Podcasts about Bloomsbury

Over the span of a single decade, VHS technology changed the relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then sank back into oblivion. Its meteoric rise and fall encapsulated the dynamics of the '80s and foreshadowed the seismic cultural shifts to come after the Cold War.In the West, its advent deepened the trends of the age: individualism, consumerism, the fragmentation of society, and the consolidation of corporate power in the entertainment industry and its victory over the regulatory powers of the state. In the East, it encouraged new forms of socialization and economic exchanges, while announcing the gradual crumbling of government control over the imagination of the people.By the mid-1990s, the VHS format was displaced by the DVD. The DVD would eventually give way to streaming. As explored in Videotape (Bloomsbury, 2025), by Dr. Oana Godeanu-Kenworthy in the Object Lessons series, the cultural legacy of the videotape continues to inform our relationship to technology, privacy, and to entertainment. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Over the span of a single decade, VHS technology changed the relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then sank back into oblivion. Its meteoric rise and fall encapsulated the dynamics of the '80s and foreshadowed the seismic cultural shifts to come after the Cold War.In the West, its advent deepened the trends of the age: individualism, consumerism, the fragmentation of society, and the consolidation of corporate power in the entertainment industry and its victory over the regulatory powers of the state. In the East, it encouraged new forms of socialization and economic exchanges, while announcing the gradual crumbling of government control over the imagination of the people.By the mid-1990s, the VHS format was displaced by the DVD. The DVD would eventually give way to streaming. As explored in Videotape (Bloomsbury, 2025), by Dr. Oana Godeanu-Kenworthy in the Object Lessons series, the cultural legacy of the videotape continues to inform our relationship to technology, privacy, and to entertainment. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Michael Brown undertakes a thorough study of Eyeliner's Eyeliner's Buy Now (Bloomsbury 2025) a vaporwave homage to the kitsch electronic sounds of the 1980s and 1990s. Eyeliner's BUY NOW (2015) belongs to a new genre for our times: vaporwave. Emerging in the early 2010s on the internet, vaporwave originated with a cohort of millennial artists who reimagined the musical soundtracks of 1980s-1990s consumerism with an adroit mixture of irony and sincerity. One of these was Eyeliner, the alias of New Zealand computer musician Luke Rowell (a.k.a. Disasteradio). For his vaporwave masterpiece, Rowell harnessed computer software to craft a unique album, a catchy, funky, and witty tour through the utopias of advertising at "the end of history." BUY NOW epitomizes a new kind of album for the internet age: made DIY-style, all digital, free, licensed under Creative Commons, and released to a "virtual" community, an online scene without geographic center. Drawing on original interviews and the album's production archive, Eyeliner's BUY NOW (Bloomsbury 2025) uses BUY NOW's story to investigate what it means to create, distribute, and consume independent music in an era of global networks and digital technology. It places the album in both the real-world and online contexts of Rowell's life and career, from early websites to the Spotify era, from Lower Hutt to the world. Michael Brown on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley Morgan on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Over the span of a single decade, VHS technology changed the relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then sank back into oblivion. Its meteoric rise and fall encapsulated the dynamics of the '80s and foreshadowed the seismic cultural shifts to come after the Cold War.In the West, its advent deepened the trends of the age: individualism, consumerism, the fragmentation of society, and the consolidation of corporate power in the entertainment industry and its victory over the regulatory powers of the state. In the East, it encouraged new forms of socialization and economic exchanges, while announcing the gradual crumbling of government control over the imagination of the people.By the mid-1990s, the VHS format was displaced by the DVD. The DVD would eventually give way to streaming. As explored in Videotape (Bloomsbury, 2025), by Dr. Oana Godeanu-Kenworthy in the Object Lessons series, the cultural legacy of the videotape continues to inform our relationship to technology, privacy, and to entertainment. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Over the span of a single decade, VHS technology changed the relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then sank back into oblivion. Its meteoric rise and fall encapsulated the dynamics of the '80s and foreshadowed the seismic cultural shifts to come after the Cold War.In the West, its advent deepened the trends of the age: individualism, consumerism, the fragmentation of society, and the consolidation of corporate power in the entertainment industry and its victory over the regulatory powers of the state. In the East, it encouraged new forms of socialization and economic exchanges, while announcing the gradual crumbling of government control over the imagination of the people.By the mid-1990s, the VHS format was displaced by the DVD. The DVD would eventually give way to streaming. As explored in Videotape (Bloomsbury, 2025), by Dr. Oana Godeanu-Kenworthy in the Object Lessons series, the cultural legacy of the videotape continues to inform our relationship to technology, privacy, and to entertainment. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Over the span of a single decade, VHS technology changed the relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then sank back into oblivion. Its meteoric rise and fall encapsulated the dynamics of the '80s and foreshadowed the seismic cultural shifts to come after the Cold War.In the West, its advent deepened the trends of the age: individualism, consumerism, the fragmentation of society, and the consolidation of corporate power in the entertainment industry and its victory over the regulatory powers of the state. In the East, it encouraged new forms of socialization and economic exchanges, while announcing the gradual crumbling of government control over the imagination of the people.By the mid-1990s, the VHS format was displaced by the DVD. The DVD would eventually give way to streaming. As explored in Videotape (Bloomsbury, 2025), by Dr. Oana Godeanu-Kenworthy in the Object Lessons series, the cultural legacy of the videotape continues to inform our relationship to technology, privacy, and to entertainment. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Michael Brown undertakes a thorough study of Eyeliner's Eyeliner's Buy Now (Bloomsbury 2025) a vaporwave homage to the kitsch electronic sounds of the 1980s and 1990s. Eyeliner's BUY NOW (2015) belongs to a new genre for our times: vaporwave. Emerging in the early 2010s on the internet, vaporwave originated with a cohort of millennial artists who reimagined the musical soundtracks of 1980s-1990s consumerism with an adroit mixture of irony and sincerity. One of these was Eyeliner, the alias of New Zealand computer musician Luke Rowell (a.k.a. Disasteradio). For his vaporwave masterpiece, Rowell harnessed computer software to craft a unique album, a catchy, funky, and witty tour through the utopias of advertising at "the end of history." BUY NOW epitomizes a new kind of album for the internet age: made DIY-style, all digital, free, licensed under Creative Commons, and released to a "virtual" community, an online scene without geographic center. Drawing on original interviews and the album's production archive, Eyeliner's BUY NOW (Bloomsbury 2025) uses BUY NOW's story to investigate what it means to create, distribute, and consume independent music in an era of global networks and digital technology. It places the album in both the real-world and online contexts of Rowell's life and career, from early websites to the Spotify era, from Lower Hutt to the world. Michael Brown on Bluesky. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley Morgan on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Over the span of a single decade, VHS technology changed the relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then sank back into oblivion. Its meteoric rise and fall encapsulated the dynamics of the '80s and foreshadowed the seismic cultural shifts to come after the Cold War.In the West, its advent deepened the trends of the age: individualism, consumerism, the fragmentation of society, and the consolidation of corporate power in the entertainment industry and its victory over the regulatory powers of the state. In the East, it encouraged new forms of socialization and economic exchanges, while announcing the gradual crumbling of government control over the imagination of the people.By the mid-1990s, the VHS format was displaced by the DVD. The DVD would eventually give way to streaming. As explored in Videotape (Bloomsbury, 2025), by Dr. Oana Godeanu-Kenworthy in the Object Lessons series, the cultural legacy of the videotape continues to inform our relationship to technology, privacy, and to entertainment. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Across the globe, memorial and grave sites are being increasingly weaponized in conflicts and politicized by parties to advance agendas. Here, Carol S. Lilly examines ideas of death, politics, memory, ideology and nationalism in the former Yugoslav republics of Bosnia & Hercegovina, Croatia, and Serbia to shine fresh light on cemetery culture in 20th-century Europe.More specifically, Death and Burial in Socialist Yugoslavia: The Politicization of Cemeteries and Ethnic Conflict in the Balkans (Bloomsbury, 2024) argues that while the CPY created its own communities of the dead in postwar Partisan Cemeteries, it failed to do the same for civilian cemeteries in ways that might reinforce its ideals of secularism, pluralism, and brotherhood and unity. Moreover, the communist regime left the previous system of ethno-religious segregation in place, further isolating Catholics, Orthodox, Muslims and Jews who continued to be buried in separate locations. Finally, it explicitly politicized burial rites and grave markers, making cemeteries into legitimate spaces of political discourse.As a result, by the time Yugoslavia disintegrated in the early 1990s, dead bodies and cemeteries had become a concerted weapon of war in the ongoing ethnic conflict. Ultimately, then, this timely study reveals for the first time the extent to which the communist regime not only failed to created their own communities of the dead but also further divided and alienated living communities in Yugoslavia. 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

