Podcasts about Bloomsbury

In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade's Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision. Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade's Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision. Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade's Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision. Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade's Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision. Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade's Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision. Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade's Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision. Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time. 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

For early San Franciscans, seafood was an important source of nutrition and a feature of social life, inspiring culinary developments that remain components in California cuisine more than a century later. Consumers interested in flavorful alternatives to meat and associated health benefits could follow recipes for nearly fifty types of marine life from state waters, such as salmon, flounder, and oysters. Others are no longer available, out-of-vogue, or simply forgotten. Further, overfishing and environmental damage decimated many local seafood stocks, providing a cautionary tale with global significance. In San Francisco Seafood: A History from Ocean to Table (Bloomsbury, 2026), Dr. Paul Stangl traces the development of San Francisco's fisheries, seafood markets, cookery, and dining culture from the Gold Rush to the 1920s. Migrants from around the world imported fishing techniques and cuisines, then slowly adapted as they came to understand local resources and each other. Newcomers found the tastiest fish through trial and error and assimilated the “best” into a new cuisine. Different ethnic and occupational groups collaborated, fought, and learned from one another as they irreversibly altered the natural world around them. By the end of the First World War, San Francisco's seafood cuisine scarcely resembled that of the 1850s, due to cultural adaptation, technological advancements, and changes to the natural environment. It was no longer derivative of New England and France, but included influences from the Southern states, Asia, and South America.San Francisco Seafood chronicles the city's transformation from a fish-barren town-where restaurants served canned, pickled, and dried fish from the East Coast-to a seafood-rich metropolis that harvested seafood from Mexico to Alaska. He emphasizes how the impacts on nature and local labor serve as a necessary cautionary tale for today's global seafood trade. This is a thorough and insightful history of a once emerging, and now essential, cuisine for food and history buffs alike. 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

For early San Franciscans, seafood was an important source of nutrition and a feature of social life, inspiring culinary developments that remain components in California cuisine more than a century later. Consumers interested in flavorful alternatives to meat and associated health benefits could follow recipes for nearly fifty types of marine life from state waters, such as salmon, flounder, and oysters. Others are no longer available, out-of-vogue, or simply forgotten. Further, overfishing and environmental damage decimated many local seafood stocks, providing a cautionary tale with global significance. In San Francisco Seafood: A History from Ocean to Table (Bloomsbury, 2026), Dr. Paul Stangl traces the development of San Francisco's fisheries, seafood markets, cookery, and dining culture from the Gold Rush to the 1920s. Migrants from around the world imported fishing techniques and cuisines, then slowly adapted as they came to understand local resources and each other. Newcomers found the tastiest fish through trial and error and assimilated the “best” into a new cuisine. Different ethnic and occupational groups collaborated, fought, and learned from one another as they irreversibly altered the natural world around them. By the end of the First World War, San Francisco's seafood cuisine scarcely resembled that of the 1850s, due to cultural adaptation, technological advancements, and changes to the natural environment. It was no longer derivative of New England and France, but included influences from the Southern states, Asia, and South America.San Francisco Seafood chronicles the city's transformation from a fish-barren town-where restaurants served canned, pickled, and dried fish from the East Coast-to a seafood-rich metropolis that harvested seafood from Mexico to Alaska. He emphasizes how the impacts on nature and local labor serve as a necessary cautionary tale for today's global seafood trade. This is a thorough and insightful history of a once emerging, and now essential, cuisine for food and history buffs alike. 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/food

For early San Franciscans, seafood was an important source of nutrition and a feature of social life, inspiring culinary developments that remain components in California cuisine more than a century later. Consumers interested in flavorful alternatives to meat and associated health benefits could follow recipes for nearly fifty types of marine life from state waters, such as salmon, flounder, and oysters. Others are no longer available, out-of-vogue, or simply forgotten. Further, overfishing and environmental damage decimated many local seafood stocks, providing a cautionary tale with global significance. In San Francisco Seafood: A History from Ocean to Table (Bloomsbury, 2026), Dr. Paul Stangl traces the development of San Francisco's fisheries, seafood markets, cookery, and dining culture from the Gold Rush to the 1920s. Migrants from around the world imported fishing techniques and cuisines, then slowly adapted as they came to understand local resources and each other. Newcomers found the tastiest fish through trial and error and assimilated the “best” into a new cuisine. Different ethnic and occupational groups collaborated, fought, and learned from one another as they irreversibly altered the natural world around them. By the end of the First World War, San Francisco's seafood cuisine scarcely resembled that of the 1850s, due to cultural adaptation, technological advancements, and changes to the natural environment. It was no longer derivative of New England and France, but included influences from the Southern states, Asia, and South America.San Francisco Seafood chronicles the city's transformation from a fish-barren town-where restaurants served canned, pickled, and dried fish from the East Coast-to a seafood-rich metropolis that harvested seafood from Mexico to Alaska. He emphasizes how the impacts on nature and local labor serve as a necessary cautionary tale for today's global seafood trade. This is a thorough and insightful history of a once emerging, and now essential, cuisine for food and history buffs alike. 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

For early San Franciscans, seafood was an important source of nutrition and a feature of social life, inspiring culinary developments that remain components in California cuisine more than a century later. Consumers interested in flavorful alternatives to meat and associated health benefits could follow recipes for nearly fifty types of marine life from state waters, such as salmon, flounder, and oysters. Others are no longer available, out-of-vogue, or simply forgotten. Further, overfishing and environmental damage decimated many local seafood stocks, providing a cautionary tale with global significance. In San Francisco Seafood: A History from Ocean to Table (Bloomsbury, 2026), Dr. Paul Stangl traces the development of San Francisco's fisheries, seafood markets, cookery, and dining culture from the Gold Rush to the 1920s. Migrants from around the world imported fishing techniques and cuisines, then slowly adapted as they came to understand local resources and each other. Newcomers found the tastiest fish through trial and error and assimilated the “best” into a new cuisine. Different ethnic and occupational groups collaborated, fought, and learned from one another as they irreversibly altered the natural world around them. By the end of the First World War, San Francisco's seafood cuisine scarcely resembled that of the 1850s, due to cultural adaptation, technological advancements, and changes to the natural environment. It was no longer derivative of New England and France, but included influences from the Southern states, Asia, and South America.San Francisco Seafood chronicles the city's transformation from a fish-barren town-where restaurants served canned, pickled, and dried fish from the East Coast-to a seafood-rich metropolis that harvested seafood from Mexico to Alaska. He emphasizes how the impacts on nature and local labor serve as a necessary cautionary tale for today's global seafood trade. This is a thorough and insightful history of a once emerging, and now essential, cuisine for food and history buffs alike. 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

The evolution from leather-soled shoes of the 19th century to the sneakers people wear today started slowly, then built momentum. Many of the big names in sneakers today got their start surprisingly early in the process. Research: “A Column for the Girls.” Brooklyn Eagle. July 28, 1895. https://www.newspapers.com/image/50411759/?match=1&terms=%22sand%20shoes%22 Barrett, Jennifer. “The History of Adidas and Puma.” Newsweek. March 13, 2008. https://www.newsweek.com/history-adidas-and-puma-86373 Bisno, Adam. “The search for lost X-patents.” USPTO. July 13, 2022. https://www.uspto.gov/blog/the-search-for-lost-x “Brand Story.” Dunlop. https://www.dunlopboots.com/why-dunlop/brand-story Carpenter, Julia. “Adidas vs. Puma: The Family Rift That Shaped the Sportswear Industry.” History. May 6, 2026. https://www.history.com/articles/adidas-puma-rivalry-dassler “Chuck Taylor Converse All Star: The Man Who Made the Shoe.” Indiana Historical Society. https://indianahistory.org/events/chuck-taylor-converse-all-star-the-man-who-made-the-shoe-2/ “The Company.” New Balance. https://www.newbalance.gr/en/etaireia/profil/?__cf_chl_f_tk=TZRFzU2s58Jw3z.lFjWqe.bQmjADyBkIMMpMI4v.Cuk-1783279660-1.0.1.1-sWRq2n.zJUdoWCA6sKXCjtDKIRGvxztpX5Rhq4MRJ4s Cousens, Nico. “Inventions that made the modern running shoe.” Kilburn & Strode. April 17, 2018. Cunliffe, Paul and Lauren Hirst. “Co-founder of £2.5bn brand started out as factory help.” BBC. Oct. 1, 2025. https://www.bbc.com/news/articles/cp8jdlndg0xo Department of Nike Archives. “From Waffle Iron to World Stage: The True Story of the Nike Moon Shoe.” Nike. Sept. 15, 2025. https://about.nike.com/en/magazine/nike-moon-shoe-waffle-iron-true-history “Fashion Notes.” The Times-Union. July 22, 1882. https://www.newspapers.com/image/1275226621/?match=1&terms=%22lawn-tennis%20shoe%22 “The History of the Sneaker.” The Washington Post. May 14, 2002. https://www.washingtonpost.com/archive/lifestyle/2002/05/14/the-history-of-the-sneaker/aa2096d1-a7e2-4427-a324-cb603512722d/ Hunt, Kristin. “11 Comfy Facts About Keds.” Mental Floss. March 26, 2022. https://www.mentalfloss.com/culture/fashion-beauty/11-comfy-facts-about-keds “The Invention of the Iconic Vans Skateboarding Shoe.” The Lemelson Center for the Study of Invention and Innovation.” https://invention.si.edu/invention-stories/invention-iconic-vans-skateboarding-shoe “Journey of an Icon: The History of the Chuck Taylor All Star.” Nike. https://about.nike.com/en/magazine/converse-chuck-taylor-all-star-iconic-sneaker-true-history Keller, Kate. “A Brief History of America’s Obsession With Sneakers.” Smithsonian. May 18, 2018. https://www.smithsonianmag.com/innovation/brief-history-americas-obsession-sneakers-180969116/ Lorge, Barry Steven, Aberdare, Morys George Lyndhurst Bruce, 4th Baron. "tennis". Encyclopedia Britannica, 16 Jun. 2026, https://www.britannica.com/sports/tennis Lou, Michelle. “Nike’s rare ‘Moon Shoe’ is sold for $437,500, shattering the auction record for sneakers.” CNN. July 23, 2019. https://www.cnn.com/style/article/nike-moon-shoe-sold-auction-trnd “Notice! Tennis Players!” Des Moines Register. June 8, 1888. https://www.newspapers.com/image/127760140/?match=1&terms=%22lawn-tennis%20shoe%22 “Off The Wall- Since 1966. The Story Of Vans.” Vans. https://www.vans.com/en-us/about#early-1970s “Patent India Rubber or Gum Elastic Shoes.” Monmouth Democrat. January 22, 1835. https://www.newspapers.com/image/496911351/?match=2&terms=Wait%20Webster “Peachtree Through the Years 1970-2021.” Atlanta Track Club. https://www.atlantatrackclub.org/event-information-history “Plaint of an Old Shoe.” The Boston Globe. Aug. 23, 1894. https://www.newspapers.com/image/430680218/?match=1&terms=sneaker “Plimsoll Draws the Line.” Nautilus International. April 24, 2026. https://www.nautilusint.org/en/news-insight/telegraph/plimsoll-draws-the-line/ “Puma and Adidas' rivalry has divided a small German town for 70 years — here's what it looks like now.” Business Insider. October 2018. https://www.businessinsider.com/how-puma-and-adidas-rivalry-divided-their-founding-town-for-70-years-2018-10 Rickey, Melanie. “Flash of Genius.” The Independent. June 28, 1996. https://www.the-independent.com/life-style/flash-of-genius-1339404.html “Sneakers.” Record-Journal. Aug. 8, 1898. https://www.newspapers.com/image/674954692/?match=6&terms=sneaker “Sneakers Latest in Women’s Wear.” The Battle Creek Enquirer. May 18, 1913. https://www.newspapers.com/image/1044420723/?match=1&terms=sneaker “’Sneakers’ the Things.” L'abeille De La Nouvelle-Orléans (New Orleans Bee). Nov. 11, 1904. https://www.newspapers.com/image/1323250586/?match=1&terms=sneaker “Sneakers – Worldwide.” Statista. https://www.statista.com/outlook/cmo/footwear/sneakers/worldwide Sun, Michael. “‘Everyone owns at least one pair’: $75bn sneaker industry unboxed in Gold Coast exhibition.” The Guardian. Nov. 25, 2023. https://www.theguardian.com/fashion/2023/nov/26/sneakers-unboxed-hota-shoe-exhibition-gold-coast-queensland-australia Tikkanen, Amy. "history of sneakers". Encyclopedia Britannica, 14 Oct. 2024, https://www.britannica.com/topic/history-of-sneakers Turner, Thomas. “The Production and Consumption of Lawn-Tennis Shoes in Late-Victorian Britain.” Journal of British Studies. JULY 2016, Vol. 55, No. 3 (JULY 2016), pp. 474-500. https://www.jstor.org/stable/10.2307/26598891 Turner, Thomas. “The Sports Shoe: A History from Field to Fashion.” Bloomsbury. 2019. Umoh, Ruth. “Here’s how much Nike’s billionaire founder paid for the infamous swoosh logo in 1971.” CNBC. Sept. 5, 2018. https://www.cnbc.com/2018/09/05/heres-how-much-nikes-billionaire-founder-paid-for-its-swoosh-logo.html “Value of the sneakers market worldwide from 2018 to 2030.” Statista. https://www.statista.com/forecasts/1017918/sneakers-market-value-forecast-worldwide/ “Where Basketball was Invented: The History of Basketball.” Springfield College. https://springfield.edu/about/birthplace-of-basketball “40. For a method of attaching leather soles to boots and shoes of India rubber; Wait Webster, city of New York, May 21.” Journal of the Franklin Institute. Volume 14, Issue 6. 1832. Page 391. https://doi.org/10.1016/S0016-0032(32)90275-0. See omnystudio.com/listener for privacy information.

