma! Link: partiu.vip/historiaecinema2026Uma das criaturas mais antigas da história da civilização humana é reinterpretada e usada como uma prova da desigualdade de gênero que, pelo menos desde a Antiguidade, ronda o mundo ocidental. Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre a história e a mitologia da górgona Medusa-Se você quiser ter acesso a episódios exclusivos e quiser ajudar o História em Meia Hora a continuar de pé, clique no link: www.apoia.se/historiaemmeiahoraConheça o meu canal!https://www.youtube.com/@profvitorsoaresConheça meu outro canal: História e Cinema!https://www.youtube.com/@canalhistoriaecinemaOuça "Reinaldo Jaqueline", meu podcast de humor sobre cinema e TV:https://open.spotify.com/show/2MsTGRXkgN5k0gBBRDV4okAssista meu outro podcast, o História pros brother!https://open.spotify.com/show/04a8C8gXTLj68lmZiQD8vmCompre o livro "História em Meia Hora - Grandes Civilizações"!https://a.co/d/47ogz6QCompre meu primeiro livro-jogo de história do Brasil "O Porão":https://amzn.to/4a4HCO8Compre a camisa do História em Meia Hora: https://www.blablalogia.com/blablalojinha/akiralampiaoh30PIX e contato: historiaemmeiahora@gmail.comApresentação: Prof. Vítor Soares.Roteiro: Prof. Vítor Soares e Prof. Victor Alexandre (@profvictoralexandre)REFERÊNCIAS USADAS:- OVÍDIO. Metamorfoses. Tradução: Domingos Paschoal Cegalla. São Paulo: Cultrix, 2010.- HESÍODO. Teogonia: a origem dos deuses. Tradução: Jaa Torrano. São Paulo: Iluminuras, 2009.- HAMILTON, Edith. Mythology. Boston: Little, Brown & Company, 1940.- HILGERT, Luiza Helena. O arcaico do contemporâneo: Medusa e o mito da mulher. Lampião — Revista de Filosofia, UFAL, v. 1, n. 1, p. 41-70, 2020.- BEAUVOIR, Simone de. O segundo sexo. Fatos e mitos. São Paulo: Difusão Europeia do Livro, 1970.- BEAUVOIR, Simone de. O segundo sexo. A experiência vivida. São Paulo: Difusão Europeia do Livro, 1967.- CIXOUS, Hélène. O riso da Medusa. In: CIXOUS, H.; CLÉMENT, C. The newly born woman. Minneapolis: University of Minnesota Press, 1986.- FREUD, Sigmund. A cabeça de Medusa. Tradução: Ernani Chaves. Clínica & Cultura, v. II, n. II, p. 91-93, 2013.- KAROGLOU, Kiki. Dangerous Beauty: Medusa in Classical Art. The Metropolitan Museum of Art Bulletin, New York, v. 75, n. 3, 2018.

durée : 00:58:50 - Le Book Club - par : Marie Richeux - Au-delà du "Deuxième Sexe", l'œuvre de Simone de Beauvoir révèle une pensée féministe plurielle en perpétuel mouvement. Entretien croisé avec Esther Demoulin, qui a réuni traductions, inédits et retranscriptions d'archives, et l'historienne Marine Rouch. - réalisation : Vivien Demeyère - invités : Esther Demoulin Maîtresse de conférences à l'université Paris Cité; Marine Rouch Historienne des féminismes et du genre, spécialiste de Simone de Beauvoir et de ses correspondances avec son lectorat

durée : 00:29:55 - Les Nuits de France Culture - par : Mathilde Wagman - À travers les récits autobiographiques de Simone de Beauvoir, Geneviève Gennari explorait sa relation singulière à la mort et à l'écriture. Elle revenait sur la construction de son œuvre et sur le regard porté par ses contemporains sur sa vie d'écrivaine. - réalisation : Virginie Mourthé

durée : 00:29:56 - Les Nuits de France Culture - par : Mathilde Wagman - De "Tous les hommes sont mortels" à "Tout compte fait", les écrits de Simone de Beauvoir interrogent le sentiment du néant et l'angoisse existentielle. En 1974, Geneviève Gennari en proposait des extraits autour de sa perception du temps et son appréhension de la disparition. - réalisation : Virginie Mourthé