Across the globe, memorial and grave sites are being increasingly weaponized in conflicts and politicized by parties to advance agendas. Here, Carol S. Lilly examines ideas of death, politics, memory, ideology and nationalism in the former Yugoslav republics of Bosnia & Hercegovina, Croatia, and Serbia to shine fresh light on cemetery culture in 20th-century Europe.More specifically, Death and Burial in Socialist Yugoslavia: The Politicization of Cemeteries and Ethnic Conflict in the Balkans (Bloomsbury, 2024) argues that while the CPY created its own communities of the dead in postwar Partisan Cemeteries, it failed to do the same for civilian cemeteries in ways that might reinforce its ideals of secularism, pluralism, and brotherhood and unity. Moreover, the communist regime left the previous system of ethno-religious segregation in place, further isolating Catholics, Orthodox, Muslims and Jews who continued to be buried in separate locations. Finally, it explicitly politicized burial rites and grave markers, making cemeteries into legitimate spaces of political discourse.As a result, by the time Yugoslavia disintegrated in the early 1990s, dead bodies and cemeteries had become a concerted weapon of war in the ongoing ethnic conflict. Ultimately, then, this timely study reveals for the first time the extent to which the communist regime not only failed to created their own communities of the dead but also further divided and alienated living communities in Yugoslavia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Across the globe, memorial and grave sites are being increasingly weaponized in conflicts and politicized by parties to advance agendas. Here, Carol S. Lilly examines ideas of death, politics, memory, ideology and nationalism in the former Yugoslav republics of Bosnia & Hercegovina, Croatia, and Serbia to shine fresh light on cemetery culture in 20th-century Europe.More specifically, Death and Burial in Socialist Yugoslavia: The Politicization of Cemeteries and Ethnic Conflict in the Balkans (Bloomsbury, 2024) argues that while the CPY created its own communities of the dead in postwar Partisan Cemeteries, it failed to do the same for civilian cemeteries in ways that might reinforce its ideals of secularism, pluralism, and brotherhood and unity. Moreover, the communist regime left the previous system of ethno-religious segregation in place, further isolating Catholics, Orthodox, Muslims and Jews who continued to be buried in separate locations. Finally, it explicitly politicized burial rites and grave markers, making cemeteries into legitimate spaces of political discourse.As a result, by the time Yugoslavia disintegrated in the early 1990s, dead bodies and cemeteries had become a concerted weapon of war in the ongoing ethnic conflict. Ultimately, then, this timely study reveals for the first time the extent to which the communist regime not only failed to created their own communities of the dead but also further divided and alienated living communities in Yugoslavia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Discover how outdoor learning can transform teaching and inspire young minds.In this episode, Sarah Seaman, also known as The Muddy Puddle Teacher, shares her journey from traditional classroom teaching to pioneering outdoor learning. With over 17 years of experience, Sarah discusses the benefits of nature-based education, offers practical tips for teachers, and introduces her new Key Stage 1 book published by Bloomsbury, inspiring schools across the UK and beyond.Episode LinksExplore Sarah's book "The Muddy Puddle KS1 Teacher" from BloomsburyShop our Outdoor Learning Resources

"The ambitious artist, the artist who wanted Success, now had to do a bit of psychological double-tracking. Consciously he had to dedicate himself to the antibourgeois values of the cenacles of whatever sort, to bohemia, to the Bloomsbury life, the Left Bank life, the Lower Broadway Loft life, to the sacred squalor of it all... Not only that, he had to dedicate himself to the quirky god Avant-Garde. He had to keep one devout eye peeled for the new edge on the blade of the wedge of the head on the latest pick thrust of the newest exploratory probe of this fall's avant-garde Breakthrough of the Century ... all this in order to make it, to be noticed, to be counted, within the community of artists themselves. What is more, he had to be sincere about it. At the same time he had to keep his other eye cocked to see if anyone in le monde was watching. Have they noticed me yet? Have they even noticed the new style (that me and my friends are working in) Don't they even know about Tensionism (or Slice Art or Niho or Innerism or Dimensional Creamo or whatever)? (Hello, out there!) ... because as every artist knew in his heart of hearts, no matter how many times he tried to close his eyes and pretend otherwise (History! History!-where is thy salve?), Success was real only when it was success within le monde. He could close his eyes and try to believe that all that mattered was that he knew his work was great ... and that other artists respected it ... and that History would surely record his achievements ... but deep down he knew he was lying to himself. I want to be a Name, goddamn it!" - Thomas Wolfe, The Painted Word " Sylvia, didn't you see me wave my zen stick?" - Walter Paisley

This special episode of Rhetoricity features a roundtable that also serves as the "Afterwords" for a forthcoming collection entitled Rhetoric Before and Beyond Post-Truth. That collection is edited by Scott Sundvall, Caddie Alford, and Ira Allen and will be published by the University of Pittsburgh Press in 2026. The featured panelists are James Ball, Barbara Biesecker, Omedi Ochieng, Robin Reames, and Ryan Skinnell. See below for more detailed bios of the panelists. The roundtable focuses on key questions from Rhetoric Before and Beyond Post-Truth: what we mean by "post-truth," how it intersects with rhetoric, and what challenges that intersection poses for us in the world to come. James Ball is an award-winning journalist, broadcaster, and author, a fellow of the think tank Demos, and the political editor of The New European. Ball also played a key role in The Guardian's Pulitzer Prize-winning coverage of the NSA leaks by Edward Snowden. He is the author of multiple books, including Post-Truth and The Tangled Web We Weave: Inside The Shadow System That Shapes the Internet. His most recent book, The Other Pandemic: How QAnon Contaminated The World was published by Bloomsbury in July 2023.  Barbara Biesecker is Professor of Rhetoric in the Department of Communication Studies at the University of Georgia and author of the recently published Reinventing World War II: Popular Memory in the Rise of the Ethnonationalist State. She is the recipient of multiple awards, including the National Communication Association's Douglas Ehninger Distinguished Rhetorical Scholar Award, the Francine Merritt Award, and the Rhetorical and Communication Theory Division's Outstanding Mentor Award and Distinguished Scholar Award.  She served as editor-in-chief of the Quarterly Journal of Speech from 2013–2016 and continues to serve on multiple editorial boards.  Omedi Ochieng specializes in Africana philosophical and intellectual thought, Black radicalism, and criticism. He is the author of two books: Groundwork for the Practice of the Good Life: Politics and Ethics at the Intersection of North Atlantic and African Philosophy and The Intellectual Imagination: Knowledge and Aesthetics in North Atlantic and African Philosophy. He is currently working on a project on Black insurgent ecology.  Robin Reames is the Culbertson Chair of Writing in the Department of English at Indiana University's College of Arts and Sciences. Her research explores the relationship between language and metaphysics in ancient Greek rhetoric. She explored aspects of this relationship in her first book, Seeming and Being in Plato's Rhetorical Theory and her book of essays Logos without Rhetoric: The Arts of Language Before Plato. She is also one of the editors of the third edition of The Rhetorical Tradition: Readings from Classical Times to the Present. Her most recent book, The Ancient Art of Thinking for Yourself: The Power of Rhetoric in Polarized Times is written for a general audience and introduces key concepts from the ancient rhetorical tradition that can help readers navigate today's complex and polarizing politics.  Ryan Skinnell is Professor of Rhetoric and Writing at San José State University. His current research investigates authoritarian, demagogic, and fascist rhetoric, particularly in the early 20th century, and its relationship to global politics in the 21st century. He has published six books, including Faking the News: What Rhetoric Can Teach Us About Donald J. Trump and Rhetoric and Guns. He's also published more than two dozen articles and book chapters in top scholarly journals and edited collections, as well as essays in popular press outlets including the Washington Post, Newsweek, and Salon. He is currently writing a book about Adolf Hitler's rhetoric. This episode features a clip from "Truth" by Masteredit. Episode Transcript

"OK" as a word accepts proposals, describes the world as satisfactory (but not good), provides conversational momentum, or even agrees (or disagrees). OK as an object, however, tells a story of how technology writes itself into language, permanently altering communication. OK (Bloomsbury, 2023), by Dr. Michelle McSweeney and published by Bloomsbury in 2023, explores this story OK is a young word, less than 200 years old. It began as an acronym for “all correct” when the steam-powered printing press pushed newspapers into the mainstream. Today it is spoken and written by nearly everyone in the world. Drawing on linguistics, history, and new media studies, Michelle McSweeney traces OK from its birth in the Penny Presses through telephone lines, grammar books, and television signals into the digital age. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

"OK" as a word accepts proposals, describes the world as satisfactory (but not good), provides conversational momentum, or even agrees (or disagrees). OK as an object, however, tells a story of how technology writes itself into language, permanently altering communication. OK (Bloomsbury, 2023), by Dr. Michelle McSweeney and published by Bloomsbury in 2023, explores this story OK is a young word, less than 200 years old. It began as an acronym for “all correct” when the steam-powered printing press pushed newspapers into the mainstream. Today it is spoken and written by nearly everyone in the world. Drawing on linguistics, history, and new media studies, Michelle McSweeney traces OK from its birth in the Penny Presses through telephone lines, grammar books, and television signals into the digital age. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

(Full episode for paid subscribers on Substack.)I have been lucky enough to interview Liz Gilbert multiple times over the years. First almost ten years ago now, when I launched my podcast Ctrl Alt Delete in 2016. We spoke on Skype, the audio was tinny, it was the early days of podcasting, I was in my mid-twenties recording from my spare box-room in my old Hackney flat. I remember how magical it felt to be speaking with a woman I admired so much. I was invited to her book launch luncheon for Big Magic in London members' club and I sat with journalists ten years older than me. I interviewed Liz again in 2019, when I was writing my first novel Olive, and her brilliant novel City of Girls was published. I went to the Bloomsbury offices on a bright sunny day, walking through Bedford Square Gardens with a t-shirt that said Sigourney Weaver on it.In April last year, I had the honour of introducing Liz on stage in front of thousands of people at the Barbican as part of her UK tour, and I got to attend one of her sold-out creativity workshops. As readers, we get to see all her different eras. During our conversation, we call the writing life ‘living out loud' and ‘learning in public.' For many Millennial women like me, Liz has been an unapologetic symbol of living a creative life, leaning into solitude, travel, adventure—and quite frankly: doing whatever you want with your one wild and precious life.Before All the Way to the River came out this year—her new memoir all about her all-consuming relationship with her late partner Rayya Elias—I was lucky enough to read an early copy in proof form. I was absolutely glued to it, pretty much ignoring my husband for two days, totally immersed in Liz's world. I love Liz's novels for this reason, they're big and expansive, an intricately built world to escape into, and I love this about Liz's non-fiction too—she lets us into the full truth of what's been going on in her life and shows us around. She did it in Eat Pray Love, Committed, and now this new book. It takes courage to say: Actually, you know what, I'm still a work in progress—and aren't we all? She says life is full of ‘good guesses' and it suggests that we should all have compassion for our past selves who were trying to figure out all of this *points around*. We don't have to tie up our stories in pretty packages. We don't have to be ‘consumed' easily. We don't have to have our personal stories confused with ‘giving advice' or being a guru. We live in ever-changing lives and worlds. Life is messy—and so are the memoirs that follow. “I'll see you in ten years with the next memoir. We'll see what happens after this.” — Elizabeth GilbertI loved interviewing Liz again this week, about our books, writing fiction vs non-fiction, ‘cooking' our writing before publishing it, and why we do what we do. I also asked her for some friendly advice as my own memoir A Year of Nothing publishes in January. I hope you enjoy the conversation (and how progressively dark my office gets over the recording lol, it was 4pm in the UK i.e. winter hours!) xoxoxoTimestamps during our conversation:00:00 - An introvert on tour06:00 - All The Way To The River and how it was born08:00 - Journalling vs ‘cooked' writing10:00 - How would Eat Pray Love look in 2025?13:00 - Self-help vs memoir16:00 - Having respect for your readers18:30 - The myth of the ‘guru'20:00 - The fear of publishing a memoir23:00 - Dealing with judgment or criticism25:00 - The reason why we write books27:00 - When a memoir demands to be written30:00 - Writing the book you want to read34:00 - Choosing which form to write in37:00 - Fiction vs non-fiction 40:00 - Creativity and divinity 44:00 - “Success” isn't enough47:00 - A darkness retreat50:00 - Martha Beck advice54:00 - What's next for Liz 56:00 - US vs UK audiences1:00 - Where do we write?1:05 - Alone vs lonely1:07 - Women and invisibility 1:13 - The end! More on similiar topics: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thehyphen.substack.com/subscribe