Dr Tim Themi is a PhD in Philosophy & Psychoanalysis from Deakin University. He also holds Honours degrees in Philosophy from La Trobe University and in Chemical Engineering from University of Melbourne. His doctoral dissertation, supervised by leading Lacan translator Prof Russell Grigg, brought together the psychoanalysis of Lacan and the philosophy of Nietzsche on the question of desire and ethics. He is author of the books 'Eroticizing Aesthetics: In the Real with Bataille and Lacan' (Rowman/Bloomsbury 2021); 'Lacan's Ethics and Nietzsche's Critique of Platonism' (SUNY Press 2014); and has taught at Deakin University, Australian Catholic University, Melbourne School of Continental Philosophy, Lacan Circle of Australia, and in the School of Culture & Communication at University of Melbourne.Bryan Counter is the author of Four Moments of Aesthetic Experience: Reading Huysmans, Proust, McCarthy, and Cusk (Anthem Press, 2025) and co-editor, with James Dutton, of Quiet Proust: Aesthetic Experience, Reading the Virtual, and Thinking out of Time (under contract with Bloomsbury). He co-hosts the podcast Authors Die Twice with Nathan Wainstein and is currently working on projects revolving around horror, weird fiction, wonder, and the role of chance and improvisation in 20th century fiction.---Become part of the Hermitix community:Hermitix Twitter - ⁠ / hermitixpodcast ⁠Support Hermitix:Patreon - ⁠ www.patreon.com/hermitix ⁠Donations: - ⁠https://www.paypal.me/hermitixpod⁠Hermitix Merchandise - ⁠http://teespring.com/stores/hermitix-2⁠Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9B75a00D9E74

Glasses are among the oldest and most commonplace prosthetics we have invented. But what does it mean to wear glasses? There is more to the answer than correcting vision. Glasses alter, enhance, and shield the way that we view the world, and the way the world sees us. Everyone has encounters with glasses, passively or actively, from reading glasses to sunglasses. At times they are the main identifiers in a face (think John Lennon), and they signify extremes from nerdy and brainy to cool and sleazy. They are alternately the most mundane of things on our bodies and potentially the most glamorous. In this edition of the Object Lessons series, Glasses (Bloomsbury, 2026) by Adam Geczy explores this most pervasive and accessible accessory and shows that it is both a conduit to and a barrier between ourselves and the world outside. 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

Glasses are among the oldest and most commonplace prosthetics we have invented. But what does it mean to wear glasses? There is more to the answer than correcting vision. Glasses alter, enhance, and shield the way that we view the world, and the way the world sees us. Everyone has encounters with glasses, passively or actively, from reading glasses to sunglasses. At times they are the main identifiers in a face (think John Lennon), and they signify extremes from nerdy and brainy to cool and sleazy. They are alternately the most mundane of things on our bodies and potentially the most glamorous. In this edition of the Object Lessons series, Glasses (Bloomsbury, 2026) by Adam Geczy explores this most pervasive and accessible accessory and shows that it is both a conduit to and a barrier between ourselves and the world outside. 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

Glasses are among the oldest and most commonplace prosthetics we have invented. But what does it mean to wear glasses? There is more to the answer than correcting vision. Glasses alter, enhance, and shield the way that we view the world, and the way the world sees us. Everyone has encounters with glasses, passively or actively, from reading glasses to sunglasses. At times they are the main identifiers in a face (think John Lennon), and they signify extremes from nerdy and brainy to cool and sleazy. They are alternately the most mundane of things on our bodies and potentially the most glamorous. In this edition of the Object Lessons series, Glasses (Bloomsbury, 2026) by Adam Geczy explores this most pervasive and accessible accessory and shows that it is both a conduit to and a barrier between ourselves and the world outside. 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

Travel writer Pico Iyer was at the peak of his career when an accidental layover at Narita airport saw him begin to question everything.Pico began flying around the world solo at the age of nine.His parents lived in America and he had become a boarder at the Dragon School in Oxford.To get to school and from school he took several flights each year alone.The formative experience of travel stayed with him, and he grew up to become a journalist and travel writer for Time Magazine.Further informationThis episode of Conversations was first broadcast in 2020.Autumn Light: a season of Fire and Farewells is published by Bloomsbury.This episode was produced by Nicola Harrison. The Executive Producer was Carmel Rooney.To binge even more great episodes of the 'Conversations podcast' with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, singers, psychologists, musicians, and celebrities.

On this month's episode Nicole is joined by Tom Morris to read from and discuss his story ‘Notes on Contributors' published in Issue 54 Volume Two of The Stinging Fly magazine.In their conversation, Nicole and Tom talk about how writers discuss their writing routine and about the benefit of maintaining mystery and ambiguity in writing. They also discuss writing in the realm of the body rather than the realm of the intellect, trying to bring readers toward a feeling, and the importance of learning to develop and trust your own sense of taste as a writer.Thomas Morris is the author of We Don't Know What We're Doing, and Open Up. His work has been rejected by The Paris Review, McSweeney's, and The New Yorker. Originally from Caerphilly, South Wales, he lives in Dublin, where he worked for over a decade with The Stinging Fly.Nicole Flattery⁠⁠ is a writer and critic. Her story collection ⁠⁠Show Them A Good Time⁠⁠, was published by The Stinging Fly and Bloomsbury in 2019. Her first novel, Nothing Special, was published by Bloomsbury in 2023.– — –Each month on The Stinging Fly Podcast,  we invite writers from the latest issue of the magazine to read and discuss their work. Previous episodes of the podcast ⁠⁠can be found here⁠⁠. The podcast's theme music is ⁠⁠‘Sale of Lakes', by Divan⁠⁠. All of ⁠⁠The Stinging Fly's archive⁠⁠ is available to ⁠⁠subscribers.⁠

(Credit: Neil Wilder, Edinburgh 1999, now in National Portrait Galley)Solomon Schmidt, author of A Pen to Change the World: The Life of J. K. Rowling (Skyhorse, June 2026), sat down with us this week to discuss what moved him to write a Rowling biography at the height of her radioactivity as a supposed “transphobe” and the obstacles that Rowling, Inc., puts in the way of unauthorized biographers. He also shares the kindness and circumspection of the people who did agree to speak with him, to include Neil Blair and Jorge Arantes.The necessary links to the book's Amazon page and to the two Hogwarts Professor reviews are here:* A Pen to Change the World: The Life of J.K. Rowling (Amazon.com)* A Pen to Change the World: The Life of J.K. Rowling (Amazon.co.uk) Uk Edition* A Pen to Change the World – the Biography of J. K. Rowling by Solomon Schmidt (Nick Jeffery)* Book Review: A Pen to Change the World - The Life of J. K. Rowling (John Granger)The second part of our conversation with Mr Schmidt will be posted next week. The first five questions he answered were:1. What moved you to start this project? You've already written a biography of Alan Dershowitz and many more in the History Bites series; what made J. K. Rowling an inviting subject to you? What made it different from the other biographies you've written?2. You wrote in the acknowledgements at book's end that you didn't write the biography as a work of "literary criticism," but you do discuss everything she has written or collaborated on, Philosopher's Stone to Ink Black Heart. What would you have included in those discussions if you had been writing "literary criticism"?3. This is an "Unauthorized" biography which means you were researching and writing outside the gates of Team Rowling, simultaneously shut off from Rowling and her circle of friends and, one would hope, outside her ability to shape the narrative you put together of her life. You did, though, get some push-back from Rowling, Inc.'s legal arm at one point; what was that about?4. You weren't able to interview Rowling, her sister, her husband, her father, her daughter Jessica, Sean Harris, the Sisters of Swing, Michael the boyfriend, Lucy Shepherd, Pearl Biddle, or 'Starsky and Cox.' You did find and scored interviews with Jorge Arantes, Barry Cunningham (the publisher who signed J. K. Rowling to Bloomsbury), Steve Eddy (one of Rowling's English teachers), Neil Blair (sort of!), and her American cousins, Ben and Bryony Rowling. How did you find these sources and what was it like sitting down to speak with them?5. I said you didn't get to interview Rowling, which is true, but you did have access to all her interviews that she has done 1997 to the present as well as the interviews and articles with her family, friends, fans, and business associates. How did you find, assemble, and sift through those interviews?Please share your thoughts below as well as follow-up questions you wish we had asked! Part Two will be up in a week… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