durée : 00:29:56 - Les Nuits de France Culture - par : Mathilde Wagman - À partir de ses récits autobiographiques et de ses romans, en 1974, Geneviève Gennari proposait une immersion dans la vie de Simone de Beauvoir. Elle évoquait son quotidien durant la guerre, sa vision de la condition féminine et son rapport au vieillissement et à la mort. - réalisation : Virginie Mourthé

durée : 00:38:35 - L'Invité(e) des Matins - par : Guillaume Erner, Yoann Duval - Aujourd'hui nous commémorons la mort de Simone de Beauvoir : il y a 40 ans disparaissait l'autrice du "Deuxième Sexe", qui rentre seulement maintenant dans la collection de la Pléiade. Comment comprendre ce paradoxe pour une femme aussi célèbre de son vivant ? - réalisation : Félicie Faugère - invités : Anne-Cécile Mailfert Fondatrice de la Fondation des femmes, ancienne Porte-parole d'Osez le féminisme.; Geneviève Fraisse Philosophe de la pensée féministe, directrice de recherche émérite au CNRS

durée : 02:30:19 - Les Matins - par : Guillaume Erner, Yoann Duval - Ce matin, sur France Culture, à 7h40, Guillaume Erner reçoit Geneviève Fraisse et Anne-Cécile Mailfert pour discuter de la place de Simone de Beauvoir dans le féminisme d'aujourd'hui, 40 ans après sa mort. A 7h17, la journaliste turque Ece Temelkuran parle de l'état de la démocratie dans son pays. - réalisation : Félicie Faugère

durée : 00:25:33 - Questions du soir : l'idée - par : Quentin Lafay, Bruno Baradat - Simone de Beauvoir est aujourd'hui devenue une référence presque incontournable. Le 40e anniversaire de sa mort donne lieu à beaucoup d'hommages, tandis que ”Le Deuxième Sexe” est entré fin mars 2026 dans la prestigieuse Pléiade. - invités : Mickaëlle Provost Docteure en philosophie de l'Université Paris 1 Panthéon-Sorbonne

Nous sommes vers l'an 300 avant notre ère, à Némée, au sud de Corinthe, dans le Péloponnèse, lieu d'un sanctuaire grec devenu célèbre pour son temple consacré à Zeus et pour les jeux organisés en son honneur. C'est lors des concours panhelléniques que le jeune boxeur Athènodôros remporte la couronne pour sa cité en se faisant proclamer comme Éphésien. Or, le garçon n'est pas citoyen d'Ephèse, cette cité de la région de l'Ionie, sur la côte de la mer Égée, non loin de l'île de Samos. Il n'est alors qu'un étranger résident, un isotèle. En réalité, Athènodôros devance, par ce geste spectaculaire, l'octroi officiel de son statut par la cité qui s'empressera de régulariser sa situation. Voilà un événement qui nous montre que la citoyenneté grecque n'est pas un simple état civil figé reçu à la naissance, mais bien une construction sociale continue et qui demeure fragile. Une citoyenneté « en devenir ». Pour paraphraser Simone de Beauvoir : on ne naît pas citoyen, on le devient par la pratique et la performance. Si la loi de Périclès de 451 av. J.-C. privilégie, théoriquement le droit du sang, le quotidien des cités grecque impose un dialogue permanent entre les codes juridiques et les épreuves du réel. L'expérience de la « politeia » passe autant par la pratique que par les normes : l'identité civique se travaille et se prouve tout au long de la vie. Reconnaissance familiale, naturalisations collectives, place des femmes, inclusion, exclusion … qu'est-ce qui fait un citoyen ou une citoyenne authentique ? De quelle manière cette citoyenneté s'est-elle développée ? Comment a-t-elle transité vers le modèle cosmopolite de l'Empire romain ? Avec Christel Müller, professeur d'histoire grecque à l'université Paris-Nanterre. « La fabrique du citoyen – Les Grecs et la politeia d'Aristote à Auguste » ; Passés/Composés. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the conclusion, which looks at a question that arises for existentialists, namely whether existentialist ethics is individualistic or not. As it turns out, the answer depends on what conception one is relying upon of "individualism", and de Beauvoir provides important clarifications about the senses in which existentialism does focus upon individuals To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

This lecture discusses key ideas from the 20th century existentialist and feminist philosopher, novelist, essayist, and playwright Simone de Beauvoir's book, The Ethics of Ambiguity It focuses specifically on her discussion in the section "Ambiguity", looking at her discussions about how violence should be evaluated from an existentialist ethical perspective. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase De Beauvoir's Ethics of Ambiguity - amzn.to/32IbKya

This week's books are: How to Measure a Cow by Margaret Forster (chosen by Lolita Chakrabarti) The House of God by Samuel Shem (chosen by Guy Leschziner) A Very Easy Death by Simone de Beauvoir (chosen by Harriett Gilbert) The producer is Eliza Lomas for BBC Audio Bristol Join us over on Instagram @agoodreadbbc

How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career. In the intro, becoming a better writer by being a better reader [The Indy Author]; How indie authors can market literary fiction [Self-Publishing with ALLi]; Viktor Wynd's Museum of Curiosities; Seneca's On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why self-doubt is a normal biological response — and how audacity means showing up anyway The difference between creative rhythm and rigid discipline, and why it matters for writers How to navigate a saturated world with intentional presence on social media Practical strategies for building a platform as a nonfiction author, including batch content creation The concept of a “parallel career” and why designing your life around your art beats waiting for a big break Getting your creative rhythm back after crisis or burnout through small, gentle steps You can find Lara at LaraBiancaPilcher.com. Transcript of the interview with Lara Bianca Pilcher Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara. Lara: Thank you for having me, Jo. Jo: It's exciting to talk to you today. First up— Tell us a bit more about you and how you got into writing. Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place. But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months. Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha. In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did. Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side. How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way? Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word. What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body. That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body. Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk. If people are stuck, do you think doing something physical is a good idea? Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake. Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems. You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative. However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too. Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts. Does it age out? Is it really an ageist industry? Whereas I feel like with writing, it isn't so much about what your body can do anymore. Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing. There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them. Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time. There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.” I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally. Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like. Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun. Jo: That's freeing. Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way. Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway. There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages. Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt. Bold and audacious. These are difficult words. So what can you say to authors around those big words? Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe. So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things. That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say. I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.” Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before. When we feel like we have something to say but other people have said it before, how do you address that? Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter. They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters. People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again. So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise. Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it. Even just what transforms in you when you write is important enough to make it worthwhile. Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way. When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is. When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist. A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much. The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful. Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please. If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want. What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board. I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version. That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say. That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say? That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry. Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point? That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general. Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it. It's kind of messy, isn't it? Was that the same in your physical creative life? Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural. But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process. The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right. Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through. How are we to deal with this saturated world? When do we join in and when do we step away? Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also. But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison. What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out. When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person. They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust. Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big. Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring. Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all. Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage? What are some actual practical tips for intentionality? Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one. Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application. So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal. In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast. Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship. People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book. I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published. That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it? Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that. For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform. Then I guess my main social media would be Instagram, but I don't engage a lot there. So do you have one or two main things that you do, and any thoughts on using those for book marketing? Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in. I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth. Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram. Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things. I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe. I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that. I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one. Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book. Could talk about how the book leads into different parts of your business? Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income. Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way. It's also credibility. When you have a published book, there's a sense of credibility. I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world. No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it. Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly. Jo: We all love books here. I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it? So how can we be more strategic about this sort of career design? Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything. I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract. Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money. So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide. I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else. What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job? They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change. The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful. For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to. All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art. When we are in this way of thinking—one day, one day, one day—we are not designing intentionally. What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have. Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that. Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one. I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that. Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year. I feel like that's the other thing. People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book. Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.” I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.” Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful. For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul. I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block. I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it. So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart. She was able to write a really powerful scene because she got out of the house and allowed herself to do something different. All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body. Jo: On graveyards—we love graveyards around here. Lara: I was like, sorry everyone, this isn't very nice. Jo: Oh, no. People are well used to it on this show. Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop? That can be a real problem, getting moving again if you stop for too long. What are some ways we can get that rhythm back into something that feels right again? Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature. When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life. I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in. Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that. Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves. Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day. Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together. Is that something you've kept hold of, this kind of collaborative energy? How do you think we can bring that collaborative energy more into writing? Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone. For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware. I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America. Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too. It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work. Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together. It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too. Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now. They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely. Lara: Yes. Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day. Lara: Exactly. Real human connection. It matters. Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation. There are some ways to do this. It's really interesting hearing your thoughts. Tell people where they can find you and your books and your podcast online. Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there. My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today. Jo: Brilliant. Well, thanks so much for your time, Lara. That was great. Lara: Thank you.The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.