In this week's episode, we discuss the advantages of digital content ownership for both readers and writers. This coupon code will get you 50% off the audiobook of Cloak of Ashes, Book #3 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store: CLOAK2025 The coupon code is valid through November 24, 2025. So if you need a new audiobook this fall, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 277 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 14th, 2025, and today we are discussing the benefits of owning your own content for both readers and writers. Before we get to our main topic, we will start off with Coupon of the Week and then a progress update on my current writing, publishing, and audiobook projects. First up is Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Ashes, Book #3 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. That coupon code is CLOAK2025. And as always, the coupon code and the links to my Payhip store will be available in the show notes. This coupon code is valid through November 24th, 2025, so if you need a new audiobook for your Thanksgiving travels this month, we have got you covered. Now for an update on my current writing, publishing, and audiobook projects. I'm pleased to report the rough draft of Blade of Shadows is done. This will be the second book in my Blades of Ruin epic fantasy series. Right now, it is just about exactly as long as Blade of Flames. It may be a little longer or a little shorter depending on how editing goes since there's some stuff I'm going to cut out, but there's also some scenes I'm going to add. I also wrote a short story called Elven Arrow. Newsletter subscribers will get a free ebook copy of Elven Arrow when Blade of Shadows comes out, which will hopefully be before American Thanksgiving at the end of the month. I'm about 23% of the way through the first editing pass, so making good progress there and hope to keep up with the good progress. I am 11,000 words into Wizard-Assassin. That will be my next main project once the Blade of Shadows is published and probably the final book I publish in 2025, because I think the first book I do in 2026 will be Blades of Ruin #3, if all goes well. In audiobook news, the recording for Blade of Flames is done and it's gradually making its way out into the world (as excellently narrated by Brad Wills). I think as of the time of this recording, the only place where it's actually live is Google Play, but hopefully more stores will come online soon, and it would be cool if the Blade of Flames audiobook was available everywhere before Blade of Shadows came out. Hollis McCarthy is still working on Cloak of Embers and we hope to have that to you before the end of the year, if all goes well. So that's where I'm at with current writing, publishing and audiobook projects. 00:02:25 Main Topic: Digital Content Ownership as a Reader and Writer Now let's move on to our own topic, the ownership of digital content as both a reader and a writer. As the digital revolution has gone on and on and put more decades behind it, people are increasingly building very large digital content libraries and it's an increasingly tangled point of law what happens to those digital libraries when for example, their account gets suspended, or for example, someone else dies and wants to leave their Steam library of games to their heirs. We're today going to be focusing on digital content ownership for readers and writers, and we'll start with readers. Although the price of an ebook and print book of many traditionally published books are roughly the same at this point (and sometimes bafflingly, the ebook versions cost more), the rights you have as the owner of the ebook copy are substantially less powerful. In fact, technically speaking, you aren't actually the owner of an ebook purchased from Amazon or other retailers. It's more accurate to say that you purchased a long-term conditional lease. As a side note, I'm talking about this from the perspective of United States Copyright law and ebook/audiobook stores there. The laws and standards in your own country may be different. Also, I am not a lawyer and nothing in this episode should be taken as legal advice. You obtain legal advice by hiring a lawyer licensed to practice in your jurisdiction. But now back to the main argument. In America, there is something known as the First Sale Doctrine. This section of the US Copyright Act allows physical media to be lent out and resold, among other things. For example, someone who purchases a physical book is considered its owner and the publisher can't take it back from them. The physical version of books can be used in libraries or as classroom materials until they literally fall apart, unlike their electronic equivalents, which face complicated licensing agreements that generally offer far less favorable terms of use for a much larger cost (especially for libraries and academic institutions). In the US, electronic content ownership is covered by contract law instead of the First Sale Doctrine. Although each seller has their own licenses and standards, a few things tend to remain consistent across those licenses: the inability to lend or resell the content, the inability to remove DRM from the content, and the right of the seller to alter or even remove the content. Ownership is not a right guaranteed for digital content. There is an American lawsuit currently challenging Amazon Prime Video and its use of words like "purchase" and "buy" for its video content. The lawsuit accuses Amazon of misrepresenting a heavily conditional license as a purchase, giving the average customer the impression that they own the content in perpetuity. Amazon lawyers argue that the average customer understands the difference, but frequent outrages over content being removed from users' libraries suggests otherwise. Here are four reasons owning your ebook content is important. #1: Keeping access to the content if the company closes or gets bought out. One of the early leaders in the US ebook store market way back at the start of the indie revolution was Sony. When their Sony Reader store closed, they gave readers the option to migrate their libraries to Kobo. Books that were not available through Kobo were not able to be transferred, so some purchased content was lost for readers. A more egregious example comes from, as you might expect, Microsoft with the closing of the Microsoft ebook store in 2019. When the store closed, they offered refunds instead of giving readers an opportunity to self-archive or transfer their purchases. Any margin notes taken by readers were lost, and they were given a $25 credit for the inconvenience. Although refunding customers was a good gesture, it's not a guarantee that readers are able to repurchase the ebooks elsewhere or even that the price would be the same when they did. As an aside, I spent a good chunk of time in 2018 trying to figure out how to get into the Microsoft ebook store and then finally gave up because it was too complicated, which in hindsight turned out to be a good decision. Owning your ebooks outright gives them independence from the store that you bought them from. #2: Keeping content from being altered. Ebooks can be altered anytime. Most of the time these changes are harmless, such as updating a cover, fixing a typo, or adding a preview chapter. I do that myself all the time. Every time I get typo corrections, I upload a new version. Yet there is a potential for books to be edited or censored from the original copy that you purchased. Chapters could be removed, scenes altered, or in extreme cases, the entire book could be removed. Owning a hard copy means that you have a version that cannot be changed without your knowledge. #3: The ability to self-archive. Most ebook stores use a form of digital rights management (DRM) that makes it difficult to transfer or permanently store your collection outside of their collection or library. Trying to do so is a violation of the license you purchased from the store, so I won't discuss how to do that. Amazon recently made self-archiving more difficult by discontinuing the feature to download and transfer Kindle books via USB. Finding DRM-free ebook stores is important if you want to organize and store your ebook collection as you see fit. Two examples of stores with DRM-free ebooks are Smashwords and direct [sales] sites like My Payhip store. Other stores like Kobo have a dedicated section devoted to DRM-free ebooks. #4: Keeping your reading habits private. Companies like Amazon track reading data, mostly out of a desire to sell you similar books or ad space. They track what you're reading, the amount of time you spend reading, your reading speed, and the highlights that you make in a book. Now, most of the time this is generally pretty harmless. It's mostly used for…you look on Amazon, you see that the section "customers who enjoyed this book also enjoyed this". Then if you use the Kindle app on your phone a lot, it has a lot of badges and achievements and it tends to be used for that kind of thing. However, there could be sinister undertones to this, especially if you're reading things you would prefer other people not know about. So if this concerns you, if there are some settings that you can adjust, but if you want complete privacy, outright ownership of your ebooks is the way to go. So what is the easiest way to own your own ebooks as a reader? The easiest way and perhaps the safest way to own your content outright is to buy print copies of books. That said, buying direct from authors or finding ebooks that have more favorable license terms is easiest way to own your ebook purchases. One of the reasons that opening a Payhip store was important to me was I gave my readers a chance to outright own purchased copies of my work and self-archive them in the way that they saw fit, if that was important to them. The price is the same on my Payhip store as other ebook or audiobook stores (and sometimes even cheaper if you're using Coupon of the Week). The ebooks and audiobooks there are DRM-free and untethered from specific stores and companies. You have the option to download files in a variety of file formats and store them in a way that makes the most sense to you. Buying direct also gives a greater share of the sale price to the authors, especially in the case of audiobooks. In conclusion, ebooks lag behind print books in terms of ownership rights for purchasers here in the United States (at the time of this recording). That said, you can be an informed consumer by reading terms of use carefully and educating yourself to make sure that you have the most possible access to your purchased content. Now, we've covered that from the reader side, and let's look at it from the side of the content creators, specifically writers. This can also apply to other content creators such as musicians, and we're going to use a very famous example for that, Taylor Swift. The general public learned about the importance of fully owning your content as a creator during the long and very public battle between musician Taylor Swift and the record company that sold her work to a private equity firm associated with someone she personally disliked. She owned the copyrights to the works (along with her various collaborators), but not the masters, the specific recordings of each song. As long as she didn't own her masters, she didn't have control over song choices for her public performances, the label releasing older content against her wishes, or how her music would be licensed out for commercial use. Swift reasserted control by rerecording old albums (a strategy previously used by the musician Prince), which gave her ownership of these new masters and devalued the original masters to the point where she could later afford to buy them outright. Many artists, including Olivia Rodrigo, credit Swift for helping them to negotiate adding the ownership of their masters into their contracts. As predatory as the publishing industry can be, the music industry tends to make them look like rank amateurs in terms of sheer evil. So it is a testament to her popularity and business success that she was able to convince them to do this. The world's most famous pop star taught millions of fans that owning your work is the ultimate goal of a creative. Why is ownership of your work important for writers specifically and not just American pop stars? We'll discuss six reasons why it's important for content creators and specifically writers in this episode. And as a reminder yet again, I'm talking about this from the perspective of United States law. Laws and standards in your own country may be different. Also, I am not a lawyer and nothing in this episode should be taken as legal advice. You obtain proper legal advice by contacting a lawyer licensed to practice in your jurisdiction. So with that in mind, let's get into the topic. What is ownership as a writer? Writers generally keep the copyrights to works they sell to publishers. Writers are essentially selling the right or a license to produce and distribute their book in a certain format, language, and geographic area. Most of the time, geographic area rights are sold separately. For example, rights for the Harry Potter books are owned by Scholastic in the United States and Bloomsbury in the United Kingdom. Sometimes writers will keep the rights in a specific format, like when I signed with Tantor to give them the audio rights to the first five Frostborn books while keeping the rights to my print and ebook formats. What writers lose in the process of selling to publishers is the ability to control how their work is marketed, packaged, and sold. They do not have the freedom to make major decisions such as when a book is released or where it is marketed. Today I am going to share six reasons that retaining ownership is important for writers and what things you generally sacrifice when you sign with a traditional publisher instead of self-publishing or indie publishing. #1: Creative control. It is not standard to have complete control over your book's cover design. Often an artist is able to submit suggestions to the designer, but the publisher has ultimate authority over the book's cover. Sometimes covers end up being wildly inappropriate for the book, but the author has no recourse. The same is usually true with the ability to pick an audiobook narrator or change anything about the narration. At times, writers (especially new ones) are pressured into changes they do not want by editors. The surest way to completely lose all creative control is signed with a book packager like Alloy Entertainment. If you want to hear the story of how L.J. Smith was fired from her own series due to a plot dispute with that publisher, YouTuber Jenny Nicholson covers it in her epic length summary of The Vampire Diaries show. Although a certain paycheck from a book packager is tempting, you'd be wisest not to create any fictional characters or worlds for this type of publisher for that reason. #2: Dead Series Syndrome. If the first book in a series does not sell well, the publisher tends to abandon the series. The next book in the series might be ready for publication, but they're not obligated to publish it if they suspect it will not be profitable. Unfinished series are extremely common in traditional publishing, unfortunately. Writers who are locked into a contract for a series are generally out of luck putting out the books on their own. Even if they put out later books on their own, not having the rights to the first book in the series makes it difficult for a writer to sell and market subsequent books. I had a series (Demonsouled) that I wanted to continue even though the first book was released by my publisher. I was able to get the rights back for it and then was able to self-publish this rest of the series. This was much easier to do 14 years ago than it is now. Modern contracts, especially from larger publishers, are not so generous in letting authors do this. It would be much easier to start as a self-published author and have full control over the trajectory of your series and make sure readers are able to finish it instead of waiting for a contract to elapse or fighting a difficult, hard to win battle to get the rights back. #3: The ability to change. One of the perks of owning your book is the ability to make quick changes that react to data. For example, I was able to retitle the Stealth and Spells series fairly quickly when it became immediately clear upon release that some found the original title confusing. A traditional publisher would likely not have bothered to make the effort unless there was a legal reason for doing so. The ability to change covers, repackaging books in different ways (like omnibus editions), and to make quick changes to the book on the fly (such as fixing typos or continuity errors), is the unique privilege that comes with owning your own work. Publishers are slow to make these types of changes, if they do it at all. #4: Profit. Writers typically only receive an advance (an initial lump sum) when working with a traditional publisher. The complexities of publisher accounting usually ensure that only great successes receive royalties, and often even those that do can take a while to reach that benchmark. Royalties are typically doled out quarterly or semi-annually, for those who make enough to receive them. The earning statements are fairly byzantine. It's hard for the average person to understand them fully to make sure they're being paid exactly what is owed to them. Owning your own work and publishing yourself means that you keep all of the profit after the cut taken by the ebook store and whatever you pay cover designers, editors, and so on. You can see all of the sales as they come in and don't have to wait for those two to four royalty checks each year in order to get paid. It's much easier to make a living as a writer and to feel confident that you can pay others when you have more accurate data on the money coming in. Indie publishing sacrifices the certainty of an advance for a far, far greater share of the profits in the long run. Additionally, agents typically take a 15 to 20% commission on author earnings, and they are an essential part of the process in traditional publishing. It's just about impossible to get foot in the door with traditional publishing without one. Most self-published writers don't bother with an agent, which means they're able to keep that cut of the money and don't have to shape their work around the preferences and whims of an agent. They also spared the stress and hassle of working with an unethical or bad agent (of which they're unfortunately far too many). #5: Professional freedom. The publisher decides when the books are released or if they're released at all. Are you ready to publish a book two months after the first one is released? Too bad. A publisher is not going to put out the next one that quickly. The traditional wisdom of publishing schedules seems wildly out of date in the content-heavy modern world, where algorithms reward recent titles and frequent publishing. Publishing more often also helps fans stay connected to your work, and frankly, it's much easier to make a living as a writer putting out several books a year instead of just one. Additionally, traditionally published writers do not control how a book is marketed. Are you upset that your book is being marketed as a romance when you think it's complex literary fiction? Too bad. It's not your call. In fact, writers may be contractually obligated to post content to their social media pages written or approved in advance by the marketing department at the publisher. You might have to put your name publicly to marketing copy you dislike or disagree with in order to not violate your contract. In a related vein, you might find that if you post heavily on your social media pages about political or controversial topics, you may be reprimanded by the publisher or in some cases, have your contract canceled entirely. Although indie authors aren't immune from social consequences of what they post, no publisher is holding them back from posting what they want just because they're writers and the publisher is scared of what the shareholders might think. #6: The publisher being sold. One of the biggest problems for traditionally published writers is when their publisher is sold to another one. This may mean restructuring that takes away staff they worked with a long time (like a favorite editor being replaced by an inexperienced one). As smaller publishers are eaten up by the larger ones, you might find that your books become an afterthought and you don't have any power to fix that. You might even have to fight to get paid what you're owed in your own contracts, which writers of Star Wars books found out when Disney acquired Lucasfilm. Apparently when Disney bought Lucasfilm, it decided it no longer owed royalties to several writers of Star Wars tie-in novels that Lucasfilm had published and weren't going to pay them until it went public and caused a bit of controversy. Finally, a settlement was reached. This is sort of the shifty behavior that Disney is well known for in certain circles, and it is something you have to watch out for with large publishers and media conglomerates. The easiest way to keep this from happening is, once again, to publish yourself and keep ownership of your work. In conclusion, when traditional publishing was the only way to become a writer, their restrictions and control were something you had to live with because you had no other option. Now that self-publishing is extremely accessible and traditional publishing is shrinking, it's no longer worth making the trade-offs that authors once had to in order to gain readers of their work. Although I never actually listened to a Taylor Swift song all the way through, her career and business ventures are proof that owning your work as a creative is the best way forward. Ownership should be the starting point, not the end goal of anyone who values creative control and fair, transparent payment for their creative work. So that is it for this week. I hope that illuminated the importance of owning your own work, especially if you are a writer or other creative. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