After earning her first-class degree in chemistry from Oxford, Dorothy embarked on an impressive career in the new field of X-ray crystallography. She would ultimately earn many, many accolades for her work. Research: "Dorothy Crowfoot Hodgkin." Encyclopedia of World Biography Online, Gale, 1998. Gale In Context: Opposing Viewpoints, Biophysical Society. “Profiles in Biophysics: Dorothy Hodgkin.” 2016. https://www.biophysics.org/profiles/dorothy-hodgkin Boon, Rachel. “Curator Rachel Boon celebrates the work of Dorothy Hodgkin.” Science Museum. 12/10/2014. https://blog.sciencemuseum.org.uk/celebrating-dorothy-hodgkin-britains-first-female-winner-of-a-nobel-science-prize/ Bragg, Sir William. “Concerning The Nature Of Things.” London. Bell & Sons. 1932. https://archive.org/details/in.ernet.dli.2015.222386/ Bud, Robert. "Discoverers and developers of penicillin (act. 1928–1950)." Oxford Dictionary of National Biography. May 21, 2009. Oxford University Press. Date of access 22 Jun. 2026, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-97279 Dodson, Guy. “Dorothy Mary Crowfoot Hodgkin, O.M. 12 May 1910--29 July 1994.” Biographical Memoirs of Fellows of the Royal Society , Dec., 2002, Vol. 48 (Dec., 2002). Via JSTOR. https://www.jstor.org/stable/3650256 DOROTHY CROWFOOT HODGKIN. NobelPrize.org. Nobel Prize Outreach 2026. Wed. 24 Jun 2026. https://www.nobelprize.org/stories/women-who-changed-science/dorothy-hodgkin/ Ferry, Georgina. "Dorothy Hodgkin". Encyclopedia Britannica, 8 May. 2026, https://www.britannica.com/biography/Dorothy-Hodgkin. Accessed 24 June 2026. Ferry, Georgina. "Hodgkin, Dorothy Mary Crowfoot (1910–1994), chemist and crystallographer." Oxford Dictionary of National Biography. May 21, 2009. Oxford University Press. Date of access 22 Jun. 2026, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-55028 Ferry, Georgina. “Dorothy Hodgkin: A Life.” Bloomsbury. 1998, 2014. Ferry, Georgina. “Dorothy Hodgkin: on proteins and patterns.” The Lancet, 384, 1496-1497. https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(14)61912-7/fulltext Ferry, Georgina. “The making of an exceptional scientist.” Nature. Vol. 464. April 29, 2010. Gamble, Jessa. “When Hodgkin met Thatcher.” Nature. Vol. 514. October 16, 2014. Hodgkin, Dorothy Crowfoot. “The X-ray analysis of complicated molecules.” Nobel Lecture, December 11, 1964. https://www.nobelprize.org/uploads/2018/06/hodgkin-lecture-1.pdf Hodgkin, Dorothy. “The Pugwash Movement.” India International Centre Quarterly. Vol. 13, No. 2. June 1986. Via JSTOR. https://www.jstor.org/stable/23001474 Howard, Judith A.K. “Dorothy Hodgkin and her contributions to biochemistry.” Nature Reviews. Vol. 4. November 2003. gale.com/apps/doc/K1631003072/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=8d7c4045. Accessed 23 June 2026. Pearce, JMS. “Dorothy Crowfoot Hodgkin OM, FRS (1910-1994).” Hektoen International. https://hekint.org/2020/11/04/dorothy-crowfoot-hodgkin-om-frs-1910-1994/ Perutz, Max. “Dorothy Crowfoot ” The Independent. Via The Crystallographic Community. https://www.iucr.org/people/crystallographers/dorothy-crowfoot-hodgkin-by-m.f.-perutz Pietzsch, Jochim. “Perspectives: Enhancing X-ray vision.” Nobel Prize. https://www.nobelprize.org/prizes/chemistry/1964/perspectives/ Ramaseshan, S. “Dorothy Hodgkin and the Indian Connection.” Notes and Records of the Royal Society of London , Jan., 1996. http://www.jstor.com/stable/531845 Root-Bernstein, Robert. “Dorothy Crowfoot Hodgkin: Structure as Art.” Leonardo , 2007, Vol. 40, No. 3 (2007). Via JSTOR. https://www.jstor.org/stable/20206415 Science History Institute Museum and Library. “Dorothy Crowfoot Hodgkin.” https://www.sciencehistory.org/education/scientific-biographies/dorothy-crowfoot-hodgkin/ The Royal Society. “Dorothy Hodgkin FRS.” https://royalsociety.org/about-us/who-we-are/diversity-inclusion/case-studies/scientists-with-disabilities/dorothy-hodgkin/ “Science for peace Building cultures of cooperation and non-violence through scientific collaboration.” 2025. Via JSTOR. https://www.jstor.org/stable/resrep73183.6 University of Oxford History of Science Museum. “Modelling the Structure of Penicillin.” https://www.mhs.ox.ac.uk/backfromthedead/exhibition/the-structure-of-penicillin/index.html Vijayan, M. “An outstanding scientist and great humanist: An obituary of Dorothy Crowfoot Hodgkin.” Current Science, 10 August 1994, Vol. 67, No. 3 (10 August 1994). Via JSTOR. https://www.jstor.org/stable/24095820 Wallace, Rob. “Dorothy Crowfoot Hodgkin: Captured by Crystals.” National World War II 3/16/2022. https://www.nationalww2museum.org/war/articles/dorothy-hodgkin-penicillin-insulin See omnystudio.com/listener for privacy information.

Marc Bennets has been reporting from Russia for over two decades. He's covered Putin's rise and consolidation of power, assassinations of oppositionists, mass protests, daily life, and even Russian football. It's a storied career filled with zipping back and forth between Moscow and its regions. Marc also planted roots. He got married and became a dad. But then everything changed in February 2022 with Russia's full invasion of Ukraine. Should he stay and keep reporting and risk arrest or worse? Or should he pick up his life and family and leave like so many of his colleagues? Marc finally settled on the latter when word came he might be arrested. Now he focuses most of his reporting on the war and Ukraine. How did this all happen? How did Russia descend into madness? Marc's new book looks to answer that question with personal fire and passion. Is Russia really saturated with Putin? Is there any way back? It's been a decade since the Eurasian Knot spoke with Marc. So, we caught up and discussed his new book, The Descent: Witnessing Russia's Spiral Into Madness Under Putin, and how the war has irrevocably changed his life, profession, and Russia itself.Guest:Marc Bennetts spent 25 years as a foreign correspondent for The Times and The Sunday Times in Russia. He left in May 2022, after the start of the full-scale invasion of Ukraine. He has since made over a dozen reporting trips to Ukraine. He's the author of The Descent: Witnessing Russia's Spiral Into Madness Under Putin published by Bloomsbury. Hosted on Acast. See acast.com/privacy for more information.

E. Elias Merhige is the experimental filmmaker behind Begotten (1989) and its sequels Din of Celestial Birds (2006) and Polia & Blastema: A Cosmic Opera (2022), as well as Shadow of the Vampire and Suspect Zero.Gavin Gamboa is a composer, pianist, and video artist who wrote the music for Polia & Blastema and works in local-first "digital gardens" and the piano repertoire.What began as their shared film becomes, here, a way into a single question Elias poses at the top: what is being born through us - and is that thing digesting us on its way out?From there the conversation moves through desire and digestion as the engine of creation, and what happens when the interval between the wound and the poem collapses to nothing. Merhige treats AI as atavistic rather than alien: a dark mirror, an artificial unconscious, a "necromantic bureaucracy" of dead expressions made responsive, and reads the manuscript and the personal library as older machines through which the dead already speak.Gamboa holds a more skeptical line, defending manual effort and drawing on Marshall McLuhan's "auto-amputation" and his own experiments training models on his audio. The guests & their workGavin Gamboa: composer, pianist, video artist  gavingamboa.netE. Elias Merhige: filmmaker; his 1989 debut Begotten anchors the "Begotten trilogy" -  Begotten on WikipediaPolia & Blastema: A Cosmic Opera (2022) — premiere Q&A with all three (Vimeo)Books & essays citedThomas Moynihan, “The GASTRULATION of GEIST: or, an Extended Meditation upon the World-Historical Connection Between Digestion and Simulation,” Vast Abrupt, 8 February 2018, link.Kate Crawford, "Eating the Future: The Metabolic Logic of AI Slop,"  e-fluxFederico Campagna, Technic and Magic: The Reconstruction of Reality (Bloomsbury, 2018), Bloomsbury

Minimalist Music (Bloomsbury, 2026) looks critically into the music's past, shows how the genre thrives across styles, and points the way toward minimalism's ongoing future. Minimalism as a genre is best defined not by any style or flavor but by its means. Certain rhythms and chords in other music may identify things like jazz or bossa nova or reggae; take those same elements and put them through the processes of minimalism and you have minimalism with the hues of other musics. A still young genre with ancient roots, minimalism is much less any kind of style than a practice, a manner of making music. Reviving those means and applying them to contemporary sounds and experiences, the pioneers of minimalism created a new and avant-garde music that immediately communicated its power to listeners of all kinds. The global appeal of minimalism and the way the methods adapt to myriad styles open up a view into how music actually works as an art and an experience, how through time it connects in a fundamental way to how we as humans listen. George Grella, Jr. has written about music and culture for over thirty years for print and online publications, and has contributed to the Grove Dictionary of Music and the Library of Congress' National Recording Registry. He is Music Editor at The Brooklyn Rail, publishes the Kill Yr Idols newsletter, and is the author of Miles Davis' Bitches Brew (Bloomsbury, 2015). He has played jazz, classical, and improvised music from CBGB to Carnegie Hall. George Grella on Bluesky and Kill Yr Idols newsletter. 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 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/new-books-network

Join host Adrian M. Gibson and guest authors/artists Jeff Brown, Philip C. Quaintrell, Rachel St Clair and Scott Palmer for an Indie Appreciation Month panel on Cover Art & Book Design. During the panel, Jeff, Philip, Rachel and Scott discuss what cover and book design are, creating a visual brand, the importance of typography and fonts, interior formatting and design, what makes a good vs. bad piece of art, due diligence and art/design no-nos, cover legibility and visual impact, evolving cover trends, setting reader expectations, commissioning artists, book titles, costs/budgeting, communication, timelines and more.