"OK" as a word accepts proposals, describes the world as satisfactory (but not good), provides conversational momentum, or even agrees (or disagrees). OK as an object, however, tells a story of how technology writes itself into language, permanently altering communication. OK (Bloomsbury, 2023), by Dr. Michelle McSweeney and published by Bloomsbury in 2023, explores this story OK is a young word, less than 200 years old. It began as an acronym for “all correct” when the steam-powered printing press pushed newspapers into the mainstream. Today it is spoken and written by nearly everyone in the world. Drawing on linguistics, history, and new media studies, Michelle McSweeney traces OK from its birth in the Penny Presses through telephone lines, grammar books, and television signals into the digital age. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

"OK" as a word accepts proposals, describes the world as satisfactory (but not good), provides conversational momentum, or even agrees (or disagrees). OK as an object, however, tells a story of how technology writes itself into language, permanently altering communication. OK (Bloomsbury, 2023), by Dr. Michelle McSweeney and published by Bloomsbury in 2023, explores this story OK is a young word, less than 200 years old. It began as an acronym for “all correct” when the steam-powered printing press pushed newspapers into the mainstream. Today it is spoken and written by nearly everyone in the world. Drawing on linguistics, history, and new media studies, Michelle McSweeney traces OK from its birth in the Penny Presses through telephone lines, grammar books, and television signals into the digital age. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

"OK" as a word accepts proposals, describes the world as satisfactory (but not good), provides conversational momentum, or even agrees (or disagrees). OK as an object, however, tells a story of how technology writes itself into language, permanently altering communication. OK (Bloomsbury, 2023), by Dr. Michelle McSweeney and published by Bloomsbury in 2023, explores this story OK is a young word, less than 200 years old. It began as an acronym for “all correct” when the steam-powered printing press pushed newspapers into the mainstream. Today it is spoken and written by nearly everyone in the world. Drawing on linguistics, history, and new media studies, Michelle McSweeney traces OK from its birth in the Penny Presses through telephone lines, grammar books, and television signals into the digital age. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

"We were living in a museum" - Sofie MullerIn this episode of Three Food Memories, you'll meet Belgian artist Sofie Muller. On Sofie's menu: a cocktail that packs a punch, a soup that makes you cry, and a dinner in the dark.Sides include: growing up in a museum, why creating art is better than housework, and what it takes to show the ingredients of the soul. This episode was recorded at Fox Jensen Gallery on Gadigal land. Sofie's social cause is: art as a form of healing. Not a cure, but a space where pain can exist, where silence can speak, and where people may feel seen and recognised. She says "My work isn't a statement, but an invitation: to look more slowly, to feel more honestly, and to meet ourselves and others with greater softness."Send us a textTo find out more about the project and Savva - head to threefoodmemories.comInsta - @savvasavas @threefoodmemoriesEmail us at threefoodmemories@plated.com.au, we'd love to hear from you! TFM is produced and edited by Lauren McWhirter with original music by Russell Torrance.