In this episode of Midpoint, Gabby sits down fellow broadcaster Sophie Raworth. Sophie is one of Britain's most recognisable faces on the BBC news for over thirty years, and someone who has covered some of the most significant moments in modern history and interviewed some of the most important figures of our time. But this conversation tis around a different subject. Away from the newsroom, Sophie has built another passion entirely. At 40, having done almost no exercise for decades, she decided to run the London Marathon. She collapsed two miles from the finish. She got up and did it again. She has now completed all seven World Marathon Majors, more than twenty marathons and ten ultra-marathons, including the 150-mile Marathon des Sables across the Sahara. Her first book, Running on Air, published by Bloomsbury, tells the story of how running changed her — not just physically but in the ways that actually matter. This is a conversation about resilience, getting things wrong and what it takes to keep going and how MidPoint is often, the perfect time to try something new. Hosted on Acast. See acast.com/privacy for more information.

Minimalist Music (Bloomsbury, 2026) looks critically into the music's past, shows how the genre thrives across styles, and points the way toward minimalism's ongoing future. Minimalism as a genre is best defined not by any style or flavor but by its means. Certain rhythms and chords in other music may identify things like jazz or bossa nova or reggae; take those same elements and put them through the processes of minimalism and you have minimalism with the hues of other musics. A still young genre with ancient roots, minimalism is much less any kind of style than a practice, a manner of making music. Reviving those means and applying them to contemporary sounds and experiences, the pioneers of minimalism created a new and avant-garde music that immediately communicated its power to listeners of all kinds. The global appeal of minimalism and the way the methods adapt to myriad styles open up a view into how music actually works as an art and an experience, how through time it connects in a fundamental way to how we as humans listen. George Grella, Jr. has written about music and culture for over thirty years for print and online publications, and has contributed to the Grove Dictionary of Music and the Library of Congress' National Recording Registry. He is Music Editor at The Brooklyn Rail, publishes the Kill Yr Idols newsletter, and is the author of Miles Davis' Bitches Brew (Bloomsbury, 2015). He has played jazz, classical, and improvised music from CBGB to Carnegie Hall. George Grella on Bluesky and Kill Yr Idols newsletter. 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 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

Dorothy Hodgkin's career in X-ray crystallography impacted a lot of science in the 20th century. Part one of her story covers her early life and formative experiences that led her to her field of research. Research: "Dorothy Crowfoot Hodgkin." Encyclopedia of World Biography Online, Gale, 1998. Gale In Context: Opposing Viewpoints, Biophysical Society. “Profiles in Biophysics: Dorothy Hodgkin.” 2016. https://www.biophysics.org/profiles/dorothy-hodgkin Boon, Rachel. “Curator Rachel Boon celebrates the work of Dorothy Hodgkin.” Science Museum. 12/10/2014. https://blog.sciencemuseum.org.uk/celebrating-dorothy-hodgkin-britains-first-female-winner-of-a-nobel-science-prize/ Bragg, Sir William. “Concerning The Nature Of Things.” London. Bell & Sons. 1932. https://archive.org/details/in.ernet.dli.2015.222386/ Bud, Robert. "Discoverers and developers of penicillin (act. 1928–1950)." Oxford Dictionary of National Biography. May 21, 2009. Oxford University Press. Date of access 22 Jun. 2026, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-97279 Dodson, Guy. “Dorothy Mary Crowfoot Hodgkin, O.M. 12 May 1910--29 July 1994.” Biographical Memoirs of Fellows of the Royal Society , Dec., 2002, Vol. 48 (Dec., 2002). Via JSTOR. https://www.jstor.org/stable/3650256 DOROTHY CROWFOOT HODGKIN. NobelPrize.org. Nobel Prize Outreach 2026. Wed. 24 Jun 2026. https://www.nobelprize.org/stories/women-who-changed-science/dorothy-hodgkin/ Ferry, Georgina. "Dorothy Hodgkin". Encyclopedia Britannica, 8 May. 2026, https://www.britannica.com/biography/Dorothy-Hodgkin. Accessed 24 June 2026. Ferry, Georgina. "Hodgkin, Dorothy Mary Crowfoot (1910–1994), chemist and crystallographer." Oxford Dictionary of National Biography. May 21, 2009. Oxford University Press. Date of access 22 Jun. 2026, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-55028 Ferry, Georgina. “Dorothy Hodgkin: A Life.” Bloomsbury. 1998, 2014. Ferry, Georgina. “Dorothy Hodgkin: on proteins and patterns.” The Lancet, 384, 1496-1497. https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(14)61912-7/fulltext Ferry, Georgina. “The making of an exceptional scientist.” Nature. Vol. 464. April 29, 2010. Gamble, Jessa. “When Hodgkin met Thatcher.” Nature. Vol. 514. October 16, 2014. Hodgkin, Dorothy Crowfoot. “The X-ray analysis of complicated molecules.” Nobel Lecture, December 11, 1964. https://www.nobelprize.org/uploads/2018/06/hodgkin-lecture-1.pdf Hodgkin, Dorothy. “The Pugwash Movement.” India International Centre Quarterly. Vol. 13, No. 2. June 1986. Via JSTOR. https://www.jstor.org/stable/23001474 Howard, Judith A.K. “Dorothy Hodgkin and her contributions to biochemistry.” Nature Reviews. Vol. 4. November 2003. gale.com/apps/doc/K1631003072/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=8d7c4045. Accessed 23 June 2026. Pearce, JMS. “Dorothy Crowfoot Hodgkin OM, FRS (1910-1994).” Hektoen International. https://hekint.org/2020/11/04/dorothy-crowfoot-hodgkin-om-frs-1910-1994/ Perutz, Max. “Dorothy Crowfoot ” The Independent. Via The Crystallographic Community. https://www.iucr.org/people/crystallographers/dorothy-crowfoot-hodgkin-by-m.f.-perutz Pietzsch, Jochim. “Perspectives: Enhancing X-ray vision.” Nobel Prize. https://www.nobelprize.org/prizes/chemistry/1964/perspectives/ Ramaseshan, S. “Dorothy Hodgkin and the Indian Connection.” Notes and Records of the Royal Society of London , Jan., 1996. http://www.jstor.com/stable/531845 Root-Bernstein, Robert. “Dorothy Crowfoot Hodgkin: Structure as Art.” Leonardo , 2007, Vol. 40, No. 3 (2007). Via JSTOR. https://www.jstor.org/stable/20206415 Science History Institute Museum and Library. “Dorothy Crowfoot Hodgkin.” https://www.sciencehistory.org/education/scientific-biographies/dorothy-crowfoot-hodgkin/ The Royal Society. “Dorothy Hodgkin FRS.” https://royalsociety.org/about-us/who-we-are/diversity-inclusion/case-studies/scientists-with-disabilities/dorothy-hodgkin/ “Science for peace Building cultures of cooperation and non-violence through scientific collaboration.” 2025. Via JSTOR. https://www.jstor.org/stable/resrep73183.6 University of Oxford History of Science Museum. “Modelling the Structure of Penicillin.” https://www.mhs.ox.ac.uk/backfromthedead/exhibition/the-structure-of-penicillin/index.html Vijayan, M. “An outstanding scientist and great humanist: An obituary of Dorothy Crowfoot Hodgkin.” Current Science, 10 August 1994, Vol. 67, No. 3 (10 August 1994). Via JSTOR. https://www.jstor.org/stable/24095820 Wallace, Rob. “Dorothy Crowfoot Hodgkin: Captured by Crystals.” National World War II 3/16/2022. https://www.nationalww2museum.org/war/articles/dorothy-hodgkin-penicillin-insulin See omnystudio.com/listener for privacy information.

Few Marvel characters have connected with a new generation of readers quite like Miles Morales. On this episode, author, filmmaker, and cultural critic Ytasha Womack joins the Bandits to discuss her new book on Miles Morales in Bloomsbury's Marvel Age of Comics series. Ytasha explores what makes Miles such a groundbreaking and enduring hero, examining the character's cultural significance, evolution, and impact on the Marvel Universe and beyond. The conversation also delves into the process of analyzing an iconic comic character, the themes that have made Miles resonate with readers around the world, and why his story continues to redefine what it means to be Spider-Man for a new generation. You can find and follow Ytasha on her site, ytashawomack.com, and on Instagram @ysolstar. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Simone Kotva is Senior Lecturer in theology at the University of Gothenburg, Sweden. She is the author of Effort and Grace: On the Spiritual Exercise of Philosophy (2020), also with Bloomsbury, and writes at the intersection of Christian theology and Continental philosophy and theory. She has published articles on French spiritualism, contemplation, spiritual exercises, decolonial theology and practices of attention in a more-than-human world. Kotva's book: https://cup.columbia.edu/book/ecologies-of-ecstasy/9780231213974/---Become part of the Hermitix community:Hermitix Twitter - x.com/hermitixpodcast Support Hermitix:Patreon - patreon.com/hermitix Donations: - https://www.paypal.me/hermitixpodHermitix Merchandise - http://teespring.com/stores/hermitix-2Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9

Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. Fashion in Late Ottoman Istanbul: Photography and Identity in a Global City (Bloomsbury, 2026) by Dr. Nancy Micklewright reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul. 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

Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. Fashion in Late Ottoman Istanbul: Photography and Identity in a Global City (Bloomsbury, 2026) by Dr. Nancy Micklewright reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul. 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/gender-studies

Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. Fashion in Late Ottoman Istanbul: Photography and Identity in a Global City (Bloomsbury, 2026) by Dr. Nancy Micklewright reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul. 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

Over the 19th century, the women of Istanbul gradually transformed their appearance, adopting European dress and new modes of self-fashioning, including photographs. Fashion in Late Ottoman Istanbul: Photography and Identity in a Global City (Bloomsbury, 2026) by Dr. Nancy Micklewright reconstructs a complex fashion history, and the dramatic changes that took place in women's lives in this period, and given the diverse population of Istanbul in terms of ethnicity, class, race and religion, attends to the differing clothing habits of the women of the city. The book focuses particularly on elite women as fashion tastemakers and on the dress of enslaved and working women.Appealing to scholars across a range of fields, including fashion history, Ottoman studies, women's and gender history, visual culture and photography history, Fashion in Late Ottoman Istanbul provides a fascinating insight into women's histories, writing and dress practices in a rapidly changing Istanbul. 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