Jemma Deer's Radical Animism: Reading for the End of the World (Bloomsbury Academic Press, 2020) invites the reader to take a moment and to ponder on the way of reading. In her book, the author challenges the narcissistic position of the human being: a status that has been established for some time and which has already been challenged before but does not seem to be changing quickly. The Anthropocene reveals the dangers which are connected to the human centrality and power; on the other hand, it requires new ways of engaging with the environment. These new ways are not limited to the gestures of consideration in relation to the profound changes that led to climate change in particular. They ask for a new mode of thinking when the inanimate is part and parcel of the human being. In this regard, Jemma Deer draws attention to reading and writing as ways and modes of engaging with the inanimate and with the environment that serves as a habitat for the acts of reading and writing. The book offers strategies for reading literary texts across cultures and times: the works by Shakespeare, Lewis Carroll, Virginia Woolf reveal new echoes in the context of the Anthropocene. Radical Animism is a gentle invitation to abandon human superiority and to explore the ways that subvert a conventional hierarchy of the human and the non-human. 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

Jemma Deer's Radical Animism: Reading for the End of the World (Bloomsbury Academic Press, 2020) invites the reader to take a moment and to ponder on the way of reading. In her book, the author challenges the narcissistic position of the human being: a status that has been established for some time and which has already been challenged before but does not seem to be changing quickly. The Anthropocene reveals the dangers which are connected to the human centrality and power; on the other hand, it requires new ways of engaging with the environment. These new ways are not limited to the gestures of consideration in relation to the profound changes that led to climate change in particular. They ask for a new mode of thinking when the inanimate is part and parcel of the human being. In this regard, Jemma Deer draws attention to reading and writing as ways and modes of engaging with the inanimate and with the environment that serves as a habitat for the acts of reading and writing. The book offers strategies for reading literary texts across cultures and times: the works by Shakespeare, Lewis Carroll, Virginia Woolf reveal new echoes in the context of the Anthropocene. Radical Animism is a gentle invitation to abandon human superiority and to explore the ways that subvert a conventional hierarchy of the human and the non-human. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Jemma Deer's Radical Animism: Reading for the End of the World (Bloomsbury Academic Press, 2020) invites the reader to take a moment and to ponder on the way of reading. In her book, the author challenges the narcissistic position of the human being: a status that has been established for some time and which has already been challenged before but does not seem to be changing quickly. The Anthropocene reveals the dangers which are connected to the human centrality and power; on the other hand, it requires new ways of engaging with the environment. These new ways are not limited to the gestures of consideration in relation to the profound changes that led to climate change in particular. They ask for a new mode of thinking when the inanimate is part and parcel of the human being. In this regard, Jemma Deer draws attention to reading and writing as ways and modes of engaging with the inanimate and with the environment that serves as a habitat for the acts of reading and writing. The book offers strategies for reading literary texts across cultures and times: the works by Shakespeare, Lewis Carroll, Virginia Woolf reveal new echoes in the context of the Anthropocene. Radical Animism is a gentle invitation to abandon human superiority and to explore the ways that subvert a conventional hierarchy of the human and the non-human. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

What do we know about the woman's lot at the court of Charles II? Breeze Barrington's new book The Graces (published by Bloomsbury) explores the lives of several women of the Stuart court. These ladies include Maria d'Este, a.k.a. Mary of Modena, consort to James VII & II, as well as those of her Maids of Honour: Anne Finch, a revered poet, Hortense Mancini, a favourite of Charles II, Sarah Jennings, future Duchess of Marlborough and of course, the future Queen Anne of Great Britain. Let's welcome Breeze Barrington to the podcast. Welcome, Breeze!Find Breeze:https://www.breezebarrington.com/https://www.qmul.ac.uk/sed/english/staff/phd/profiles/barringtonb.htmlhttps://artuk.org/discover/profile/breeze-barringtonGet Graces:https://www.bloomsbury.com/uk/graces-9781526663788/Find Baroque:https://www.ifitaintbaroquepodcast.art/https://www.reignoflondon.com/https://substack.com/@ifitaintbaroquepodcastSupport Baroque:https://www.patreon.com/c/Ifitaintbaroquepodcast/https://buymeacoffee.com/ifitaintbaroqueIf you would like to join Natalie on her walking tours in London with Reign of London:Saxons to Stuarts:https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011/Tudors & Stuarts:https://www.getyourguide.com/london-l57/royal-london-tudors-stuarts-walking-tour-t481355/The Georgians:https://www.getyourguide.com/london-l57/royal-london-the-georgians-walking-tour-t481358/Naughty London:https://www.getyourguide.com/london-l57/london-unsavory-history-guided-walking-tour-t428452/For more history fodder please visit https://www.ifitaintbaroquepodcast.art/ and https://www.reignoflondon.com/ Hosted on Acast. See acast.com/privacy for more information.

In this conversation, SC Nealy and I discuss the impact of beliefs and oppressive systems on the creation of trauma, emphasizing the need for healthier approaches to spirituality and community involvement. We discuss their work in the LGBTQ+ community, with their dedication to the intersection of mental health and social involvement, where the role of the therapist doesn't just exist in the therapeutic space, but extends into advocacy for civil rights and support for minorities. Rather than promoting a binary choice of religious or secularism, we discuss the need for resources that support individuals who choose to remain within religious and/or spiritual communities while avoiding harmful ideologies. SC Nealy, LPC (they/she) is a therapist and owner of an all queer and trans-identifying therapy practice in Washington, DC that focuses on bringing therapists with lived experiences to the LGBT+ population. They specialize in religious trauma work and their first non-fiction book, Healing Sacred Wounds, will be published by Bloomsbury in Fall 2026. Visit lgbtcounselingdmv.com for more information, or follow SC Nealy online at @scnealy on Instagram and @booksbysarahrobinson on Facebook. www.lgbtcounselingdmv.com www.instagram.com/scnealy www.facebook.com/booksbysarahrobinson Takeaways Beliefs and oppressive systems can cause trauma. Spirituality can exist without harming others. Resources for deconstruction are often limited. Not everyone is ready to deconstruct their beliefs. Healthy engagement in religious communities is possible. Creating spaces for those who choose to stay is important. Support for mental health within religious contexts is needed. Deconstructing is not the only path to healing. Community health can be prioritized in spiritual practices.

The Sahel stands at a crossroad, it is torn by crisis, instability, and shifting power. Join Dr. Jessica Moody and Dominic Bowen as they dive deep into the region's unfolding humanitarian emergency. What does ECOWAS's withdrawal mean for the people? How is Russian influence rewriting the rules? And why are jihadist groups gaining ground? From Bamako's frontlines to the corridors of power, this is your inside look at the struggles shaping the Sahel's future!Dr. Jessica Moody is a political risk, due diligence and peacebuilding consultant in West Africa. She conducts open source and on the ground research into political, economic and security developments in West Africa and provides timely forecasts as well as scenario planning to clients, enabling them to better plan their operations. She also provides detailed insights into key personalities across West Africa, to enable businesses to understand power structures and who they should prioritise engagement with.Jessica has worked in and on West Africa for more than a decade, during which she has consulted for an array of organisations ranging from S&P Global to Horizon Engage to the United States Institute of Peace. Having spent time living and working in Senegal, Cote d'Ivoire and Mali, she has an extensive range of local contacts in government and the private sector across the region. Jessica has a BA hons degree in History from the University of Nottingham, an MSc in International Relations from the London School of Economics and a PhD in War Studies, focusing on Cote d'Ivoire from King's College London. She is the author of Life After War: Lessons in Human Centered Peacebuilding from Cote d'Ivoire (London, Bloomsbury) – forthcoming in May 2026.The International Risk Podcast brings you conversations with global experts, frontline practitioners, and senior decision-makers who are shaping how we understand and respond to international risk. From geopolitical volatility and organised crime, to cybersecurity threats and hybrid warfare, each episode explores the forces transforming our world and what smart leaders must do to navigate them. Whether you're a board member, policymaker, or risk professional, The International Risk Podcast delivers actionable insights, sharp analysis, and real-world stories that matter.The International Risk Podcast – Reducing risk by increasing knowledge.Follow us on LinkedIn and Subscribe for our updates!Tell us what you liked!