How do you write about the most painful experiences of your life without being overwhelmed by them? How can timed writing and a braided story help you untangle your hardest stories? With Nicole Walker. In the intro, Self-Publishing Pop Up Books [Self-Publishing with ALLi]; New in KU [BookBub]; The solar sail theory of indie publishing [ProductiveIndieFictionWriter]; Bones of the Deep; Selfie Awards Shortlist 2026. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Nicole Walker is a nonfiction author, essayist, poet, and editor, as well as a creative writing teacher. Her latest book is Writing the Hard Stuff: Turning Difficult Subjects into Meaningful Prose. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing helps us understand “the puzzles of the universe” — and when to trust that intuition The braided essay: alternating between trauma and an everyday obsession to unlock the hard stuff How two-minute timed writing lets you go deep and then safely step back Rooting pain in the body, using the senses, scene, and dialogue instead of words like “trauma” Truth in memoir, big T versus little t, and the emerging genre of speculative nonfiction What actually sells books: pairing up on book tour and getting readers back out into the world You can find Nicole and NikWalk.com. Transcript of the interview with Nicole Walker Jo: Nicole Walker is a nonfiction author, essayist, poet, and editor, as well as a creative writing teacher. Her latest book is Writing the Hard Stuff: Turning Difficult Subjects into Meaningful Prose. So welcome to the show, Nicole. Nicole: Hi, Joanna. It's so nice to be here. Jo: I've lots to talk about, but first up— Tell us a bit more about you and your journey into writing and publishing. Nicole: I was always a writer. As all writers say, I've been writing since I was five. I kept little journals and things like that, and I was on the high school literary magazine. I was an English major in college, but that was always tempered with some serious commitment to the sciences, to English literature, to German, to Spanish. I had a wide variety of interests, but there was always something that tugged at me about writing that made me feel like, this is where I feel most at home. This is the way I like to understand the puzzles of the universe. This is how I make sense of the world—through writing. So even though I got my BA in English at Reed College in Portland, Oregon, I stuck around Portland for a few years because I loved it. I worked for various non-profits, and that was great. At some point I said, “I really want to take this seriously.” So I went ahead and applied to graduate school, and ended up in the University of Utah's PhD programme, where I stayed for eight very lovely years. I always recommend to my own students: never graduate. Stay in graduate school forever, because it's such a beautiful place where people support your writing. You have professors who support it, but more importantly, you have your cohort. To this day, I have so many great friends. You make a lot of friends if you stick around for eight years. That sort of community-building is, I think, the other part of why I became a writer. Writing by myself is obviously a lonely business, and there's a lot of internal struggle that happens with that. I have found a literary community, both at the University of Utah and then growing from there, serving as president of the NonfictioNOW Conference, teaching my own graduate students, serving as the series editor for Crux, the imprint at the University of Georgia Press. I feel like my world has expanded because of my writing. So that's been a true gift. Jo: Oh, I love that. I love that you said you understand the puzzles of the universe through writing, and that this tugged at you. Could talk about that a bit more? Because a lot of listeners, I think, sometimes mistrust that feeling. They think, “Oh, maybe I shouldn't necessarily lean into that intuition.” It feels like you leaned very strongly into an intuition that this was the way. Nicole: Yes, and this book in particular, Writing the Hard Stuff, takes that to heart. I think about writing the hard stuff as writing all kinds of tricky things—things that are really hard to communicate. The book begins revolving around personal trauma. Things that happened in my childhood, as well as difficult subjects that happen to us when we're growing up. It also includes things like environmental issues and political issues: things that are really hard to talk about, that are philosophically difficult to express, that can be controversial, and that you can put people off by talking about. One of the goals of the book—one of my own philosophies—is that by looking deeply into the knotted ball of string that is a kind of trauma or a kind of difficulty, and beginning to pull those strings out, that's where you start to not only make meaning out of what happened to you, or what this particular problem is, but those strings themselves become connections. I talk about Donna Haraway's book Staying with the Trouble. It's primarily about how we can overcome our political differences regarding climate change, and one of her examples is to change the way we think about narrative. In Western thought, we often think there's a beginning, a middle, and an end, and she brings up the Navajo game that we all know as cat's cradle. So if you think of that ball of knots—your trauma, your difficult subject—you start pulling out the strings, and then you start playing with it. With cat's cradle, you make one design with your hands, and then a friend pulls it around and turns it into another design. To me, that's how reading and writing work. We share, and we build on each other's ideas, but we're always connected by those strings. So if you have this difficult subject and you're shying away from it, you're losing, I think, some of the opportunity to make connections and to make sense of what that nest of string sitting in your stomach actually is. Jo: I love that metaphor. I think it's brilliant. I've never heard it described that way, and I think it's fantastic. What's interesting is that some people don't have a mind's eye—I know several listeners who don't. So while in my mind I'm picturing the ball of string and then the cat's cradle, some people won't be able to do that, which is also fascinating in terms of how people's brains work. In terms of how you'd recommend people think about it: this ball of string that we want to turn into a design like a cat's cradle is a total mess. So where do we even start? How do we know where to start pulling on the threads? Because it might just feel like it's out of control. Nicole: Oh, I deeply appreciate both the idea that some people don't have that mind's eye, or just think differently. We all have different ways of imagining what we call our trauma, this nest of problems, this ball of string. Of course a metaphor does oversimplify in some ways. I say, “Well, you just take one of the ends of the string and start pulling.” But practically, what does that really mean to do? There are a couple of things I suggest in the book and offer at workshops. One is an exercise I call writing the braided essay. I ask the writer to sit down and think about a scene that was difficult in their life—something that had a lot of tension, that they're really still struggling with, that they don't love thinking about. I'm going to ask them to go there for just a couple of minutes. Then there's the other side of the braided essay: I ask them to think about something completely different, completely off-topic. Perhaps a walk they took in the aspen grove, or what they were making for dinner last night, or perhaps they're deeply invested in the networks of the blood in the human body—anything they're fascinated and obsessed with. I say, “Okay, I want you to write about your difficult subject for two minutes, but then I'm going to give you a break, and you're going to pop over and talk about how you spent all day weeding your garden, and yet there are still weeds.” Then I'm going to ask people to go back and talk about their difficult subject, and then go back and talk about their obsession with weeds. They write about each of these things for two minutes. What happens—which I think is a pretty compelling experiment, from my point of view and from theirs—is that they write back and forth, and they're able to take a break from the hard thing. They're also tempted to go back to it once they've had that break in their research. The other thing that happens—and, you know, every book in nonfiction has to have a colon, so of course it's called Writing the Hard Stuff: Turning Difficult Subjects into Meaningful Prose—is that by going back and forth, you'll see the connections these writers make. They make connections with word choice, with verbs, with colours and different kinds of imagery. They start to make meaning between those two ideas. What happens to the writer then—and to me, when I'm doing it—is that I now have something that is constructed. So it's not just this knot in my stomach. It's not just my interest in research. Now I've put these things together, and then I get to play. We get to the cat's cradle part of the metaphor, where I really start thinking about craft issues. Why did I happen to bring these two ideas together? What might they have in common? What does it mean that I'm telling the story of my parents' divorce and my personal trauma, and in the research part I'm talking about weeds? Well, maybe I felt in the weeds. You come up with some sort of overarching understanding of why you chose that research story, and it lets you go deeper into that personal trauma, now with some of the techniques of craft, which I think help shield you from some of the trauma and pain of that original hard story. Jo: Again, I really love that idea. Do you also think the timed writing actually helps people go deep and then withdraw a bit, which psychologically may help them write about these difficult subjects? People are like, “I need to sit down for two hours and write about this deeply traumatic thing,” which of course feels like it's going to be too hard. So perhaps that two-minute process actually releases people from that. Nicole: Oh, absolutely. What a great way to think about it. It is prohibitive to sit down and think, “Okay, I'm going to go into the worst thing that ever happened to me and sit with it for two hours.” Going back and forth, you create energy and tension. But also, nobody wants to sit with something by themselves for two hours. If you think of research as your companion—”I'm coming in there with you, buddy”—you have something to rely on, this other side of the story, and it gives you that space. The timed writing, the two minutes, two minutes, two minutes, also reminds you that you don't have to write for two hours straight any day. I have a goal where I write 500 words a day, which is mostly true, unless I'm really in the weeds. We'll use two metaphors today: we'll use string, and now we'll be using weeds. But when I'm really in the weeds teaching, or going around the country talking about books, I really do write 500 words a day. I often try not to write too much more, because sometimes it loses freshness, and it can be overwhelming. So I really appreciate you saying that having that timed writing is important, but also that having that balance of deep emotional investigation with this more cerebral, informational crutch can really help you get into the subject and go deeper. Jo: Yes, and perhaps it anchors the writing in something concrete. Because with memoir particularly—having also written one—it can be too easy to lean on big words like “pain” or “trauma,” but that's actually meaningless in a book. So why is it so important to be specific and concrete in our writing in order to convey these bigger topics? Nicole: I think we know our own trauma. We know how it feels in our bodies, and we've been living with it for a long time. So it's pretty hard to communicate it to others. Why does it matter to other people? Of course it matters to you, but how are you going to convey the breadth of that trouble with words that aren't rooted in the physical world? The nice thing about rooting things in the physical world is that every one of us has a body. We have different bodies, but we share that in common. So it's the old trope of using your senses first. What did it feel like? If you can't think of what part of your body it particularly hurts in, you have the availability of metaphor to describe how that might have felt. You have the opportunity to create scene. This is particularly difficult for memoir writers, I think, because we imagine it's the fiction folks who have to use dialogue, who have to have a setting, who have to put their bodies in a place. Thatt's one of my mantras when I teach: we need to be able to see where you are. We need to see what is physically happening, how the interactions work. Dialogue, I think, is one of the best ways to literally get your body on the page—and to get your other characters, or subjects, on the page—because to speak, you have to have a body. Once you start having dialogue, you can picture the way the speaker's face moves, the way they cross their legs. You can even picture the colour of the paint behind them, or the kind of chair they're sitting in. So dialogue is one of the first ways you can say, “All right, I must have a scene here.” I can't go on just telling people, “It was so traumatic. I suffered so much. It was terrible. I felt so much pain.” You can say that sometimes, that's totally fair, but you have to pair it with that physical, concrete imagery, so other people can begin to understand what it felt like for you in your body, so they can feel it in their body. Jo: Interesting that you bring up dialogue because one of the issues with memoir is—I've had people compare it to truth with a small “t” and truth with a big “T.” So you're telling some kind of big truth about your life. If you're writing dialogue about something that actually happened to you, in memory, it's very unlikely that it actually happened in that way, so it's not necessarily small-“t” true. So on a practical note, what are your thoughts and tips on truth. How do we tell our own story even if others don't see it that way? Nicole: This is a subject I'm deeply invested in right now. When I first started teaching creative nonfiction, it was at the height of the John D'Agata and David Shields questions. What is truth? Big T, little t? What am I obligated to do as a creative nonfiction writer? I had a great friend, Angie Truong, who came to teach one of my classes, and she said, “Nonfiction is a pretty big spectrum. You have journalism on one end, and then you have the lyric essay on the other end.” You imagine the lyric essay is full of metaphors and things like that, so you can approach truth. You're saying, “This is what it felt like. This is what it seemed like.” Check out my newest favourite thing. It's called speculative nonfiction, and I use a little bit of this in my book How to Plant a Billion Trees, which Writing the Hard Stuff is somewhat based on. I wrote them in tandem, which was a very strange and interesting and fun thing to do. But in How to Plant a Billion Trees I use this thing called speculative nonfiction, which goes even further along the spectrum, past the lyric essay, to this opportunity to use language like “perhaps,” “maybe,” “I imagined.” So I have sections in my book where I can't remember the dialogue exactly, but I know that the dialogue in some sense matters—that what might have been said will do much more to convey what was happening than my exposition over the matter. By using those turns of phrase, you're alerting your reader: “Dear reader, this definitely is not exactly what happened, but this is how I recall it.” Then you're being not only honest to the story and honest to your reader, but you're also conveying the feeling