Dr. Rebecca van Laer and her partner purchase a home and move in with their senior cats, Toby and Gus. Their loved ones see this as a step toward an inevitable future-first comes the house, then a dog, then a child. But what if they are just cat people?Moving between memoir, philosophy, and pop culture, Cat (Bloomsbury, 2025) is a playful and tender meditation on cats and their people, part of the Object Lessons series. Van Laer considers cats' role in her personal narrative, where they are mascots of laziness and lawlessness, and in cultural narratives, where they appear as feminine, anarchic, and maladapted, especially in comparison to dogs.From the stereotype of the 'crazy cat lady' to the joy of cat memes to the grief of pet loss, van Laer demonstrates that the cat-person relationship is free of the discipline and dependence required by parenting (and dog-parenting), creating a less hierarchical intimacy that offers a different model for love. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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

Dr. Rebecca van Laer and her partner purchase a home and move in with their senior cats, Toby and Gus. Their loved ones see this as a step toward an inevitable future-first comes the house, then a dog, then a child. But what if they are just cat people?Moving between memoir, philosophy, and pop culture, Cat (Bloomsbury, 2025) is a playful and tender meditation on cats and their people, part of the Object Lessons series. Van Laer considers cats' role in her personal narrative, where they are mascots of laziness and lawlessness, and in cultural narratives, where they appear as feminine, anarchic, and maladapted, especially in comparison to dogs.From the stereotype of the 'crazy cat lady' to the joy of cat memes to the grief of pet loss, van Laer demonstrates that the cat-person relationship is free of the discipline and dependence required by parenting (and dog-parenting), creating a less hierarchical intimacy that offers a different model for love. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Dr. Rebecca van Laer and her partner purchase a home and move in with their senior cats, Toby and Gus. Their loved ones see this as a step toward an inevitable future-first comes the house, then a dog, then a child. But what if they are just cat people?Moving between memoir, philosophy, and pop culture, Cat (Bloomsbury, 2025) is a playful and tender meditation on cats and their people, part of the Object Lessons series. Van Laer considers cats' role in her personal narrative, where they are mascots of laziness and lawlessness, and in cultural narratives, where they appear as feminine, anarchic, and maladapted, especially in comparison to dogs.From the stereotype of the 'crazy cat lady' to the joy of cat memes to the grief of pet loss, van Laer demonstrates that the cat-person relationship is free of the discipline and dependence required by parenting (and dog-parenting), creating a less hierarchical intimacy that offers a different model for love. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Dr. Rebecca van Laer and her partner purchase a home and move in with their senior cats, Toby and Gus. Their loved ones see this as a step toward an inevitable future-first comes the house, then a dog, then a child. But what if they are just cat people?Moving between memoir, philosophy, and pop culture, Cat (Bloomsbury, 2025) is a playful and tender meditation on cats and their people, part of the Object Lessons series. Van Laer considers cats' role in her personal narrative, where they are mascots of laziness and lawlessness, and in cultural narratives, where they appear as feminine, anarchic, and maladapted, especially in comparison to dogs.From the stereotype of the 'crazy cat lady' to the joy of cat memes to the grief of pet loss, van Laer demonstrates that the cat-person relationship is free of the discipline and dependence required by parenting (and dog-parenting), creating a less hierarchical intimacy that offers a different model for love. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Send us a textThe battle of Breitenfeld was fought on September 17, 1631. It was one of the largest and most important battles of the Thirty Years' War. It was the most famous victory of Gustavus Adolphus, Sweden's hero-king. It was the beginning of the Stormaktstiden, Sweden's Age of Empire. If you're enjoying Great Battles in History, please follow it and rate it on Spotify, Apple Podcasts, or wherever you listen. And if you'd like to give me more support, then please consider buying my book, 1709: The Twilight of the Sun King. It's published by Bloomsbury and available from major booksellers.To help listeners navigate this episode, here is a chapter breakdown (timings are approximate):1.     01:34-12:13                Introduction2.     12:15-33:53                Dominium Maris Baltici: the Struggle for the Baltic3.     33:55-1:13:48             Sweden's Northern Wars4.     1:13:50-2:09:45          Seventeenth-Century Warfare5.     2:09:47-2:46:57          Gustavus Adolphus6.     2:46:59-3:12:35          The Causes of the Thirty Years' War7.     3:12:37-3:46:35          The Thirty Years' War Begins8.     3:46:37-4:09:38         The Swedish Intervention9.     4:09:40-4:52:10         The Battle of Breitenfeld10.  4:52:12-5:34:54          Stormaktstiden: Sweden's Age of Empire

In this episode of The Evolving Leader, co-hosts Jean Gomes and Scott Allender talk to neurologist and author Adam Zeman about his latest book The Shape of Things Unseen. Together they explore how imagination helps us step outside the here and now, recall the past, and anticipate the future, and why this ability matters more than ever in a world shaped by automation and accelerating change.Adam takes us inside the science of the mind's eye, from aphantasia (the inability to visualise) to hyperphantasia (imagery as vivid as reality), and unpacks what these differences reveal about creativity, culture and leadership. This conversation offers practical insights for leaders on cultivating imagination within organisations, the role of daydreaming in innovation, and how to create environments where ideas can flourish.Further materials from Adam Zeman:Zeman, A. (2025). The Shape of Things Unseen: A New Science of Imagination. Bloomsbury.Zeman, A., Milton, F., Della Sala, S. (2024). “Aphantasia and Hyperphantasia: Exploring imagery vividness extremes.” Cortex, 170, 1–14.Zeman, A. (2024). “Aphantasia: The science of visual imagery absence.” Trends in Cognitive Sciences, 28(3), 189–200. Other reading from Jean Gomes and Scott Allender:Leading In A Non-Linear World (J Gomes, 2023)The Enneagram of Emotional Intelligence (S Allender, 2023)Social:Instagram           @evolvingleaderLinkedIn             The Evolving Leader PodcastTwitter               @Evolving_LeaderBluesky            @evolvingleader.bsky.socialYouTube           @evolvingleader The Evolving Leader is researched, written and presented by Jean Gomes and Scott Allender with production by Phil Kerby. It is an Outside production.Send a message to The Evolving Leader team

Sally Wenley reviews Twist by Colum McCann, published by Bloomsbury. RRP: $37

My guest today on the Online for Authors podcast is Michael Wendroff, author of the book What Goes Around. Michael Wendroff is the author of What Goes Around, a debut thriller published by Bloomsbury, which bestselling author Lisa Black calls a “brilliant debut,” and bestselling author J.D. Black says “Relentless and gritty, Wendroff expertly weaves a narrative that begs, ‘just one more page…'”   The book was inspired by what his mother said to him the second he was born: “Oh! How nice to see you–Again!”   Michael has an MBA in marketing from NYU, and was inducted into their Hall of Fame. He is a global marketing consultant.   His mother was an editor (watching his mother scribbling in red ink on manuscript pages at home on weekends prepared him for his own editor's comments!). She remarried a literary agent, so Michael was friendly with many authors, and even spent a vacation with Robert Ludlum. Watching Ludlum hand-write his 450 page novels on yellow legal pads didn't dissuade Michael from trying to write a novel (though he's thankful for his PC).   What Goes Around was launched in the USA, UK, and Australia by Bloomsbury (in hardcover, eBook and Audiobook), and foreign language rights have been sold in Italian, Japanese, and Hungarian. It is now into its third hardcover printing, and the paperback edition comes out in October 2025.   Fun fact: Michael's great-grandfather was brought over by Thomas Edison from the University of Copenhagen to work with him. He holds a number of patents, including for plastic buttons. Michael proudly wears button- down shirts whenever he can.   In my book review, I stated What Goes Around is a thriller that will keep you turning the pages long after you say 'just one more chapter.'   We quickly meet the two main detectives, Jack Ludlum and Jill Jarred. Jack attacks his job with brute strength. Jill uses her brains. The two do not get along but are thrust together to find the serial killer.   Jack and Jill find themselves in the middle of a white supremacist murder spree with too many possible suspects and too many motives. Each time they think they've found their 'man,' the tables turn again. And just when the reader is sure they know the ending, Michael gives it a twist you will never see coming.   This book has it all - danger, romance, and characters you will love. Thankfully, I have insider information that Michael is currently writing a prequel!   Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1   Join the Novels N Latte Book Club community to discuss this and other books with like-minded readers: https://www.facebook.com/groups/3576519880426290   You can follow Author Michael Wendroff Website: https://michaelwendroff.com/ LinkedIn: @Michael Wendroff X: @mwendroff FB: @MichaelWendroffAuthor IG: @mwendroff   Purchase What Goes Around on Amazon: Paperback: https://amzn.to/4nBEobF Ebook: https://amzn.to/3JRnwPg   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1   Want to be a guest on Online for Authors? Send Teri M Brown a message on PodMatch, here: https://www.podmatch.com/member/onlineforauthors   #michaelwendroff #whatgoesaround #thriller #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview *As an Amazon Associate I earn from qualifying purchases.

Camden's not just a postcode – it's a state of mind. From the quiet grace of Bloomsbury's squares to the glorious bedlam of Camden Market; from the high wildness of Hampstead Heath to the learned hush of Museum Mile – this is the borough that can keep you busy for a lifetime. In this episode, we go exploring: parks, markets, music, museums, canals, cafés, and everything in between.

Originally recorded for my other podcast Was It Chance? with my co-host Heather Vickery, this conversation with director, producer, educator, and author David Armstrong felt like a perfect fit for The Theatre Podcast as well. David shares stories from his remarkable 40-year career in theatre — including his years leading Seattle's Fifth Avenue Theatre, where he helped develop Hairspray before it became a Broadway smash. We dive into his new book, Broadway Nation: How Immigrant, Jewish, Queer, and Black Artists Invented the Broadway Musical, and explore how marginalized voices shaped the art form we love today. From childhood performances in Cincinnati to mentoring future generations through his course at the University of Washington and his Broadway Nation podcast, David embodies what it means to take creative risks, honor history, and build the future of theatre. Make sure to check out Was It Chance? wherever you are listening now. Broadway Nation: How Immigrant, Jewish, Queer, and Black Artists Invented the Broadway Musical ⁠— available everywhere books are sold (or through Bloomsbury for a discount!) Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

We sit down with David Armstrong — lifelong theater-maker, educator, and author of Broadway Nation: How Immigrant, Jewish, Queer, and Black Artists Invented the Broadway Musical. David's 40-year career as a director, producer, choreographer, and writer has been steeped in creative risk, from his 18 years leading Seattle's Fifth Avenue Theatre (where Hairspray began!) to hosting the Broadway Nation podcast and now teaching Broadway history at the University of Washington. His passion for illuminating the overlooked creators of America's most iconic art form is both inspiring and overdue. We talk about the evolution of Broadway through marginalized voices, the political power of art that doesn't look political, and how risk-taking theaters like the Fifth Avenue became incubators for some of Broadway's greatest hits. David shares the creative leap that led to Hairspray, how collaboration with an audience shapes a show's success, and the “legacy chains” connecting generations of musical theater creators — from Otto Harbach to Lin-Manuel Miranda. He also gets candid about failure, what it really feels like when a show “almost” works, and why he still sees risk as essential to the creative process.

Popular music history collides with data analytics, charts, and numbers in this insightful and surprising look at the greatest hits and musicians, fads, forgotten artists, and much more. Data analyst and musician Chris Dalla Riva reframes everything you thought you knew about music. Did you know that hit songs in the late 1950s were regularly about gruesome death? That a US vice president wrote a number one hit? That while TikTok has spawned countless hits, it's made artists more anonymous than ever before? That pop songs have shaped race relations in the United States? That the key change died around 2003? And that's just the beginning. Coupling hard data with engaging anecdotes, Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves (Bloomsbury, 2025) is both a takedown and celebration of popular music and provides new ways to think about your favorite songs, genres, and artists from the last 6 decades using unexpected statistics and playful visualizations. This entertaining history is filled with the most popular musicians of all time from The Beatles and The Bee Gees to Michael Jackson, Mariah Carey, and beyond. Whether you danced the twist or the dougie at your senior prom, you're sure to never listen to music again in the same way. Chris Dalla Riva lives at the intersection of music and data. Playing in bands and recording music since his teenage years, Dalla Riva is currently a Senior Product Manager at Audiomack where he focuses on data analytics and personalization. Gregory McNiff is a Managing Director in the New York office of the Blueshirt Group, an IR firm focused on technology. Greg holds an MBA from the University of Chicago Booth School of Business, an M. Litt. in Shakespeare Studies from the University of St. Andrews and a B.A. in Classical Languages from Columbia University. 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

How is the world of work depicted on page and on screen? In Culture, Capital and Carnival: Modern Media and the Representation of Work Dr Will Kitchen, an Associate Lecturer at Arts University Bournemouth explores this question using a series of literary and media case studies. Drawing on Bakhtin's theories of the carnivalesque, the book assesses the possibilities of media texts, including histories, literature, films and sitcoms, to offer alternative visions of work. More critically, the analysis highlights media's role in reinforcing exploitation and alienation within its seemingly playful and positive engagements with work. Theoretically rich, but accessible for the general reader, the book is essential reading across the humanities and social sciences, as well as for anyone interested in understanding how media shapes our understanding of work today. 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

As the First World War drew to a close and regimes began to collapse across Europe, British officials plotted a daring campaign to send an unlikely band of maverick soldiers, diplomats and spies to the chaotic region around the Caspian Sea. Their mission: to block the advance of the Turks, to hold back the rising Bolsheviks and prevent a Turkish-inspired jihad overwhelming India, and to secure the vital supply of oil from Baku.It was an almost impossible task, but Mavericks: Empire, Oil, Revolution and the Forgotten Battle of World War One (Bloomsbury, 2025) by Nick Higham tells the gripping stories of the remarkable and enterprising characters at the centre of it all, who would be tested to the limit. There was Lionel Dunsterville, the inspiration for Kipling's Stalky and commander of the expedition; Ranald MacDonell, a Scottish aristocrat and diplomat who smuggled millions of roubles for the war effort; Edward Noel, a seemingly indestructible soldier who was held hostage for sixty-five days in horrific conditions; Toby Rawlinson, the younger brother of one of Britain's most senior generals and a brilliant inventor; and Reginald Teague-Jones, a spy who printed his own currency and would eventually emerge as an author at the age of ninety-nine.Drawing on personal diaries, memoirs and once-secret government archives, Mavericks brings to life a cast of eccentric heroes who survived against all odds to tell their extraordinary tales. This is a propulsive story of boldness and intrigue, set in a forgotten corner of the Great War where the rules were made to be broken. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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

As the First World War drew to a close and regimes began to collapse across Europe, British officials plotted a daring campaign to send an unlikely band of maverick soldiers, diplomats and spies to the chaotic region around the Caspian Sea. Their mission: to block the advance of the Turks, to hold back the rising Bolsheviks and prevent a Turkish-inspired jihad overwhelming India, and to secure the vital supply of oil from Baku.It was an almost impossible task, but Mavericks: Empire, Oil, Revolution and the Forgotten Battle of World War One (Bloomsbury, 2025) by Nick Higham tells the gripping stories of the remarkable and enterprising characters at the centre of it all, who would be tested to the limit. There was Lionel Dunsterville, the inspiration for Kipling's Stalky and commander of the expedition; Ranald MacDonell, a Scottish aristocrat and diplomat who smuggled millions of roubles for the war effort; Edward Noel, a seemingly indestructible soldier who was held hostage for sixty-five days in horrific conditions; Toby Rawlinson, the younger brother of one of Britain's most senior generals and a brilliant inventor; and Reginald Teague-Jones, a spy who printed his own currency and would eventually emerge as an author at the age of ninety-nine.Drawing on personal diaries, memoirs and once-secret government archives, Mavericks brings to life a cast of eccentric heroes who survived against all odds to tell their extraordinary tales. This is a propulsive story of boldness and intrigue, set in a forgotten corner of the Great War where the rules were made to be broken. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

In this episode, Raj Balkaran speaks with Karen Pechilis, Jarrod Whitaker, and Valerie Stoker about A Cultural History of Hinduism (Bloomsbury, 2024), a landmark six-volume series that traces Hindu traditions from the ancient world to the present. Each volume is organized around eight core themes—Sources of Authority; Body and Mind; Social Organization; Identity and Difference; Politics and Power; Arts and Visual Culture; Lineages and Exemplars; and Global Contexts—allowing readers to compare developments across historical periods. Covering the Ancient, Classical, Post-Classical, Empires, Late Colonial, and Independence eras, the series brings together leading voices in Hindu studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The world needs to adapt to climate change – but how? What are the key problems and hard choices that lie ahead for the global community? Sink or Swim: How the world needs to adapt to a changing climate (Bloomsbury, 2025) by Dr. Susannah Fisher reveals all.Heatwaves, wildfires, hurricanes and flooding caused by climate change are already impacting people and nature. Adaptation until now has been incremental with governments and institutions tinkering around the edges of current systems. This will not be enough.Sink Or Swim: How the World Needs to Adapt to a Changing Climate (Bloomsbury, 2025) explores the hard choices that lie ahead concerning how people earn a living, the way governments manage relationships between countries, and how communities accommodate the movement of people. Should people be encouraged to move away from the coast? How can global food supplies be managed when parts of the world are hit by simultaneous droughts? How can conflict be handled when there isn't enough water?Drawing on cutting edge research, interviews with experts, and practical examples from across the world, Dr. Fisher tells the story of the tough choices on adaptation that lie ahead, and looks at ways we can still have a liveable planet later in this century and beyond. Will we choose to sink or swim? This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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

Modern Nigeria: Understanding Modern Nations (Bloomsbury, 2024) is a collaborative effort that explores Nigeria's historical context and emphasises the importance of Nigeria's diverse historical roots to understanding its current identity with the aim of highlighting the necessity for modern Nigerians to recognise their uniqueness and engage in societal contributions. The book dwells on the aspects of the Nigerian historical culture that enhance social cohesion in the nation, which could be imbibed in the present-day Nigeria. These include histories of various empires and kingdoms to provide background for appreciating Nigeria's modern identity. Presenting the backgrounds of the Nigerian History, the authors project how people co-existed in spite of ethnic differences. They reinforced this point by stating that knowledge of history is vital for modern Nigerians to understand their uniqueness and potential for future development (pp. xiv-xv). Among other things, the book dwells on the socioeconomic and political characteristics of Nigeria including the election dynamics and leadership impacts on citizens' lives. Among other things, the book highlights aspects of the Nigeran popular culture, including music and sports, relationship and marriage. The book also stresses the role of morality in Nigeria's socio-economic landscape, the contributions of Nigerian, including the political actors, young and adult in Nigeria of different callings, including musicians, to culture and society. ****************************************************************************** Mariam Olugbodi is a university teacher and a writer, she is the author of the monograph titled: “Stylistic Features in the 2011 and 2012 Final Matches Commentaries in the UEFA Champions League”, published by Grin Verlag. Mariam's greatest dream is seeing aworld where knowledge is assessesible to all. She does this through her volunteering roles on open knowledge platforms as a host and an editor. As part of her effort to maintain inclusion and diversity in knowledge transmission, she volunteers as a teacher in crises contexts. Learn more and connect with Mariam through her social links @ (22) Olugbodi Mariam | LinkedIn, Mariam Olugbodi (0000-0001-5027-6644) - ORCID and User:Margob28 - Meta Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The contemporaneous movements for human rights that Soviet rights defenders and the Black Panthers waged during the 1960s are analysed in a comparative fashion here for the very first time. The book also examines the extra-legal measures that both the KGB and FBI employed to destroy them.The Black Panthers and the Soviets: A Comparative History of Human Rights Movements (Bloomsbury, 2025) by Dr. Meredith Roman innovatively compares Soviet human rights activists' exposure of the workings of the Soviet police state with the miniature, city-level surveillance police states that the Black Panthers exposed as operating across the United States. It illuminates the legal tactics of counter-surveillance that Soviet rights defenders and the Black Panthers employed as a means of restraining acts of state-sanctioned violence. The book also highlights how the U.S. production of knowledge about Soviet 'dissidents' reified white supremacist, anti-communist notions of dissent, human rights, and state violence that facilitated the repression of the Black Panthers and the mass incarceration of African Americans as criminals.Dr. Roman disrupts the enduring Cold War binaries of authoritarianism-democracy and oppression-freedom that obscure our understanding of the complex, overlapping histories of these two superpowers. Dr. Roman convincingly argues that the Soviet rights defenders and the Black Panthers' vast documentation of domestic human rights abuses and the repressive measures that they faced for mobilizing to end them serve as an important societal reminder; they reaffirm that genuine democracy and the safeguarding of human rights are incompatible with authoritarian practices, the conditions of racial capitalism, and the ideology of national security. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