and the mood of the event—that other kind of truth that memoir is really trying to get at. It was like this for me, which is why I think this way now. It's a fledgling genre. I just read a book by Laraine Herring called A Constellation of Ghosts: A Speculative Memoir with Ravens. It's brilliant. It's an amazing book that pairs her actual colonoscopy and discovery of colon cancer with the story of her dad, who has passed already and comes back as a raven and helps her through it. So you're pulling on some of the tools of fiction, which creative nonfiction already has been doing. But it does so in this bright and, I feel, incredibly ethical way. You're alerting your reader, “My dad is not really a raven.” But you're also saying, “Oh my gosh, I sensed he was with me. I sensed every time a raven approached that I had somebody's hand on my shoulder.” That, to me, has been a lot of fun—a much more imaginative way of creating some of those scenes than doing something like, “Well, I don't remember the dialogue.” Or, even worse—and we know people have been unethical in their approach—recreating the dialogue as if they'd had a tape recorder with them when they were 17 years old. Jo: Mm. Nicole: So I offer that as an option to your listeners, as something to experiment with. Allow yourself to have that imaginative opportunity to show the reader what it might have been like. Jo: I love that. It's interesting, you talk there about the spectrum of nonfiction, which is ridiculously big, as is fiction. Obviously these are very big. But I wonder if we do get hemmed in by genre. I love the idea of a speculative memoir. I'm going to have to go read that book because I can't even imagine what that really means. I feel hemmed in by my expectations of a memoir. But then, from a business and marketing perspective—because we're all trying to sell our books— Do we risk not meeting the expectations of a reader of a genre that way? Nicole: Right. One of the good and bad things about my literary career is that I've spanned a lot of genres. My PhD is actually in poetry. Nobody expects the full truth from poetry. One of my poetry professors once said she wrote this really sad poem about her father's death, and the audience was moved, and then her real father stood up and said, “Good job, daughter.” And someone in the audience was just shocked: “You just read a poem about your dead dad, and here he is!” We have absolute expectations of genre, and expectations of truth, in everything we read. If you label it fiction, you're kind of off the hook—even though, of course, fiction uses so many elements of nonfiction: so much research, so much information, so much personal memory to create those fantastic landscapes. So when I think about how one sells one's memoir, I do think you also have to acknowledge what you expect your audience to be. With Laraine Herring's A Constellation of Ghosts, by putting “colon, a speculative memoir,” you're alerting your reader to that possibility. And because it's a pretty far-out way of thinking right now, it probably does curtail some of the sales. On the other hand, think of memoirs that are written for celebrities, and how many of them are ghostwritten—or written with other people, where the ghostwriter's not even part of the thing—but it comes across as the most legit of all memoirs, because it's a celebrity and we know them. We associate their lives with their story, and their story must therefore be true. So I think, with all levels of creative nonfiction, it's incumbent upon the writer to suggest right off the bat what kind of nonfiction they're reading. Are they reading journalism? Are they reading lyric essays? Are they reading speculative nonfiction? I think a lot, too—as an editor for a literary series for nonfiction books—about what I look for in memoir. It's something that takes the personal story and connects it into the larger conversation. Even if the larger conversation is directly about what the main subject is about, to me it's still about the crux of the matter. Why does your story make an impact on the world in this bigger way? How do you let the world inform your story? How does your past and your trauma, or your difficulties, connect to a larger world? Jo: Mm. Nicole: To me, that's something some memoirs are capable of doing. Some memoirs are truly invested only in that personal story, which I think is totally legitimate too, because I love learning how people think. I love understanding. This is just how my brain works. But in terms of sales? I don't know. Again, as the series editor and as the seller of my own books, I think you can't determine it in advance. So you should probably write what you want to write, what feels right to you, using as many craft techniques as you can hone. But the market, to me, feels very non-negotiable. You never know exactly how things are going to turn out. So I deeply believe: write the best, most well-crafted book you can, and I do think your readers will find you. Jo: We'll come back to marketing in a minute, but just returning to your own writing practice. I've got your book page up in front of me, and you've written all kinds of things: your essays, your memoirs, some fiction, and some poetry, as you mentioned. So I wondered: when you're researching something, or you've got a feeling about wanting to write, how do you choose the type of book you turn it into—or a poem, or an essay? Or do you pitch it as some kind of external work, or turn it into a workshop? How do you turn an idea into what it will eventually be? Nicole: I love that question because it's somewhat of a mystery to me, but I think I'm getting close to understanding. It really is in those first few words, that first sentence, that I think, “Okay, I know which direction this is going.” For example, the other day I woke up in the morning and thought, “All right, I'm writing this poem about how man took over for God, and that's how the planet ended up being such a mess.” So I started writing it, and it was pretty lyrical at the beginning. But then I started making full sentences, and explaining things a little bit more, and I thought, “Okay, this is not a poem. It's going to be an essay.” When I start writing fiction, I pull on something a little further, a little more distant from my experience, and then I pull it back into something more character-driven. For example, in a novel I'm writing, I begin with this whole story about McDonald's and ravens, and then I pull it back into the character. If I were to diagram the sentences between a poem, the nonfiction, and the fiction, I think I'd see fundamental differences between the three. Jo: Do you work on multiple projects at the same time, or once you commit to something, is that what you finish? Personally, I have lots of little things happening, and then a moment comes and I commit to a book, and I won't stop until I've finished that book—the rest will have to wait. It's that decision moment. How does it work for you? Nicole: My process is pretty similar to yours. I have a number of ongoing projects, percolating here and there. Some days I'll think, “All right, today feels like a fiction day.” But for the most part, you're absolutely right. There's a bunch of little things I'm writing, or things I'm dabbling in, but once there's a critical mass—which I'd say is around 20,000 words or something—I'm all in, and I've got to focus on this project. Even though I think I can do whatever multitasking, really it's important to try to maintain some sort of through-line in whatever project I'm working on. If I do that with too many projects, I lose that through-line. I also worry sometimes that the projects start to sound too similar. So say I'm writing a nonfiction collection and a novel—if I go back and forth every other day, those sentence differences I'm talking about might start to collapse, and they become too similar. Then what the heck would I be writing? I don't even know. Jo: It's interesting because you span academic publishing and, I guess, trade publishing—whatever you want to call it—where more non-academics read books. I'm just finishing up a master's myself at the moment, and writing academic stuff is completely different to writing my other books. So when you're deciding on these books, are you aiming for a specific publication market—as in, you want an academic publisher, or you want a trade publisher? How do you think about publishing in the process? Nicole: As much as I once really wanted to find some ground as a scholarly and academic writer—and I really do love to write reviews of other people's books, and Writing the Hard Stuff is a textbook that relies tremendously on so many other people's books. That is really important to me because that goes back to how one both creates and thanks one's community for creating the literary world we live in—I feel like there's a smaller audience for that sort of academic writing. But it's something we should do. As generous as you are here, for example, reaching out to other people about other people's books is probably the kindest thing you can do. So I hope to continue to take time to do that and make it part of my repertoire. It's not as fun, I'd say, as the imaginative elements of writing creative nonfiction, or fiction, or poetry. That's when I really love to groove and get into that mode of, “Oh, the words are coming. Oh, I never thought about it that way.” With academic writing, I feel I sometimes write in a slightly more stilted voice. My friend Ander Monson, who teaches at the University of Arizona, has done a really great job of writing—whether it's his personal essays or his critical essays—where he maintains the same voice. He doesn't move into that super-formal academic speak. He'll literally say things like, “You know,” or, “That's a banger of a sentence,” in the middle of an academic essay, and I really admire him for that. I feel like maybe if academic writing were more receptive to people writing in their unique voices, then maybe more people would read it. Jo: Yes. One of the pieces of feedback on one of my earlier essays in my master's year was around my sentence structure—that it would be far more appropriate in a novel than in an academic essay. I was saying to my husband, “I can't believe this, but I'm just going to have to change my style.” It's very interesting. We're almost out of time, and I also wanted to ask you: you have a recent blog post on how to try to get your forthcoming book attention in 4,231 simple steps, which made me laugh. We all find book marketing a challenge, so what have you found works best for you? I should tell the listeners—there are not 4,000 steps in your blog post. Although I think people would want them. Nicole: Exactly. I stopped at 72, but I can go on. That was sort of the pre-publishing process. There have been so many great things that have happened, but a lot of them have been driven by me. I have a publicist, but he works on a lot of other books, and I have a marketing person at Bloomsbury. They have to juggle a lot. The only person who is really, really, really committed to your book is you. So I've written companion essays. I haven't had any luck publishing them, which hasn't been true in the past, so I wonder what's going on there. I'll write something for the Huffington Post or Newsweek that's tangentially related to my book. I also might just write too much in essay voice instead of popular-magazine voice. As we were just talking about, academic voice versus novelistic voice. So that might be part of the problem too. Reaching out to people who might invite me onto podcasts has been really rewarding, and very, very kind. I think the best thing I did was to put myself on book tour and to pair myself with someone in that community. I've gone on book tour before by myself, and there have been occasions where there were two to three people in the audience, which can be really disheartening. The problem wasn't so much the bookstore's fault or my book's fault—it's just that if you go to a bookstore in a town where nobody knows you, they're not going to put a lot of effort into making the date happen, unless you're super famous. So what I did was find somebody in a community—a friend of mine—who would go with me and be part of the conversation. Even if their book was a couple of years old, we'd still go and have a conversation about each of our books. This has worked tremendously well. People will come to see their friend, and then they'll be introduced to you, and they'll ask you questions and buy your book. You create new connections and new friends thanks to that friend and that place. So that's my number one recommendation for how to get the word out in the world. I also did all the social media stuff. It doesn't work as well as it used to. It's kind of a strange time. But because of my suggestion about going to bookstores with people you know… I think we're coming out of our COVID time, where we got so used to doing everything on our computers and just staying in our electronic universe. People are hungry to get out. So one thing I want to do, and haven't done yet, is throw a big party. Go to weird places where you don't even do readings—you just offer people snacks and a glass of wine and say, “Hey, here's a book if you want to buy it.” To have these more informal gatherings that bring people together because I do think there's a hankering for people to get out into the world again. Jo: And just on that—you've got these two books coming at the same time: How to Plant a Billion Trees, which is the memoir, and Writing the Hard Stuff, the how-to book for writers. When you do these events, are you choosing one or the other depending on the audience? Or are you selling both at the same time? Because they're obviously very different. Nicole: Yes, I'm definitely selling both at the same time. Although I probably push How to Plant a Billion Trees first, because most of the people I'm pairing with are also writers of nonfiction or memoir. The other thing is, I can talk about How to Plant a Billion Trees, and if people have a really deep question about, “Well, how did you write this section?” I can say, “Well, if you refer to this book, Writing the Hard Stuff, you'll see.” So it's an easier segue. I think people aren't used to going to book events for craft books. But in the interview world—where people are reviewing books or interviewing me—Writing the Hard Stuff has definitely been the primary book I've been approached to speak about because people really do want techniques. So it depends on the context as to which book gets the spotlight, but it's been really fun to be able to talk about both in tandem. I don't know if they're competing against each other or supporting each other. That's my hope, that people think, “Oh, I read this one book, I might as well read the other one.” But that's asking a lot of people, to buy two books, so I try not to overstate that hope. Jo: They are very different, and I love the idea of doing that. Absolutely. So where can people find you and your books online? Nicole: You can find me at my Substack, which is substack.nikwalk.com—N-I-K-W-A-L-K. Or my website, which is the same: nikwalk.com. I might just start going as Nik Walk in the world, so people can find me more easily. I also really love to support Bloomsbury. They have really good deals, especially on the audiobook for How to Plant a Billion Trees, and they also have good deals if you buy both books, you get free shipping. So Bloomsbury is probably the number one place to get the books, but of course they're also available on Bookshop.org and Amazon.com, and on Amazon in the UK as well. Jo: Brilliant. Well, thanks so much for your time, Nicole. That was great. Nicole: Oh, it was so fun to talk with you, Joanna. Thank you again so much for this opportunity.The post Writing The Hard Stuff: Turning Difficult Subjects Into Meaningful Prose With Nicole Walker first appeared on The Creative Penn.

On this episode, I sit down with Nico Willson, co-founder of Futsol, to talk about what happens when you look at the world's most popular sport and decide the brands serving it are getting it completely wrong.Futsol started from a simple observation: every other sport - cycling, running, boxing - had developed a culture and community around it that people actually wanted to belong to. Football hadn't. Nico and his co-founders set out to build the brand that changed that. We get into how they avoided the trap of competing with Nike and Adidas on performance, why the vast majority of their customers wear Futsol to watch football rather than play it, and how jersey culture - once their hero product - has now been taken over by every brand from Gap to Palace, forcing them to think about what comes next.We also talk about the World Cup moment: how a small independent brand navigates a global tournament without getting drowned out, why they went evergreen instead of chasing the flash, and the Bloomsbury charity partnership and City Guides zine they built around it instead.On AI, Nico draws a clear line - operationally yes, creatively no. For a brand built on sun-faded fabrics, block printing, and tactile craft, the question of where AI belongs is anything but abstract.Enjoy the show.

How can we study the late ancient and Byzantine history from ecological perspectives? How might one grapple with the more-than-human in sources and media created by humans? Exploring the diverse ways in which pre-modern texts engaged with the broader natural world, Ecologizing Late Ancient and Byzantine Worlds (Bloomsbury, 2025) presents scholarly ventures into the terrains of the past. From the ancient treatises on dreams to monastic tales from the Hexameron literature to the Byzantine romance, from the Exeter Book to a mysterious Byzantine icon, the chapters investigate a diverse range of literature and other sources, uncovering intricate ecosystems of relationships. The team of leading international experts behind the volume focuses on encounters between human and more-than-human beings. They pay attention to the entanglement of multiple agencies that cut through texts and other meshes. With insights from such theoretical traditions as ecocriticism, new materialism and environmental humanities, they re-expose ancient media to the elements. New Books in Late Antiquity is presented by Ancient Jew Review Laura Borghetti is a Doctoral Candidate in Byzantine Studies at Johannes Gutenberg University of Mainz, Germany. Thomas Arentzen is a Reader in Church History at Lund University, Sweden, and Associate Professor at Sankt Ignatios College, Stockholm School of Theology, Sweden. Michael Motia teaches Classics and Religious Studies at UMass Boston 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 can we study the late ancient and Byzantine history from ecological perspectives? How might one grapple with the more-than-human in sources and media created by humans? Exploring the diverse ways in which pre-modern texts engaged with the broader natural world, Ecologizing Late Ancient and Byzantine Worlds (Bloomsbury, 2025) presents scholarly ventures into the terrains of the past. From the ancient treatises on dreams to monastic tales from the Hexameron literature to the Byzantine romance, from the Exeter Book to a mysterious Byzantine icon, the chapters investigate a diverse range of literature and other sources, uncovering intricate ecosystems of relationships. The team of leading international experts behind the volume focuses on encounters between human and more-than-human beings. They pay attention to the entanglement of multiple agencies that cut through texts and other meshes. With insights from such theoretical traditions as ecocriticism, new materialism and environmental humanities, they re-expose ancient media to the elements. New Books in Late Antiquity is presented by Ancient Jew Review Laura Borghetti is a Doctoral Candidate in Byzantine Studies at Johannes Gutenberg University of Mainz, Germany. Thomas Arentzen is a Reader in Church History at Lund University, Sweden, and Associate Professor at Sankt Ignatios College, Stockholm School of Theology, Sweden. Michael Motia teaches Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

How can we study the late ancient and Byzantine history from ecological perspectives? How might one grapple with the more-than-human in sources and media created by humans? Exploring the diverse ways in which pre-modern texts engaged with the broader natural world, Ecologizing Late Ancient and Byzantine Worlds (Bloomsbury, 2025) presents scholarly ventures into the terrains of the past. From the ancient treatises on dreams to monastic tales from the Hexameron literature to the Byzantine romance, from the Exeter Book to a mysterious Byzantine icon, the chapters investigate a diverse range of literature and other sources, uncovering intricate ecosystems of relationships. The team of leading international experts behind the volume focuses on encounters between human and more-than-human beings. They pay attention to the entanglement of multiple agencies that cut through texts and other meshes. With insights from such theoretical traditions as ecocriticism, new materialism and environmental humanities, they re-expose ancient media to the elements. New Books in Late Antiquity is presented by Ancient Jew Review Laura Borghetti is a Doctoral Candidate in Byzantine Studies at Johannes Gutenberg University of Mainz, Germany. Thomas Arentzen is a Reader in Church History at Lund University, Sweden, and Associate Professor at Sankt Ignatios College, Stockholm School of Theology, Sweden. Michael Motia teaches Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

How can we study the late ancient and Byzantine history from ecological perspectives? How might one grapple with the more-than-human in sources and media created by humans? Exploring the diverse ways in which pre-modern texts engaged with the broader natural world, Ecologizing Late Ancient and Byzantine Worlds (Bloomsbury, 2025) presents scholarly ventures into the terrains of the past. From the ancient treatises on dreams to monastic tales from the Hexameron literature to the Byzantine romance, from the Exeter Book to a mysterious Byzantine icon, the chapters investigate a diverse range of literature and other sources, uncovering intricate ecosystems of relationships. The team of leading international experts behind the volume focuses on encounters between human and more-than-human beings. They pay attention to the entanglement of multiple agencies that cut through texts and other meshes. With insights from such theoretical traditions as ecocriticism, new materialism and environmental humanities, they re-expose ancient media to the elements. New Books in Late Antiquity is presented by Ancient Jew Review Laura Borghetti is a Doctoral Candidate in Byzantine Studies at Johannes Gutenberg University of Mainz, Germany. Thomas Arentzen is a Reader in Church History at Lund University, Sweden, and Associate Professor at Sankt Ignatios College, Stockholm School of Theology, Sweden. Michael Motia teaches Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices

The first book-length study on mythology reception in video games, Characters and Characterization in Mythological Video Games (Bloomsbury, 2026) examines how video games characterize mythological characters from the perspectives of classical reception and game studies. Characters are vital to most stories, and many video games. They allow us to enter the fiction of a game, and facilitate our embodiment in the game world. Over time, what are initially blank slates transform into fictional existents with well-developed personalities and goals. In this context, narratology uses the term 'characterization' to refer to how character traits are ascribed to the entities we call 'characters'. How does characterization operate in games? How do players impact this process? How is mythology transformed by video games? What can games 'do' that other media cannot? After establishing a theoretical framework, this book moves to six case studies that each analyze mythological characters in a particular game: Smite, Assassin's Creed Odyssey, Immortals Fenyx Rising, God of War, Theseus and Asgard's Wrath 2. The scope of these studies is diverse, incorporating examples from mainstream, indie and virtual reality gaming. While the book's main focus lies with Greco-Roman mythology, it also includes games with Norse and Egyptian settings, or with playable characters from a wide range of international mythological traditions. Through these case studies, Alexander Vandewalle leads his readers to an understanding of different modalities or 'languages' of mythology reception in games. He argues for a striking diversity in mythological games and their characters, and illuminates how the relationship between games and antiquity is fundamentally one of continuous dialogue and play. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section and is editor of the weekly game research newsletter Game Studies Watchlist. 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

Preaching for the 12th Sunday in Ordinary Time, Nicolete Burbach offers a reflection on a God who sees and cares for us - even when society or the Church doesn't: "Even when others do not see you in the Gospel's consolations—even when you can't see yourself—God still sees you. God still cares."Nicolete Burbach is a theologian whose work aims to help the Catholic Church to navigate its difficult encounter with transness. Her edited collection with Lisa Sowle Cahill, Trans Life and the Catholic Church Today, was published by Bloomsbury in 2024. Nicolete earned a BA (hons) in Philosophy and Theology, an MA in Catholic Studies, and completed a PhD on Pope Francis' hermeneutics of uncertainty, all at Durham University. She now lives in London with her wife. In her spare time she plays guitar in multiple bands.Visit https://futurechurch.org/preaching/06212026 to learn more about Nicolete, to read her preaching text, and for more preaching from Catholic women.

The first book-length study on mythology reception in video games, Characters and Characterization in Mythological Video Games (Bloomsbury, 2026) examines how video games characterize mythological characters from the perspectives of classical reception and game studies. Characters are vital to most stories, and many video games. They allow us to enter the fiction of a game, and facilitate our embodiment in the game world. Over time, what are initially blank slates transform into fictional existents with well-developed personalities and goals. In this context, narratology uses the term 'characterization' to refer to how character traits are ascribed to the entities we call 'characters'. How does characterization operate in games? How do players impact this process? How is mythology transformed by video games? What can games 'do' that other media cannot? After establishing a theoretical framework, this book moves to six case studies that each analyze mythological characters in a particular game: Smite, Assassin's Creed Odyssey, Immortals Fenyx Rising, God of War, Theseus and Asgard's Wrath 2. The scope of these studies is diverse, incorporating examples from mainstream, indie and virtual reality gaming. While the book's main focus lies with Greco-Roman mythology, it also includes games with Norse and Egyptian settings, or with playable characters from a wide range of international mythological traditions. Through these case studies, Alexander Vandewalle leads his readers to an understanding of different modalities or 'languages' of mythology reception in games. He argues for a striking diversity in mythological games and their characters, and illuminates how the relationship between games and antiquity is fundamentally one of continuous dialogue and play. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section and is editor of the weekly game research newsletter Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

As one of the most important geopolitical relationships in the world, the United States - China relationship has the opportunity to set the course of a number of issues that would ripple across the world. Unfortunately, it seems that misperceptions, misunderstandings, and missed opportunities abound in this vital relationship. In this month's episode, we speak with Sarwar Kashmeri, a leading international relations scholar, academic, business leader, and host of the Polaris Live program, about his recent trip to China and what insights he gathered during his travels. During his two weeks in China, a country he has not visited in over 20 years, he became confident that both sides of this relationship do not understand each other and that the only solution is exchanges, travel, and everyday interactions which can lead to a better path forward. He outlines the worldview that many in China hold and what their government seems to want from engagement with the world. This certainly is not a relationship free of critical challenges, but we can all do our part to solve them by accurately understanding what each side wants from the other.Sarwar Kashmeri is an international relations specialist, author, and commentator, noted for his expertise on U.S. global strategy and national security.He speaks frequently before business, foreign policy and military audiences. He is the founder and host of Polaris-Live. com, “United States and China in the world,” a live internet video program featuring 30 minute conversations on the business and geopolitical impact of China's rapid rise to superpower status.Kashmeri is author of the Foreign Policy Association's report “The Telegram: A China Agenda For President Biden“ (2021); “The Telegram II: The Business of America and China is Business“(2022); “China's Grand Strategy: Weaving a New Silk Road to Global Primacy,” (Bloomsbury), his third book, was published in July 2019. It is a centennial book of the Foreign Policy Association where Sarwar is a Senior Fellow. The book was released at a Washington D.C. launch featuring Kashmeri and former U.S. Defense Secretary, Chuck Hagel.He is also an Applied Research Fellow of the Peace and War Center of Norwich University, Vermont, USA  and served a four year term as a non-residential Senior Fellow at the Brent Scowcroft Center for International Security of the Atlantic Council in Washington D.C.Kashmeri has hosted “China Focus,” a podcast series for the Carnegie Corporation of New York and discussed China's Belt and Road Initiative on television with Deutsche Welle, the German news network, and in a series of interviews with Xinhua, China's global news agency.

The first book-length study on mythology reception in video games, Characters and Characterization in Mythological Video Games (Bloomsbury, 2026) examines how video games characterize mythological characters from the perspectives of classical reception and game studies. Characters are vital to most stories, and many video games. They allow us to enter the fiction of a game, and facilitate our embodiment in the game world. Over time, what are initially blank slates transform into fictional existents with well-developed personalities and goals. In this context, narratology uses the term 'characterization' to refer to how character traits are ascribed to the entities we call 'characters'. How does characterization operate in games? How do players impact this process? How is mythology transformed by video games? What can games 'do' that other media cannot? After establishing a theoretical framework, this book moves to six case studies that each analyze mythological characters in a particular game: Smite, Assassin's Creed Odyssey, Immortals Fenyx Rising, God of War, Theseus and Asgard's Wrath 2. The scope of these studies is diverse, incorporating examples from mainstream, indie and virtual reality gaming. While the book's main focus lies with Greco-Roman mythology, it also includes games with Norse and Egyptian settings, or with playable characters from a wide range of international mythological traditions. Through these case studies, Alexander Vandewalle leads his readers to an understanding of different modalities or 'languages' of mythology reception in games. He argues for a striking diversity in mythological games and their characters, and illuminates how the relationship between games and antiquity is fundamentally one of continuous dialogue and play. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master's degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section and is editor of the weekly game research newsletter Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

For this episode, the Bandits welcome cartoonist, educator, and comics historian Jim Rugg for a wide-ranging discussion about his career, his love of comics history, and his latest book, Wolverine: Weapon X from Bloomsbury's Marvel Age of Comics series. Jim reflects on discovering comics, balancing creative work with criticism and education, and the lasting impact of Cartoonist Kayfabe on the comics community. The conversation then turns to Barry Windsor-Smith's legendary Weapon X storyline, exploring its groundbreaking storytelling, horror influences, artistic innovations, and enduring legacy in Wolverine mythology. Jim also discusses the process of analyzing a classic work from both a creator's and scholar's perspective, offering readers fresh insights into one of Marvel's most influential comics and why it remains essential reading decades after its original publication. You can pick up Wolverine: Weapon X wherever you get your books and much of Jim's other work at his site, jimrugg.com. Follow him on Instagram @jimruggart. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us Fan MailWe were invited to host the Bloomsbury Big Night In once again in collaboration with Tandem Collective.We love this event and got to read some banging books and talk to some fabulous authors!This episode contains spoiler free chats on the following:The Children - Melissa AlbertFemme Feral - Sam BeckbessingerStations - Louise KennedyEmbrace - Bal KhabraThe Unselected Journals of Emma M. Lion - Beth BrowerThe Last Starborn Seer - Venetia Constantine 

What does it mean for theory to be considered as a species of not just literature but world literature? Theory as World Literature (Bloomsbury, 2025), edited by Jeffrey De Leo, offers a wide range of accounts of how the “worlding” of literature both problematizes the national categorizing of theory (e.g., French theory), and brings new meanings and challenges to the coming together of theory and literature. In sum, it presents theory as world literature as a viable alternative to more commonplace approaches to theory.Under such an approach to theory, what it means to be an African, American, or Asian “theorist” – let alone a French, German, or Spanish one – in the new millennium is as complicated (or simple) as what means to be “African,” “American,” or “Asian.” “Worlded” literature is not considered here as only the world literature of nations and nationalities. Rather, it is also the worlded literature of individuals crossing borders, mixing stories, and speaking in dialect. So too is it the worlded literature of the multinational corporate publishing industry wherein success in the global market is a major determinate of aesthetic and literary value.Offering accounts of what it means to consider theory as world literature, the authors in this pioneering collection explore the ways in which we might regard theory as connected and reconnected through global literary networks of increasing complexity and precarity. By approaching theory from this perspective, Theory as World Literature demonstrates how and why theory is more worldly now than ever. 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

What does it mean for theory to be considered as a species of not just literature but world literature? Theory as World Literature (Bloomsbury, 2025), edited by Jeffrey De Leo, offers a wide range of accounts of how the “worlding” of literature both problematizes the national categorizing of theory (e.g., French theory), and brings new meanings and challenges to the coming together of theory and literature. In sum, it presents theory as world literature as a viable alternative to more commonplace approaches to theory.Under such an approach to theory, what it means to be an African, American, or Asian “theorist” – let alone a French, German, or Spanish one – in the new millennium is as complicated (or simple) as what means to be “African,” “American,” or “Asian.” “Worlded” literature is not considered here as only the world literature of nations and nationalities. Rather, it is also the worlded literature of individuals crossing borders, mixing stories, and speaking in dialect. So too is it the worlded literature of the multinational corporate publishing industry wherein success in the global market is a major determinate of aesthetic and literary value.Offering accounts of what it means to consider theory as world literature, the authors in this pioneering collection explore the ways in which we might regard theory as connected and reconnected through global literary networks of increasing complexity and precarity. By approaching theory from this perspective, Theory as World Literature demonstrates how and why theory is more worldly now than ever. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

What does it mean for theory to be considered as a species of not just literature but world literature? Theory as World Literature (Bloomsbury, 2025), edited by Jeffrey De Leo, offers a wide range of accounts of how the “worlding” of literature both problematizes the national categorizing of theory (e.g., French theory), and brings new meanings and challenges to the coming together of theory and literature. In sum, it presents theory as world literature as a viable alternative to more commonplace approaches to theory.Under such an approach to theory, what it means to be an African, American, or Asian “theorist” – let alone a French, German, or Spanish one – in the new millennium is as complicated (or simple) as what means to be “African,” “American,” or “Asian.” “Worlded” literature is not considered here as only the world literature of nations and nationalities. Rather, it is also the worlded literature of individuals crossing borders, mixing stories, and speaking in dialect. So too is it the worlded literature of the multinational corporate publishing industry wherein success in the global market is a major determinate of aesthetic and literary value.Offering accounts of what it means to consider theory as world literature, the authors in this pioneering collection explore the ways in which we might regard theory as connected and reconnected through global literary networks of increasing complexity and precarity. By approaching theory from this perspective, Theory as World Literature demonstrates how and why theory is more worldly now than ever. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

“Is he a Communist?” During a House Un-American Activities Committee hearing in 1938, Congressman Joe Starnes probed into the politics of a writer produced by the Federal Theatre Project. The playwright in question? Christopher Marlowe. While Starnes's blunder became legendary, Shakespeare and his contemporaries continued to come up throughout the Red Scare years. Something about early modern poetry and plays often rang as disquietingly topical. In her book, A Treacherous Secret Agent: How Literature Spoke Truth to Power During the Red Scare, Marjorie Garber reveals how literature has always posed a threat to authority, a power of which Shakespeare was well aware. As she puts it, “poetry makes trouble all the time.” This episode explores how Shakespeare became a magnet for suspicion during the Red Scare—and how he spoke to the moment from beyond the grave. From the Shakespeare Unlimited podcast. Published May 5, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. Technical support was provided by Philip Bodger in Lewes, England and Voice Trax West in Studio City, California. Web production was handled by Megan Fraedrich. Transcripts are edited by Leonor Fernandez. Final mixing services provided by Clean Cuts at Three Seas, Inc. Marjorie Garber is the William R. Kenan, Jr., Research Professor of English and of Visual and Environmental Studies at Harvard University. She is the author of twenty books, including Shakespeare in Bloomsbury and A Treacherous Secret Agent: How Literature Spoke Truth to Power During the Red Scare. She lives in London, UK. Learn more about Marjorie Garber and her work at her website.

Round The Horne, Movie Go Wrong: Frankenstein's Monster = When intrepid Bloomsbury detective Lyndon Baines Sinkplunger travels to Transylvania in search of a missing brother named Englebert, he finds himself dodging vampires, headless knights, and a tearful mad scientist who just wants to be left alone with his cocoa.Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.tiny.us/OTRCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:30.028 = CBS Radio Mystery Theater, “The Final Judgement” (November 04, 1977)00:46:30.450 = Incredible But True, “Welcome Home” (1950-1951)00:50:13.222 = Inner Sanctum, “Melody of Death” (April 22, 1944) ***WD01:15:17.305 = The Key, “Child Murderer” (1956) ***WD01:40:49.511 = Lights Out, “Dream” (March 16, 1943)02:09:18.279 = Lux Radio Theater, “Smilin' Through” (January 05, 1942)03:07:43.807 = Macabre, “Edge of Evil” (January 08, 1962) ***WD03:37:43.409 = Philip Marlowe, “Hairpin Turn” (January 28, 1950)04:06:13.826 = Round The Horne, “Movie Go Wrong: Frankenstein's Monster” (March 10,1968)04:17:56.834 = The Black Mass, “The Man In The Crowd” (July 29, 1964) ***WD04:28:58.936 = Michael Shayne, “Body In The Trunk” (April 23, 1945)04:58:28.784 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0666