When an actor opens their mouth to sing in a movie, chances are high that the voice you hear will be their own. Even in music biopics, movie stars without much singing experience regularly go to great lengths to impersonate the most beloved vocalists of our time. Why not simply play Johnny Cash or Bruce Springsteen's actual recordings, the reasons why we care about them in the first place? When the world is full of beautiful singing voices, why force Pierce Brosnan to bray his way through Mamma Mia? What you hear when an actor unhinges their jaw is a matter that Hollywood has been negotiating since the dawn of sound. So in this episode, we'll learn about the “ghost singers” of classic Hollywood musicals, find out why they went extinct, and why today's music biopics so often fudge the music. Then we leave Hollywood for Bollywood, where the rise of the celebrity “playback singer” shows what can happen when good singing is the highest priority. In this episode, you'll hear from Slate's pop music critic Jack Hamilton; musicologist Dominic Broomfield-McHugh, editor of The Oxford Handbook of the Hollywood Musical; Stephen Cole, co-author of a memoir by the ghost singer Marni Nixon; Isaac Butler, longtime Slate contributor and scholar of American acting; and Nasreen Munni Kabir, who has written several books on Hindi cinema and curates Indian films for the UK's Channel 4. If you want to listen to any of the songs you heard in this episode in full, you can find them all on this Spotify playlist. This episode was written and produced by Max Freedman. It was edited by Willa Paskin and Evan Chung, our supervising producer. Decoder Ring is also produced by Katie Shepherd. Merritt Jacob is Senior Technical Director.  If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com or leave a message on our hotline at (347) 460-7281. Sources for This Episode Basinger, Jeanine. The Movie Musical! Alfred A. Knopf, 2019. Beaster-Jones, Jayson. Bollywood Sounds: The Cosmopolitan Mediations of Hindi Film Song, Oxford University Press, 2015. Butler, Isaac. The Method: How the Twentieth Century Learned to Act, Bloomsbury, 2022. Hamilton, Jack. “The Problem With Music Biopics Is Bigger Than Just the Cliches,” Slate, May 17, 2024.  Kabir, Nasreen Munni. Lata Mangeshkar ...in Her Own Voice, Niyogi Books, 2009. Nixon, Marni with Stephen Cole. I Could Have Sung All Night: My Story, Billboard Books, 2006. Robbins, Allison. “‘Experimentations by Our Sound Department': Playback Stars in 1930s Hollywood.” Star Turns in Hollywood Musicals, edited by Chabrol Marguerite and Toulza Pierre-Olivier, Presses universitaires de Paris Nanterre, 2017. Srivastava, Sanjay. “Voice, Gender and Space in Time of Five-Year Plans: The Idea of Lata Mangeshkar,” Economic and Political Weekly, vol. 39, no. 20, 2004. Get more of Decoder Ring with Slate Plus! Join for exclusive bonus episodes of Decoder Ring and ad-free listening on all your favorite Slate podcasts. Subscribe from the Decoder Ring show page on Apple Podcasts or Spotify. Or, visit slate.com/decoderplus for access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

When an actor opens their mouth to sing in a movie, chances are high that the voice you hear will be their own. Even in music biopics, movie stars without much singing experience regularly go to great lengths to impersonate the most beloved vocalists of our time. Why not simply play Johnny Cash or Bruce Springsteen's actual recordings, the reasons why we care about them in the first place? When the world is full of beautiful singing voices, why force Pierce Brosnan to bray his way through Mamma Mia? What you hear when an actor unhinges their jaw is a matter that Hollywood has been negotiating since the dawn of sound. So in this episode, we'll learn about the “ghost singers” of classic Hollywood musicals, find out why they went extinct, and why today's music biopics so often fudge the music. Then we leave Hollywood for Bollywood, where the rise of the celebrity “playback singer” shows what can happen when good singing is the highest priority. In this episode, you'll hear from Slate's pop music critic Jack Hamilton; musicologist Dominic Broomfield-McHugh, editor of The Oxford Handbook of the Hollywood Musical; Stephen Cole, co-author of a memoir by the ghost singer Marni Nixon; Isaac Butler, longtime Slate contributor and scholar of American acting; and Nasreen Munni Kabir, who has written several books on Hindi cinema and curates Indian films for the UK's Channel 4. If you want to listen to any of the songs you heard in this episode in full, you can find them all on this Spotify playlist. This episode was written and produced by Max Freedman. It was edited by Willa Paskin and Evan Chung, our supervising producer. Decoder Ring is also produced by Katie Shepherd. Merritt Jacob is Senior Technical Director.  If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com or leave a message on our hotline at (347) 460-7281. Sources for This Episode Basinger, Jeanine. The Movie Musical! Alfred A. Knopf, 2019. Beaster-Jones, Jayson. Bollywood Sounds: The Cosmopolitan Mediations of Hindi Film Song, Oxford University Press, 2015. Butler, Isaac. The Method: How the Twentieth Century Learned to Act, Bloomsbury, 2022. Hamilton, Jack. “The Problem With Music Biopics Is Bigger Than Just the Cliches,” Slate, May 17, 2024.  Kabir, Nasreen Munni. Lata Mangeshkar ...in Her Own Voice, Niyogi Books, 2009. Nixon, Marni with Stephen Cole. I Could Have Sung All Night: My Story, Billboard Books, 2006. Robbins, Allison. “‘Experimentations by Our Sound Department': Playback Stars in 1930s Hollywood.” Star Turns in Hollywood Musicals, edited by Chabrol Marguerite and Toulza Pierre-Olivier, Presses universitaires de Paris Nanterre, 2017. Srivastava, Sanjay. “Voice, Gender and Space in Time of Five-Year Plans: The Idea of Lata Mangeshkar,” Economic and Political Weekly, vol. 39, no. 20, 2004. Get more of Decoder Ring with Slate Plus! Join for exclusive bonus episodes of Decoder Ring and ad-free listening on all your favorite Slate podcasts. Subscribe from the Decoder Ring show page on Apple Podcasts or Spotify. Or, visit slate.com/decoderplus for access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

When an actor opens their mouth to sing in a movie, chances are high that the voice you hear will be their own. Even in music biopics, movie stars without much singing experience regularly go to great lengths to impersonate the most beloved vocalists of our time. Why not simply play Johnny Cash or Bruce Springsteen's actual recordings, the reasons why we care about them in the first place? When the world is full of beautiful singing voices, why force Pierce Brosnan to bray his way through Mamma Mia? What you hear when an actor unhinges their jaw is a matter that Hollywood has been negotiating since the dawn of sound. So in this episode, we'll learn about the “ghost singers” of classic Hollywood musicals, find out why they went extinct, and why today's music biopics so often fudge the music. Then we leave Hollywood for Bollywood, where the rise of the celebrity “playback singer” shows what can happen when good singing is the highest priority. In this episode, you'll hear from Slate's pop music critic Jack Hamilton; musicologist Dominic Broomfield-McHugh, editor of The Oxford Handbook of the Hollywood Musical; Stephen Cole, co-author of a memoir by the ghost singer Marni Nixon; Isaac Butler, longtime Slate contributor and scholar of American acting; and Nasreen Munni Kabir, who has written several books on Hindi cinema and curates Indian films for the UK's Channel 4. If you want to listen to any of the songs you heard in this episode in full, you can find them all on this Spotify playlist. This episode was written and produced by Max Freedman. It was edited by Willa Paskin and Evan Chung, our supervising producer. Decoder Ring is also produced by Katie Shepherd. Merritt Jacob is Senior Technical Director.  If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com or leave a message on our hotline at (347) 460-7281. Sources for This Episode Basinger, Jeanine. The Movie Musical! Alfred A. Knopf, 2019. Beaster-Jones, Jayson. Bollywood Sounds: The Cosmopolitan Mediations of Hindi Film Song, Oxford University Press, 2015. Butler, Isaac. The Method: How the Twentieth Century Learned to Act, Bloomsbury, 2022. Hamilton, Jack. “The Problem With Music Biopics Is Bigger Than Just the Cliches,” Slate, May 17, 2024.  Kabir, Nasreen Munni. Lata Mangeshkar ...in Her Own Voice, Niyogi Books, 2009. Nixon, Marni with Stephen Cole. I Could Have Sung All Night: My Story, Billboard Books, 2006. Robbins, Allison. “‘Experimentations by Our Sound Department': Playback Stars in 1930s Hollywood.” Star Turns in Hollywood Musicals, edited by Chabrol Marguerite and Toulza Pierre-Olivier, Presses universitaires de Paris Nanterre, 2017. Srivastava, Sanjay. “Voice, Gender and Space in Time of Five-Year Plans: The Idea of Lata Mangeshkar,” Economic and Political Weekly, vol. 39, no. 20, 2004. Get more of Decoder Ring with Slate Plus! Join for exclusive bonus episodes of Decoder Ring and ad-free listening on all your favorite Slate podcasts. Subscribe from the Decoder Ring show page on Apple Podcasts or Spotify. Or, visit slate.com/decoderplus for access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices