Podcasts about Collected works

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

“Europe, in the consummation of the fulfillment of the vision concerning the great human image in Daniel 2, is more vitally crucial than any other country and race—the crushing of the two feet of the great human image will be the crushing of the entire human government (vv. 34-35)...Before this crushing transpires, the Lord's recovery must spread to Europe and be rooted there. The spreading of the truths of the Lord's recovery will be a preparation for the Lord's coming back to bring the recovery and restoration not only to Israel but also to the entire creation.” (Witness Lee, The Collected Works of Witness Lee, 1991-1992, vol. 1, pp. 276-277, Living Stream Ministry)This week we continue the series titled, “Migration in the US and to Europe”, with sharing from brothers Tom Goetz and Ray Mulligan on how the Lord led them to migrate to Europe. This fellowship was given during a gathering for working saints at the 2023 International Thanksgiving Blending Conference in Dallas, TX.The original recording can be found at: https://www.youtube.com/watch?app=desktop&v=myjbcWHh5UU

“Of the three influential factors in today's world, the Far East and the United States have been occupied and taken by the Lord's recovery. Europe still remains as a region in which the Lord's recovery needs to be rooted and grow. I hope that we would bring this fellowship to the Lord and pray. We should tell the Lord, “Lord, these days are the consummation of the age. Lord, in these days rekindle my love toward You.” (Witness Lee, The Collected Works of Witness Lee, 1991-1992, vol. 1, p. 277, Living Stream Ministry)This week we continue the series titled, “Migration in the US and to Europe”, with testimonies from saints that have migrated to Europe. This fellowship was given during a gathering for working saints at the 2023 International Thanksgiving Blending Conference in Dallas, TX.The original recording can be found at: https://www.youtube.com/watch?app=desktop&v=myjbcWHh5UU

Migration in the US and to Europe (3) | Europe Testimonies (1) “We need to migrate to strategic cities in the United States and Europe for the spread of the Lord's testimony. However, we should not carry out migrations in the way of a movement. Instead, we need to encourage the saints to receive a burden from the Lord to pray for the spread of His recovery so that the Lord may lead them to migrate to new localities in the move of His Body.” (Witness Lee, The Collected Works of Witness Lee, 1981, vol. 1, p. 384, Living Stream Ministry)This week we continue the series titled, “Migration in the US and to Europe”, with testimonies from saints that have migrated to Europe. This fellowship was given during a gathering for working saints at the 2023 International Thanksgiving Blending Conference in Dallas, TX.The original recording can be found at: https://www.youtube.com/watch?app=desktop&v=myjbcWHh5UU

Migration in the US and to Europe (1) | Testimonies of Migration within the United States (1) “Those therefore who were scattered went throughout the land announcing the word as the gospel” (Acts 8:4)“We need to migrate to strategic cities in the United States and Europe for the spread of the Lord's testimony. However, we should not carry out migrations in the way of a movement. Instead, we need to encourage the saints to receive a burden from the Lord to pray for the spread of His recovery so that the Lord may lead them to migrate to new localities in the move of His Body.” (Witness Lee, The Collected Works of Witness Lee, 1981, vol. 1, p. 384, Living Stream Ministry)This week we begin a new series titled, “Migration in the US and to Europe”, with testimonies from brothers and sisters on their experiences of the Lord in migrating for His move within the United States. These testimonies were given during a gathering for working saints at the 2023 International Thanksgiving Blending Conference in Dallas, TX.The original recording can be found at: https://www.youtube.com/watch?app=desktop&v=myjbcWHh5UU

Episode 107: "Persons who refuse to go out at night in search for the Beloved and to divest and mortify their will, but rather seek the Beloved in their own bed and comfort . . . will not succeed in finding him. . . . she found him when she departed in darkness with longings of love." – St. John of the Cross (The Dark Night, Book 2, Ch. 24, 4)---In this episode, author and host Julia Monnin shares with listeners a talk she gave to priests and seminarians in May of 2025 as Session 1 in a 4-Part Series on St. John of the Cross. In this talk, Julia gives an introduction to John and an overview of his collected works. Before tuning in, Julia recommends listeners get a copy of The Collected Works of St. John of the Cross as well as Temptation and Discernment by Segundo Galilea. She also suggests listeners consider getting a copy of St. Teresa's The Prayer of Recollection and The Prayer of Loving Attention: Saint John of the Cross. These books and brochures are published by ICS Publications. Lastly, Julia suggests printing out the Packet with the syllabus for this series as well as the Evaluation of Prayer by Effects document. All of these resources linked in this description might be helpful to you as you take this overall look with her of John's teaching and doctrine as found in his Collected Works.---NEW for 2025! Stay in touch with JRM via Flocknote. Subscribe at ⁠⁠journeysrevealed.flocknote.com⁠⁠---⁠⁠theworldisnoisy.com⁠⁠ | ⁠⁠journeysrevealed.com

Have you ever felt totally torn between two seemingly incompatible desires? Like part of you wants the freedom of non-monogamy while another part longs for that "one and only" Disney story? You're not alone, and this inner conflict isn't something to rush past—it might actually be your greatest opportunity for growth.In this episode, we're exploring the Jungian concept of "the tension of opposites" and how it applies to non-monogamy. Rather than seeing these inner conflicts as problems to solve, we explore how bearing this tension can lead to unexpected breakthroughs and deeper self-understanding. This isn't just theoretical—we share practical, creative ways to work with these tensions that go beyond simply "sitting with" uncomfortable feelings.We're breaking down:— What the "tension of opposites" means and why it's particularly relevant during the paradigm shift to non-monogamy— Why rushing to resolve inner conflicts can actually prevent deeper transformation from occurring— The physical sensations that often accompany inner conflict— How bearing the tension of opposites creates space for the "transcendent function"—a third option we couldn't previously imagine— Why paradigm shifts take years and require us to be comfortable in the "gooey" transformational phase— Creative practices for working with opposing forces— How to ask partners and friends to witness your process without trying to "fix" your conflicts— The value of paying attention to dreams and symbols that emerge during periods of inner tension— Finding balance between bearing tension and making necessary decisions when the time comesResources mentioned in this episode:— Jung's Collected Works, Volume 13— Marie-Louise von Franz's Archetypal Dimensions of the PsycheJOIN The Year Of Opening® community for a full year of learning & support. Registration is open now at ⁠⁠www.TheYearOfOpening.com⁠⁠Learn the 5 secrets to open your relationship the smart wayAre you ready to open your relationship happily? Find out at www.JoliQuiz.comGet the answers you want to create the open relationship of your dreams! Sign up for an Ask Me Anything hereMusic: Dance of Felt by ⁠Blue Dot Sessions

From the Collected Works of Sri Aurobindo

"Princeton University Press is thrilled to share news of a major new initiative: the publication of The Critical Edition of the Works of C. G. Jung. As the longtime publisher of the Collected Works of C. G. Jung in North America, PUP is honored to be global publisher of the Critical Edition, having recently secured world language rights and the support from the Foundation of the Works of C. G. Jung in Zürich, who will be facilitating and guiding access to documents and letters and providing its expertise to this major undertaking based on family archives. Led by general editor Sonu Shamdasani, an esteemed historian of psychiatry and psychology and a preeminent expert on Jung, this ambitious, multi-year undertaking will result in 26 volumes of material, all newly translated by Caitlin Stephens, that will bring the Swiss psychologist's formidable work to new life for a new generation of readers. Astrid Freuler, an independent professional translator, will provide proofreading for the translations. Volumes will feature a scholarly apparatus, including historical introductions, contextual annotations that will draw heavily on Jung's unpublished correspondences, and variorum presentations of works that went through multiple editions, noting revisions. Alongside the general editor, Jung historians Gaia Domenici, Martin Liebscher, and Christopher Wagner will serve as volume editors." -From Princeton University Press' announcement Sonu Shamdasani is a professor at University College London, co-director at the health humanities center, and recognized as one of the world's most renowned scholars of psychologist, Carl Jung. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

"Princeton University Press is thrilled to share news of a major new initiative: the publication of The Critical Edition of the Works of C. G. Jung. As the longtime publisher of the Collected Works of C. G. Jung in North America, PUP is honored to be global publisher of the Critical Edition, having recently secured world language rights and the support from the Foundation of the Works of C. G. Jung in Zürich, who will be facilitating and guiding access to documents and letters and providing its expertise to this major undertaking based on family archives. Led by general editor Sonu Shamdasani, an esteemed historian of psychiatry and psychology and a preeminent expert on Jung, this ambitious, multi-year undertaking will result in 26 volumes of material, all newly translated by Caitlin Stephens, that will bring the Swiss psychologist's formidable work to new life for a new generation of readers. Astrid Freuler, an independent professional translator, will provide proofreading for the translations. Volumes will feature a scholarly apparatus, including historical introductions, contextual annotations that will draw heavily on Jung's unpublished correspondences, and variorum presentations of works that went through multiple editions, noting revisions. Alongside the general editor, Jung historians Gaia Domenici, Martin Liebscher, and Christopher Wagner will serve as volume editors." -From Princeton University Press' announcement Sonu Shamdasani is a professor at University College London, co-director at the health humanities center, and recognized as one of the world's most renowned scholars of psychologist, Carl Jung. Caleb Zakarin is editor of the New Books Network. 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

"Princeton University Press is thrilled to share news of a major new initiative: the publication of The Critical Edition of the Works of C. G. Jung. As the longtime publisher of the Collected Works of C. G. Jung in North America, PUP is honored to be global publisher of the Critical Edition, having recently secured world language rights and the support from the Foundation of the Works of C. G. Jung in Zürich, who will be facilitating and guiding access to documents and letters and providing its expertise to this major undertaking based on family archives. Led by general editor Sonu Shamdasani, an esteemed historian of psychiatry and psychology and a preeminent expert on Jung, this ambitious, multi-year undertaking will result in 26 volumes of material, all newly translated by Caitlin Stephens, that will bring the Swiss psychologist's formidable work to new life for a new generation of readers. Astrid Freuler, an independent professional translator, will provide proofreading for the translations. Volumes will feature a scholarly apparatus, including historical introductions, contextual annotations that will draw heavily on Jung's unpublished correspondences, and variorum presentations of works that went through multiple editions, noting revisions. Alongside the general editor, Jung historians Gaia Domenici, Martin Liebscher, and Christopher Wagner will serve as volume editors." -From Princeton University Press' announcement Sonu Shamdasani is a professor at University College London, co-director at the health humanities center, and recognized as one of the world's most renowned scholars of psychologist, Carl Jung. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

"Princeton University Press is thrilled to share news of a major new initiative: the publication of The Critical Edition of the Works of C. G. Jung. As the longtime publisher of the Collected Works of C. G. Jung in North America, PUP is honored to be global publisher of the Critical Edition, having recently secured world language rights and the support from the Foundation of the Works of C. G. Jung in Zürich, who will be facilitating and guiding access to documents and letters and providing its expertise to this major undertaking based on family archives. Led by general editor Sonu Shamdasani, an esteemed historian of psychiatry and psychology and a preeminent expert on Jung, this ambitious, multi-year undertaking will result in 26 volumes of material, all newly translated by Caitlin Stephens, that will bring the Swiss psychologist's formidable work to new life for a new generation of readers. Astrid Freuler, an independent professional translator, will provide proofreading for the translations. Volumes will feature a scholarly apparatus, including historical introductions, contextual annotations that will draw heavily on Jung's unpublished correspondences, and variorum presentations of works that went through multiple editions, noting revisions. Alongside the general editor, Jung historians Gaia Domenici, Martin Liebscher, and Christopher Wagner will serve as volume editors." -From Princeton University Press' announcement Sonu Shamdasani is a professor at University College London, co-director at the health humanities center, and recognized as one of the world's most renowned scholars of psychologist, Carl Jung. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

"Princeton University Press is thrilled to share news of a major new initiative: the publication of The Critical Edition of the Works of C. G. Jung. As the longtime publisher of the Collected Works of C. G. Jung in North America, PUP is honored to be global publisher of the Critical Edition, having recently secured world language rights and the support from the Foundation of the Works of C. G. Jung in Zürich, who will be facilitating and guiding access to documents and letters and providing its expertise to this major undertaking based on family archives. Led by general editor Sonu Shamdasani, an esteemed historian of psychiatry and psychology and a preeminent expert on Jung, this ambitious, multi-year undertaking will result in 26 volumes of material, all newly translated by Caitlin Stephens, that will bring the Swiss psychologist's formidable work to new life for a new generation of readers. Astrid Freuler, an independent professional translator, will provide proofreading for the translations. Volumes will feature a scholarly apparatus, including historical introductions, contextual annotations that will draw heavily on Jung's unpublished correspondences, and variorum presentations of works that went through multiple editions, noting revisions. Alongside the general editor, Jung historians Gaia Domenici, Martin Liebscher, and Christopher Wagner will serve as volume editors." -From Princeton University Press' announcement Sonu Shamdasani is a professor at University College London, co-director at the health humanities center, and recognized as one of the world's most renowned scholars of psychologist, Carl Jung. Caleb Zakarin is editor of the New Books Network.

In this episode, we delve into one of the most profound and contested questions in both philosophy and esotericism: What is the self in magical practice?Drawing on thinkers such as René Descartes, David Hume, and Carl Jung, we examine how the self has been variously conceived as a rational substance, a bundle of perceptions, or an archetypal totality. We then explore how these models intersect with key esoteric frameworks, from Aleister Crowley's doctrine of the True Will and the invocation of the Holy Guardian Angel, to the layered soul of Hermetic Qabalah, and the radically performative self of chaos magic.Is the magical self unified, fragmented, performative, or transcendent? And how do different traditions answer this question through their rituals, symbols, and spiritual technologies?Join me as we explore the shifting boundaries between self, soul, and sorcery.CONNECT & SUPPORT

AI is everywhere. It hasn't really affected music yet, or has it? Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Perplexity (https://www.perplexity.ai) Microsoft made an ad with generative AI and nobody noticed (https://www.theverge.com/news/656104/microsoft-surface-ad-generative-ai-copilot-intel) How Daydreaming Can Enhance Creativity for Fiction Writers (https://www.literatureandlatte.com/blog/how-daydreaming-can-enhance-creativity-for-fiction-writers) The Next Track: Episode #305: Timo Andres on Steve Reich's Collected Works (https://www.thenexttrack.com/310) Sonatas and Interludes - Wikipedia (https://en.wikipedia.org/wiki/Sonatas_and_Interludes) Our next tracks: John Cage, Sonatas and Interludes, James Tenney (https://amzn.to/4jK2uPm) Corey Harris: Greens From the Garden (https://amzn.to/44XhYeA) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

In 1952, at the age of seventy-six, Carl Jung wrote Answer to Job in a single burst of energy and with strong emotion. He completed it while ill, following a high fever, and upon finishing, he felt well again. The book explores the nature of God, particularly what Jung perceived as God's dark side, a theme that preoccupied him throughout his life. In it, the theology first explored in the Red Book—the progressive incarnation of God, and the replacement of the one-sided Christian God with one that encompasses evil within it—found its clearest expression. This makes Answer to Job one of Jung's most controversial works. Jung wrote in a letter that the book, “released an avalanche of prejudice, misunderstanding, and above all, atrocious stupidity.”The fundamental idea in Answer to Job is that the pair of opposites is united in the image of Yahweh. God is not divided but is an antinomy—a totality of inner opposites. This paradox is the essential condition for His omniscience and omnipotence. Love and Fear, though seemingly irreconcilable, coexist at the heart of the divine.The story of Job follows a righteous man whose faith is tested by Satan with God's permission. Job loses his wealth, children, health, and the support of his friends, who insist he must be guilty. His cries for justice go unheard, so that Satan's cruel wager can proceed undisturbed. God allows the innocent to suffer. Still, Job is certain that somewhere within God, justice must exist. This paradox leads him to expect, within God, a helper or an “advocate” against God.Jung flips the traditional understanding of Christ's work of redemption: it is not an atonement for humanity's sin against God, but a reparation for a wrong done by God to man.“God has a terrible double aspect: a sea of grace is met by a seething lake of fire, and the light of love glows with a fierce dark heat of which it is said, “ardet non lucet”—it burns but gives no light. That is the eternal, as distinct from the temporal, gospel: one can love God but must fear him.”When Jung was once asked how he could live with the knowledge he had recorded in Answer to Job, he replied, “I live in my deepest hell, and from there I cannot fall any further.”

The subjective experience in dealing with the flesh is completely related to the Holy Spirit. A very major and basic work of the Holy Spirit dwelling in us is to work into us the fact that Christ has crucified the flesh on the cross. In other words, the work of the Holy Spirit is to have the cross on Calvary wrought into us to become the cross within us. Therefore, the subjective experience in dealing with the flesh is being executed by the Holy Spirit in us. (Witness Lee, The Collected Works of Witness Lee, 1953, vol. 3, p. 376, Living Stream Ministry)This week we continue the series with fellowship from brother Ron Kangas responding to questions from working saints during a conference held in the Northeast of the United States in September 2019.

Episode 165In today's guest episode it is a very welcome return to the podcast for Darren Freebury-Jones. Darren appeared previously to discuss his book ‘Shakespeare's Borrowed Feathers' and I asked him back on this occasion because his earlier book ‘Shakespeare's Tutor: The Influence of Thomas Kyd' is now published in a paperback edition by Manchester University Press, making it a much more accessible resource for any enthusiast of early modern theatre. In our conversation about the book Darren mentions a few points, like the detail of verse structure and characters like Robert Greene and Thomas Nashe that we discussed in more detail in our earlier encounter. If you would like to listen to that again it is still out there on the podcast feed as episode 126, that's season six episode thirteen.Dr Darren Freebury-Jones is author of the monographs: Reading Robert Greene: Recovering Shakespeare's Rival, Shakespeare's Tutor: The Influence of Thomas Kyd, and Shakespeare's Borrowed Feathers. He is also Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901. He has investigated the boundaries of John Marston's dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene, also published by Edinburgh University Press. His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers such as The Times, The Guardian, The Telegraph, The Observer, and The Independent as well as BBC Radio. His debut poetry collection, Rambling, was published by Broken Sleep Books in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship.Amazon UK link: https://www.amazon.co.uk/Shakespeares-Tutor-Influence-Thomas-Kyd/dp/1526182610/ref=tmm_pap_swatch_0Amazon US Link: https://www.amazon.com/Shakespeares-tutor-influence-Thomas-Kyd/dp/1526182610/ref=sr_1_1?Manchester Universty Press link: https://manchesteruniversitypress.co.uk/9781526182616/Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Dear brothers and sisters, our future is the Lord's coming back. We are not here miserably longing for His return…We are awaiting the Lord's coming back by daily experiencing His organic salvation… We cannot remain in the stage of regeneration; rather, we must cooperate with the Lord for Him to renew, sanctify, transform, conform, and glorify us so that God's organic salvation may be accomplished in us for the fulfillment of His eternal economy. (Witness Lee, The Collected Works of Witness Lee, 1994-1997, vol. 5, p. 488, Living Stream Ministry)This week we continue the series with fellowship from brother Ron Kangas responding to questions from working saints during a conference held in the Northeast of the United States in September 2019.

Composer and pianist Timo Andres wrote extensive listening notes for the new box set of Steve Reich's Collected Works. We talk with him about this composer whose work over the past five decades has been incredibly influential. "I went everyone to listen to music in a more abstract way." Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Timo Andres (https://www.andres.com) Timo Andres on The Next Track (https://www.thenexttrack.com/guests/timo-andres) Steve Reich: Collected Works (https://amzn.to/3FZSZgd) Will Hermes (https://substack.com/@willhermes) Our next tracks: Grateful Dead: Reckoning (https://amzn.to/42p7oKq) Ron Wood: I've Got My Own Album To Do (https://amzn.to/43FKz7H) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast. Special Guest: Timo Andres.

durée : 00:13:50 - Steve Reich Collected Works - Ce coffret de vingt-sept disques « Steve Reich Collected Works » présente des enregistrements musicaux réalisés au cours des quarante années de collaboration du compositeur avec le label Nonesuch.

Melvyn Bragg and guests discuss the renowned and versatile Irish writer Oliver Goldsmith (1728 - 1774). There is a memorial to him in Westminster Abbey's Poet's Corner written by Dr Johnson, celebrating Goldsmith's life as a poet, natural philosopher and historian. To this could be added ‘playwright' and ‘novelist' and ‘science writer' and ‘pamphleteer' and much besides, as Goldsmith explored so many different outlets for his talents. While he began on Grub Street in London, the centre for jobbing writers scrambling for paid work, he became a great populariser and compiler of new ideas and knowledge and achieved notable successes with poems such as The Deserted Village, his play She Stoops to Conquer and his short novel The Vicar of Wakefield. WithDavid O'Shaughnessy Professor of Eighteenth-Century Studies at the University of GalwayJudith Hawley Professor of Eighteenth-Century Literature at Royal Holloway, University of LondonAnd Michael Griffin Professor of English at the University of LimerickProducer: Simon TillotsonReading list:Norma Clarke, Brothers of the Quill: Oliver Goldsmith in Grub Street (Harvard University Press, 2016)Leo Damrosch, The Club: Johnson, Boswell, and the Friends Who Shaped an Age (Yale University Press, 2019)Oliver Goldsmith (ed. Aileen Douglas and Ian Campbell Ross), The Vicar of Wakefield: A Tale, Supposed to Be Written by Himself (first published 1766; Cambridge University Press, 2024)Oliver Goldsmith (ed. Arthur Friedman), The Vicar of Wakefield (first published 1766; Oxford University Press, 2008)Oliver Goldsmith (ed. Arthur Friedman), The Collected Works of Oliver Goldsmith, 5 vols (Clarendon Press, 1966) Oliver Goldsmith (ed. Robert L. Mack), Oliver Goldsmith: Everyman's Poetry, No. 30 (Phoenix, 1997)Oliver Goldsmith (ed. James Ogden), She Stoops to Conquer (first performed 1773; Methuen Drama, 2003)Oliver Goldsmith (ed. James Watt), The Citizen of the World (first published 1762; Cambridge University Press, 2024)Oliver Goldsmith (ed. Nigel Wood), She Stoops to Conquer and Other Comedies (first performed 1773; Oxford University Press, 2007)Michael Griffin and David O'Shaughnessy (eds.), Oliver Goldsmith in Context (Cambridge University Press, 2024)Michael Griffin and David O'Shaughnessy (eds.), The Letters of Oliver Goldsmith (Cambridge University Press, 2018)Roger Lonsdale (ed.), The Poems of Gray, Collins and Goldsmith (Longmans, 1969)In Our Time is a BBC Studios Audio production

"You know, the camera is not meant just to show misery." "The subject matter is so much more important than the photographer." -- Gordon Parks In this episode of Street Shots, Antonio and Ward dive into the life and legacy of the iconic photographer Gordon Parks. They explore his remarkable journey from humble beginnings in Fort Scott, Kansas, to becoming one of the most celebrated photographers of the 20th century. They focus especially on his influential “Segregation Story” photo series, which captures powerful images of racial injustice in mid-20th century America, emphasizing Parks' talent for storytelling through visual imagery. Antonio and Ward also discuss Parks' renowned photograph “American Gothic,” featuring Ella Watson, and how this iconic image vividly illustrated the racial and economic challenges of its time. They touch upon Parks' successful venture into filmmaking, notably directing the groundbreaking movie “Shaft,” highlighting his unique ability to bridge photography and film to address important social issues. Ward shares personal reflections inspired by the “Collected Works of Gordon Parks,” underscoring Parks' lasting influence on visual culture and storytelling.   Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing Antonio's Zines. Send us a voice message, comment or question.   Show Links: The Gordon Parks Foundation Antonio M. Rosario's Website, Vero, Instagram, Bluesky, and Facebook page Ward Rosin's Website, Vero, Bluesky, Instagram and Facebook page. Ornis Photo Website  The Unusual Collective Street Shots Facebook Page Street Shots Instagram     Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio

Notes and Links to Deborah Taffa-Jackson's Work          Deborah Jackson Taffa is a citizen of the (Quatzahn) Quechan (Yuma) Nation and Laguna Pueblo. She earned her MFA at the Nonfiction Writing Program at the University of Iowa and is the Director of the MFA in Creative Writing at the Institute of American Indian Arts in Santa Fe, New Mexico. Named Top 10 Book of the Year by Atlantic Magazine, and Top 10 Nonfiction Book by Time Magazine. Buy Whiskey Tender   Deborah's Website   Book Review for Whiskey Tender from Washington Post   At about 1:30, Deborah reflects on and expands on her experience in being a finalist for The National Book Award  At about 5:30, Pete shares some laudatory feedback for her memoir and Deborah shouts out Birchbark Books, Collected Works, Left Bank Books, as some great places to buy her book  At about 7:30, Deborah shares some wonderful invitations she's received to discuss her book and her art At about 9:05, Deborah explains how she “reverse-engineered” the book with regard to research and personal stories  At about 10:20, Deborah responds to Pete's questions about her early reading and language life and how her formal and informal education was affected by her family's histories  At about 15:45, Deborah gives background on her “autodidactic,” transformative learning, study, reading, and traveling that helped her   At about 19:00, Deborah traces the throughlines of colonization in seemingly-disparate groups At about 22:20, Deborah discusses the significance of her epigraph on “ceremony” At about 26:25, Billy Ray Belcourt is cited as Pete and Deborah talk about the speculative and aspirational writing  At about 27:55, Pete and Deborah reflect on ideas of indigenous invisibility as evidenced in a memorable scene from Whiskey Tender At about 29:40, Deborah cites a “shocking” study n her college textbook that speaks to how many Americans view Native American women, and how it provided fodder and stimulus for her memoir At about 31:25, the two discuss a flashback scene that begins the book and the idea of “mirages” as discussed in the opening scene At about 35:20, Pete asks Deborah to expand upon a resonant line from her book about meaningful childhood experiences  At about 37:35, Deborah talks about historical silences in her family and in others  At about 39:40, Deborah talks about the intensive historical research done in the last year before the book was published At about 40:55, The two discuss similarities regarding generation gaps in indigenous groups and immigrant and traditionally-marginalized groups  At about 42:40, Deborah talks about the lore of Sarah Winnemucca in her family and “her savvi[ness] and revisionist history At about 46:25, Pete and Deborah talk about the “flattening” of American Indian stories and pivotal government treaties and reneging on deals by the American government   At about 48:00, Pete and Deborah reflect on contemporary connections to previous American policies At about 50:20, The two discuss a representative story about “lateral violence” and belonging and ostracism that affected Deborah at a young age At about 53:00, Counternarratives to myths about indigenous peoples and movement are discussed  At about 57:20,  At about 59:40, Pete is highly complimentary of Deborah's writing about her grandmother's genuine and wonderful nature, and Deborah expands on her grandmother's cancer diagnosis and outlook and lasting influence  At about 1:02:30, Pete highlights a wonderful closing scene about time and place and home      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. This week, his conversation with Episode 255 guest Chris Knapp is up on the website. A big thanks to Rachel León and Michael Welch at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, his DIY podcast and his extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!     This month's Patreon bonus episode will feature an exploration of the wonderful poetry of Khalil Gibran. I have added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    This is a passion project of Pete's, a DIY operation, and he'd love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.     The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 276 with Donna Minkowitz, a writer of fantasy, memoir, and journalism lauded by Lilith Magazine for her “fierce imagination and compelling prose.” Her first book, Ferocious Romance, won a Lambda Literary Award for Best Book On Religion/Spirituality, and her most recent memoir was Growing Up Golem, a finalist for both a Lambda Literary Award and Judy Grahn Nonfiction Award. She is also the author of the novel DONNAVILLE, published in 2024.     The episode airs on March 18.  

  Request a FREE copy of the Garrison Files from Len. Email Len . Read Paul's latest article on Kennedys and King, Cuba 1960 and Lansdale's Playbook Revisit Paul's article from 2016 The JFK Assassination According to the History Textbooks - Part 1 Listen to Col. Fletcher Prouty discuss details regarding JFK's assassination Watch here. Edward Lansdale in Dealy Plaza on 11/22/63? Watch 50 Reasons for 50 Years - Episode 18 Purchase the "Collected Works of Col. L. Fletcher Prouty" - direct download". Available Here. Len & Paul reflect on how they first started to communicate & their meeting in Quebec City. Len thanks Paul for going through the Garrison Files & expanding on Garrison's investigations. Paul Abbott from Australia has created a Master Index to accompany the Garrison Files. Paul will always cherish his time in Quebec City visiting with Oliver Stone, Jim DiEugenio & Len. Watch Oliver Stone's documentary "JFK Revisited: Through The Looking Glass". Watch Here. Researching on the Mary Ferrell site, Paul discovered a significant letter from 1960. Read more. Explicit information in the letter is regarding the removal of Castro from power in Cuba. As early as 1960, Lansdale was influencing in the dirty tricks category in respects to Cuba. Tactics like manipulation of information, planting false evidence, setting up Patsies, blaming people etc.. Ed Lansdale had been involved in Operation Mongoose & was a key figure in Kennedy's assassination. Col. Fletcher Prouty worked with Ed Lansdale, having detailed information about Lansdale's history. Lansdale position in the world of espionage was to aid the French resistance during WWII. During WWII, Lansdale was in the OSS & sent to the Philippines by General Charles Willoughby. Paul Helliwell will be revealed to be money behind the assassination Allen Dulles stated Lansdale was one of his best men, helping to fight off communism in Vietnam. Prior to WWII Lansdale was involved in the advertising world. Advertising is mass psychology. Both David Atlee Phillips & Ed Lansdale were experts in the art of psychological warfare. An advisor to Ramon Magsaysay, Lansdale was given the role by Dulles to fight off the Huks movement. The Huks farmers were rebelling against the forced rural reformation that was taking place in the Philippines. Lansdale later became an advisor to the French in Vietnam. Excom was the Executive Committee that Kennedy organized to help him problem solve during the crisis. Robert Kennedy, CIA's John McCone, JCS members & others were on the board of the Excom Committee. Ed Lansdale's go to person at the CIA was William K. Harvey. Harvey is another key figure in JFK's murder. Policy would be set up, directions sent to SAS, SAS would create plan to follow through with objective. Prouty had been sent to the South Pole escorting VIPS, conveniently out of the way for JFK's murderers. Previously Prouty had been involved in Eissenhower's security when he visited Mexico City. Fletcher Prouty identifies Ed Lansdale in Dealey Plaza on November 22, 1963. Listen as Len gives a detailed background of Prouty's timeline before the assassination. Prouty believed Lansdale was involved in Prouty being sent to the South Pole just before the assassination. Was Ed Lansdale captured walking in the photos that were taken of the three tramps in Dealey Plaza? Why would Lansdale be in Dallas? Did anyone ever asked him? No one has thought that Lansdale was a shooter in Dealey Plaza, more of an organizational support person. Prouty was able to remove documents before his retirement by having his secretaries not stamp TOP SECRET. In Prouty's last days, he offered his collection of records & government papers to Len. A small van would have been needed to transport documents, surely to bring attention at the border crossing. Oswald was made to look like he had backing from ...

Collected Works of Richard Baxter Volume 9 The Right Method For A Settled Peace of Conscience and Spiritual Comfort. Introduction - To the Poor in Spirit

“We need to migrate to strategic cities in the United States and Europe for the spread of the Lord's testimony. However, we should not carry out migrations in the way of a movement. Instead, we need to encourage the saints to receive a burden from the Lord to pray for the spread of His recovery so that the Lord may lead them to migrate to new localities in the move of His Body.” (Witness Lee, The Collected Works of Witness Lee, 1981, vol. 1, p. 384, Living Stream Ministry) This week we continue the series titled, "Migration Within the United States,” with speaking from brother Minoru Chen on the importance of the United States for the Lord's move. These testimonies were given during a gathering for working saints at the 2018 Memorial Day conference in Kansas City, Missouri. The original recording can be found at:  https://livingtohim.com/2018/07/working-saints-fellowship-at-the-2018-memorial-day-conference/

“Now the Lord intends to use the United States as a center for the spread of the church life. I believe that the Lord will preserve the United States for His purpose to spread the church life from this country to many other countries on earth. We need to be burdened and ready to bear the responsibility to migrate for the Lord's move.” (Witness Lee, The Collected Works of Witness Lee, 1971, vol. 2, p. 485, Living Stream Ministry) This week we continue the series titled, "Migration Within the United States,” with testimonies from brothers and sisters on their migration to different parts of North America. These testimonies were given during a gathering for working saints at the 2018 Memorial Day conference in Kansas City, Missouri. The original recording can be found at:  https://livingtohim.com/2018/07/working-saints-fellowship-at-the-2018-memorial-day-conference/

In this installment of Conversations with Close, my guest is the man who, as a writer, editor, and/or publisher, is responsible for many of the most important magic texts published in the late twentieth and early twenty-first centuries. If you have read, studied, enjoyed, and benefitted from books like The Vernon Chronicles, The Collected Works of Alex Elmsley, Carneycopia, the Card College series (in English), The Books of Wonder, and Mnemonica (in English), you can thank Stephen Minch. I was well aware of Stephen's prowess as a writer when we met for the first time in 1992 at an Ibidem convention held at the Old Stone Inn in Niagara-on-the-Lake in Ontario; we hit it off immediately. Although our paths don't cross that often, I always enjoy the time we spend together. He is a fascinating individual. The reason for our interview is the soon-to-be-released book, Flamenco, featuring magic by the maestro, Juan Tamariz (see the review in the Jan 2025 Michael Close Newsletter). The book has been in the pipeline since 1995; Stephen gives us the backstory, plus fascinating reminiscences of Mickey Hades, Doug Henning, Martin Nash, Alex Elmsley, and Tommy Wonder. I think you'll really enjoy listening to one of the true giants in the history of magic publishing.

“The Lord will first recover the proper church life in the United States, and then He will use the United States as a central base from which to spread His recovery throughout the earth. I have no doubt that this is the Lord's recovery. From the beginning, everything related to the Lord's recovery in this country has been miraculous—it has not been man's doing but the Lord's.” (Witness Lee, The Collected Works of Witness Lee, 1968, vol. 2, p. 593, Living Stream Ministry) This week we begin a new series titled, "Migration Within the United States,” with testimonies from brothers and sisters on their migration to different parts of North America. These testimonies were given during a gathering for working saints at the 2018 Memorial Day conference in Kansas City, Missouri. The original recording can be found at:  https://livingtohim.com/2018/07/working-saints-fellowship-at-the-2018-memorial-day-conference/

Volume 2 of the Collected Works, George Whitefieldpublished 1771

Abby, Patrick, and Dan take up a topic that couldn't be more relevant to the contemporary zeitgeist – aggression – as theorized by an unlikely source: the British analyst and pediatrician D.W. Winnicott. What did this beloved and famously gentle figure have to say about aggression, and our taboos and fantasies surrounding it? Where does aggression come from, and what is its function developmentally? And what role can acknowledging feelings of “hate” play in the family, in psychotherapy, and in everyday life? To answer all these questions, this episode – the first in a three-part series – sees Abby, Patrick, and Dan sketch out Winnicott's biography, discuss his theoretical preoccupations, and unpack his approach to therapy, especially with severely distressed children and adults. Close-reading his essay, “The Roots of Aggression” (collected in the The Child, the Family, and the Outside World) they explore how, for Winnicott, the capacity to work with aggression implicates everything from our ability to move in physical space to our feeling deserving of love.Robert Adès et al., editors. “Index of Available Audio Recordings.” The Collected Works of D. W. Winnicott: Volume 12, Appendices and Bibliographies, Oxford University Press, 2016: https://doi.org/10.1093/med:psych/9780190271442.003.0011“Winnicott: The ‘Good-Enough Mother' Radio Broadcasts.” OUPblog, Dec. 2016:https://blog.oup.com/2016/12/winnicott-radio-broadcasts/Brett Kahr, “Winnicott's ‘Anni Horribiles': The Biographical Roots of ‘Hate in the Counter-Transference.'” American Imago, vol. 68, no. 2, 2011, pp. 173–211.D. W. Winnicott, “Hate in the Counter-Transference.” The Journal of Psychotherapy Practice and Research, vol. 3, no. 4, 1994, pp. 348–56.Winnicott, “Roots of Aggression.” The Collected Works of D. W. Winnicott: Volume 7, 1964 - 1966, edited by Lesley Caldwell and Helen Taylor Robinson, Oxford University Press, 2016:https://doi.org/10.1093/med:psych/9780190271398.003.0018Have you noticed that Freud is back? Got questions about psychoanalysis? Or maybe you've traversed the fantasy and lived to tell the tale? Leave us a voicemail! (646) 450-0847 A podcast about psychoanalysis, politics, pop culture, and the ways we suffer now. New episodes on Saturdays. Follow us on social media: Linktree: https://linktr.ee/OrdinaryUnhappiness Twitter: @UnhappinessPod Instagram: @OrdinaryUnhappiness Patreon: patreon.com/OrdinaryUnhappiness Theme song: Formal Chicken - Gnossienne No. 1 https://open.spotify.com/album/2MIIYnbyLqriV3vrpUTxxO Provided by Fruits Music

What does it mean to be called an “upstart crow”? In 1592, a pamphlet titled Greene's groats-worth of witte described William Shakespeare, in the first allusion to him as a playwright, with this phrase, calling him “an upstart crow, beautified with our feathers.” This phrase sparked centuries of speculation. As Darren Freebury-Jones explores in his book, Shakespeare's borrowed feathers: How early modern playwrights shaped the world's greatest writer, Shakespeare's so-called borrowing was neither unusual for the time nor a weakness—it was ultimately a testament to his genius. Exploring how Shakespeare navigated a competitive theatrical scene in early modern England, Freebury-Jones reveals the ways in which Shakespeare reshaped the works of contemporaries like John Lyly, Thomas Kyd, and Christopher Marlowe into something distinctly his own. By combining traditional literary analysis with cutting-edge digital tools, he uncovers echoes of Lyly's witty comedies and gender-bending heroines, Kyd's tragic revenge dramas, and Marlowe's powerful verse in Shakespeare's early plays. This episode sheds light on Shakespeare's role as a responsive and innovative playwright deeply embedded in the early modern theatrical community. Listen in to learn more about the influences on the “upstart crow” as he created a canon of timeless works. Dr Darren Freebury-Jones is author of the monographs: Reading Robert Greene: Recovering Shakespeare's Rival (Routledge), Shakespeare's Tutor: The Influence of Thomas Kyd (Manchester University Press), and Shakespeare's Borrowed Feathers (Manchester University Press). He is Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901 (Boydell and Brewer). He has also investigated the boundaries of John Marston's dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene (Edinburgh University Press). His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers such as The Times, The Guardian, The Telegraph, The Observer, and The Independent as well as BBC Radio. His debut poetry collection, Rambling (Broken Sleep Books), was published in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship.

Collected Works of Matthew Henry Volume 1

Fr. Daniel Sysoev (+2009) addresses the dynamics of men and women, husbands and wives, headcoverings, and the often misunderstood teachings of the Apostle Paul in 1 Corinthians 11. Fr. Daniel draws heavily on St. John Chrysostom and St. Theophan the Recluse in his analysis, offering timeless teachings for all Orthodox Christians. "...he is the image and glory of God; but woman is the glory of man." -St. Paul, 1 Cor 11:7Reading from _Women in the Church: Submission or Equality?_ by Fr. Daniel Sysoev, p. 10-31

Melvyn Bragg and guests discuss the Austrian-British economist Friedrich Hayek's The Road to Serfdom (1944) in which Hayek (1899-1992) warned that the way Britain was running its wartime economy would not work in peacetime and could lead to tyranny. His target was centralised planning, arguing this disempowered individuals and wasted their knowledge, while empowering those ill-suited to run an economy. He was concerned about the support for the perceived success of Soviet centralisation, when he saw this and Fascist systems as two sides of the same coin. When Reader's Digest selectively condensed Hayek's book in 1945, and presented it not so much as a warning against tyranny as a proof against socialism, it became phenomenally influential around the world. With Bruce Caldwell Research Professor of Economics at Duke University and Director of the Center for the History of Political EconomyMelissa Lane The Class of 1943 Professor of Politics at Princeton University and the 50th Professor of Rhetoric at Gresham College in LondonAndBen Jackson Professor of Modern History and fellow of University College at the University of OxfordProducer: Simon TillotsonReading list:Angus Burgin, The Great Persuasion: Reinventing Free Markets Since the Depression (Harvard University Press, 2012)Bruce Caldwell, Hayek's Challenge: An Intellectual Biography of F.A. Hayek (University of Chicago Press, 2004)Bruce Caldwell, ‘The Road to Serfdom After 75 Years' (Journal of Economic Literature 58, 2020)Bruce Caldwell and Hansjoerg Klausinger, Hayek: A Life 1899-1950 (University of Chicago Press, 2022)M. Desai, Marx's Revenge: The Resurgence of Capitalism and the Death of Statist Socialism (Verso, 2002)Edward Feser (ed.), The Cambridge Companion to Hayek (Cambridge University Press, 2006)Andrew Gamble, Hayek: The Iron Cage of Liberty (Polity, 1996)Friedrich Hayek, Collectivist Economic Planning (first published 1935; Ludwig von Mises Institute, 2015), especially ‘The Nature and History of the Problem' and ‘The Present State of the Debate' by Friedrich HayekFriedrich Hayek (ed. Bruce Caldwell), The Road to Serfdom: Text and Documents: The Definitive Edition (first published 1944; Routledge, 2008. Also vol. 2 of The Collected Works of F. A. Hayek, University of Chicago Press, 2007)Friedrich Hayek, The Road to Serfdom: Condensed Version (Institute of Economic Affairs, 2005; The Reader's Digest condensation of the book)Friedrich Hayek, ‘The Use of Knowledge in Society' (American Economic Review, vol. 35, 1945; vol. 15 of The Collected Works of F. A. Hayek, University of Chicago Press) Friedrich Hayek, Individualism and Economic Order (first published 1948; University of Chicago Press, 1996), especially the essays ‘Economics and Knowledge' (1937), ‘Individualism: True and False' (1945), and ‘The Use of Knowledge in Society' (1945)Friedrich Hayek, The Constitution of Liberty (first published 1960; Routledge, 2006) Friedrich Hayek, Law. Legislation and Liberty: A new statement of the liberal principles of justice and political economy (first published 1973 in 3 volumes; single vol. edn, Routledge, 2012)Ben Jackson, ‘Freedom, the Common Good and the Rule of Law: Hayek and Lippmann on Economic Planning' (Journal of the History of Ideas 73, 2012)Robert Leeson (ed.), Hayek: A Collaborative Biography Part I (Palgrave, 2013), especially ‘The Genesis and Reception of The Road to Serfdom' by Melissa LaneIn Our Time is a BBC Studios Audio Production

Richard Osman has one of the most successful literary mystery series of all time: The Thursday Murder Club (just finished filming as a major motion picture too). So why start a new series and why do we love it so much? First, we will read anything this man writes, including his address book, but second, because it's good, AND funny. We ask Richard what inspired him, why he was crazy enough to start a new series and how. Our bookstore this week is Collected Works in Santa Fe. Join us! Books mentioned in this week's episode: We Solve Murders by Richard Osman Thursday Murder Club by Richard Osman The Bullet that Missed by Richard Osman The Man who Died Twice by Richard Osman The Last Devil to Die by Richard Osman Fade Away by Harlan Coben And Then There Were None by Agatha Christie David Copperfield by Charles Dickens Learn more about your ad choices. Visit podcastchoices.com/adchoices

To donate to my PayPal (thank you): https://paypal.me/danieru22?country.x=US&locale.x=en_US This video is on The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume VII (1901-1905): A Case of Hysteria, Three Essays on Sexuality and Other Works. I pull a few quotes from the book and synthesize them with other writings, notably by Nancy McWilliams, Ph.D. Note: Information contained in this video is for educational purposes only and is not intended as a substitute for treatment or consultation with a mental health professional or business consultant.

In today's episode, we are joined by Shakespeare scholar, Darren Freebury-Jones, to discuss his soon-to-be-released book, Shakespeare's Borrowed Feathers, which explores how Shakespeare was influenced by his fellow contemporary dramatists like John Lyly, Ben Johnson, and Christopher Marlowe, and how he also influenced their work.  We'll discuss Darren's research process and the methods he used to analyze the works of Shakespeare and Shakespeare's contemporaries. We will also learn from Darren what this research reveals about the playwrighting and theatrical community of early modern London, and what readers and theatre-makers can learn from having a broader knowledge of early modern drama beyond Shakespeare.  About Darren Freebury-Jones Dr Darren Freebury-Jones is author of the monographs: Reading Robert Greene: Recovering Shakespeare's Rival (Routledge), Shakespeare's Tutor: The Influence of Thomas Kyd (Manchester University Press), and Shakespeare's Borrowed Feathers (Manchester University Press). He is Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901 (Boydell and Brewer). He has also investigated the boundaries of John Marston's dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene (Edinburgh University Press). His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers such as The Times, The Guardian, The Telegraph, The Observer, and The Independent as well as BBC Radio. His debut poetry collection, Rambling (Broken Sleep Books), was published in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship. About Shakespeare's Borrowed Feathers  A fascinating book exploring the early modern authors who helped to shape Shakespeare's beloved plays. Shakespeare's plays have influenced generations of writers, but who were the early modern playwrights who influenced him? Using the latest techniques in textual analysis Shakespeare's borrowed feathers offers a fresh look at William Shakespeare and reveals the influence of a community of playwrights that shaped his work. This compelling book argues that we need to see early modern drama as a communal enterprise, with playwrights borrowing from and adapting one another's work. From John Lyly's wit to the collaborative genius of John Fletcher, to Christopher Marlowe and Ben Jonson, Shakespeare's borrowed feathers offers fresh insights into Shakespeare's artistic development and shows us new ways of looking at the masterpieces that have enchanted audiences for centuries. Order Shakespeare's Borrowed Feathers through bookshop.org (Note: this is an affiliate link, which means by clicking and ordering, you'll get a great book and support the podcast and local bookshops) Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, sending us a virtual tip via our tipjar, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod. Works referenced:  Freebury-Jones, Darren. Shakespeare's Borrowed Feathers. Manchester University Press, 2024.    

The phrases "evil" and "sociopathic" (not to mention "indecent") were some of the responses to a passing joke about Jordan Peterson's crying in the episode on his 2005 manifesto "Peacemaking Among Higher Order Primates". In this episode we explore why some people find it funny to laugh at a grown man crying when so much work has been done to destigmatise male shows of vulnerability. We look at the three explanations for Peterson's crying and who believes which explanation and which justifies memes and jokes. ____________________

As gay men, we know that many have paved the way for us to enjoy our lives as they are today. But the fight isn't over, and it's always humbling and inspiring to revisit history and the arts that got us here. Today we are joined by writer Christopher Adams who invites to revisit, the re-release of Fritz Peter's Finistère a trailblazing, 1951 published LGBTQ+ novel that is more than just a commentary on homosexuality and forbidden love. It highlights culture clash, class conflict, divorce, child-rearing, and the gaps in the struggle of homosexuality that can provoke life's greatest pains. As such, Finistère is a transcendent novel that outlasts its historical moment and will appeal to all lovers of great literature. In this episode: Review how the past gay life informs our present gay life Uncover how the struggles have not really changed that much Compare the resilience of the 1950's with the resilience we need today About Christopher CHRISTOPHER ADAMS is a British-American playwright and screenwriter based in the UK. His plays include Cooked (Bread & Roses Theatre, 2015), Antigone (Actors of Dionysus, 2017), and Tumulus (VAULT, 2018 | Soho Theatre, 2019). He currently has a film project in development with Hirsch Giovanni. In his academic life, Christopher holds a PhD in mid-twentieth century queer publishing history from the Institute of English Studies, University of London. He is a co-editor of The Collected Works of John Ford: Volumes II & III (OUP). He is a U.S. Fulbright Scholar. Connect With Christopher Website Instagram Hey Guys, Check This Out! Are you a guy who keeps struggling to do that thing? You know the thing you keep telling yourself and others you're going to do, but never do? Then it's time to get real and figure out why....

A selection of key points for prayer and meditation from St Teresa of Avila's teachings. Excerpts taken from numerous sources, including: "The Way of Perfection", "Collected Works" and "Interior Castle." St Teresa of Ávila (March 28, 1515 – October 4, 1582) was a prominent Carmelite nun and Spanish mystic. St Teresa had many mystical experiences she tried to reflect in poems. She took an active role in the Carmelite order and was later canonised a saint by the Roman Catholic church.

Episode 126:A conversation with Dr. Darren Freebury-Jones, author of 'Shakespeare's Borrowed Feathers' about the influence of early modern playwrights on Shakespeare where we talk about Marlowe, Kyd, Greene and others and the role of data analytics in modern author attribution studies.Dr Darren Freebury-Jones is author of several works on early modern theatre including: Reading Robert Greene: Recovering Shakespeare's Rival Shakespeare's Tutor: The Influence of Thomas Kydand his latest work Shakespeare's Borrowed Feathers, will be published in October 2024.Darren is Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901. He has also investigated the boundaries of John Marston's dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene published by Edinburgh University Press. His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers in the UK and on BBC Radio. His debut poetry collection, Rambling published by Broken Sleep Books, was published in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship. Links to 'Shakespeare's Borrowed Feathers'https://manchesteruniversitypress.co.uk/9781526177322/shakespeares-borrowed-feathers/https://www.amazon.com/Shakespeares-borrowed-feathers-playwrights-greatest/dp/1526177323/ref=sr_1_1?crid=94S4BGF6FW1K&dib=eyJ2IjoiMSJ9.pfj-18kdWvHO-sbFvYC3sw.Bx51-kXl5CIuz42hJHAOTCZs4KerccNu9A8tK9wC0Tc&dib_tag=se&keywords=shakespeare%27s+borrowed+feathers&qid=1720274180&sprefix=shakespeares+borrowed+feathers%2Caps%2C163&sr=8-1Link to Darren's on-line talk on Robert Greene 22nd July 2024 in aid of the Rose Playhousehttps://www.trybooking.com/uk/events/landing/63856?Support the podcast at:www.thehistoryofeuropeantheatre.comwww.ko-fi.com/thoetpwww.patreon.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

http://www.copperplatemailorder.com Copperplate Time 476                                presented by Alan O'Leary                             www.copperplatemailorder.com                             1. Bothy Band:  Green Groves/Flowers of Red Hill.   After Hours 2. Lunasa:    Union St Session/Boys of 25/Cabin in the Woods.               Live in Kyoto 3. Dennis Cahill & Martin Hayes:               Lane to the Glen/Fahy's.   Welcome Here Again 4. Le Chéile:  Connemara Jig/Over the Isles to   America/Fahy's/Buckley's Fancy.  Lord Mayo 5. Rita Gallagher: Erin's Green Shore.  The Heathery Hills 6. Liz & Yvonne Kane:    Policeman's Request/Julia Delaney's/13 Arches.  Side by Side  7. Derek Hickey & MacDara ÓFaoláin:                   Fraher's/Garret Barry's.   Rogha Raelach Vol 1 8. John McEvoy & John Wynne:           Sound of Sleat/Humours of Cappa/Maid in the Cherry Tree.               The Dancer at the Fair 9. Paul Brennan:  London Town.  Airs & Graces 10. John McKenna: Dever the Dancer/Connie the Soldier. 11. Seán O'Driscoll:Smoke & Mirrors/Cloak & Dagger.              So There You Go 12. Sharon Newton Creasey:      The High Level/The Newcastle/President Garfield's.   Auchensail 13. Dan Brouder & Angelina Carberry: Laughing Waters/Sean Ryan's Dream/The Ballybunnion Reel.    Back in Time 14. Leonard Barry: The Cauliflower/Seanduine Dóite/A Tailor I Am. New Road                             15. John McEvoy & John Wynne:    Last Train From Loughrea/Ned Coleman's. The Dancer at the Fair 16. Dan Carroll & Friends:    Gweebarra Shore.    Bold Reynold 17. Richard Thompson:  Beeswing.   Best of Capitol Years 18. Teddy & Linda Thompson:              Those Damn Roches. Proxy Music 19. The Roches: Hammond Song.   Collected Works 20. Bothy Band:  Green Groves/Flowers of Red Hill.   After Hours

“The Lord will search us, purge us, cleanse us, anoint us, and speak to us in our morning watch. He will accomplish much with us in a living way. Our contact with the Lord depends on our cooperation with Him. We cooperate with Him by loving Him, consecrating ourselves to Him, and standing on the ground of our consecration to contact Him day by day. The best time to read the Word and pray in a living way is early in the morning.” (Witness Lee, The Collected Works of Witness Lee, 1961–1962, vol. 4, p. 29, Living Stream Ministry) This week we continue the series titled, “Time with the Lord,” with testimonies from brothers and sisters on their fresh experiences with the Lord. These testimonies were given during a gathering for working saints at the 2016 Thanksgiving Day conference in San Jose, California. The original recording can be found at: https://livingtohim.com/2016/11/working-saints-fellowship-at-the-2016-thanksgiving-day-conference/

To understand modern India, we must understand the history of Hindutva -- and we must wrestle with Savarkar. Vinayak Chaturvedi joins Amit Varma in episode 385 of The Seen and the Unseen to discuss his life and work as a historian -- and the importance of history in shaping the present moment. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) (This episode was recorded in March, 2024.) Also check out: 1. Vinayak Chaturvedi at UC Irvine and Amazon. 2. Hindutva and Violence: VD Savarkar and the Politics of History -- Vinayak Chaturvedi. 3. Peasant Pasts – History and Memory in Western India -- Vinayak Chaturvedi. 4. Imaginary Homelands -- Salman Rushdie. 5. The Road and No Country for Old Men -- Cormac McCarthy. 6. No Country for Old Men -- Joel and Ethan Coen. 7. Wanderers, Kings, Merchants: The Story of India through Its Languages — Peggy Mohan. 8. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 9. Partha Chatterjee on Amazon, Wikipedia and Columbia University. 10. The Egg -- Andy Weir. 11. Deepak VS and the Man Behind His Face -- Episode 373 of The Seen and the Unseen. 12. The Incredible Insights of Timur Kuran -- Episode 349 of The Seen and the Unseen. 13. Private Truths, Public Lies — Timur Kuran. 14. The Long Divergence — Timur Kuran. 15. Some plagiarism complaints against Claudine Gay: 1, 2, 3, 4. 16. The Exquisite Irony of Claudine Gay's Downfall -- Glenn Loury with John McWhorter. 17. Why Did Harvard Cancel Its Best Black Professor? -- Documentary by Rob Montz on the destruction of Roland Fryer. 18. “A White Male Would Probably Already Be Gone” -- Carol Swain interviewed by Christopher Rufo. 19. How one hearing brought down two Ivy League presidents -- Sareen Habeshian. 20. Carlo Ginzburg and Christopher Bayly. 21. The Birth of the Modern World -- CA Bayly. 22. Recovering Liberties: Indian Thought in the Age of Liberalism and Empire -- CA Bayly. 23. The Indian Ideology -- Perry Anderson. 24. Event, Metaphor, Memory : Chauri Chaura -- Shahid Amin. 25. Peasant Intellectuals: Anthropology and History in Tanzania -- Steven Feierman. 26. Elementary Aspects of Peasant Insurgency in Colonial India -- Ranajit Guha. 27. Maps Are Magic -- Episode 44 of Everything is Everything. 28. On Exactitude in Science — Jorge Luis Borges. 29. Rulers, Townsmen and Bazaars -- CA Bayly. 30. The Cheese and the Worms -- Carlo Ginzburg. 31. From Peasant Pasts to Hindutva Futures? -- Vinayak Chaturvedi. 32. Gita Press and the Making of Hindu India — Akshaya Mukul. 33. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 34. The Life and Times of Vir Sanghvi -- Episode 236 of The Seen and the Unseen. 35. A Rude Life — Vir Sanghvi. 36. The BJP Before Modi — Episode 202 of The Seen and the Unseen (w Vinay Sitapati). 37. The Importance of the 1991 Reforms — Episode 237 of The Seen and the Unseen (w Shruti Rajagopalan and Ajay Shah). 38. Essentials Of Hindutva -- VD Savarkar. 39. Farewell Waltz -- Milan Kundera. 40. A Zone of Engagement -- Perry Anderson. 41. Spectrum: From Right to Left in the World of Ideas -- Perry Anderson. 42. BR Ambedkar's interview on BBC from 1955. 43. Hindutva before Hindutva: Selected Writings and Discourses of Chandranath Basu in Translation -- Edited by Amiya Sen. 44. The Ferment of Our Founders — Episode 272 of The Seen and the Unseen (w Shruti Kapila). 45. The Many Shades of George Fernandes -- Episode 327 of The Seen and the Unseen. 46. The Life and Times of George Fernandes — Rahul Ramagundam. 47. Hind Swaraj — MK Gandhi. 48. Annihilation of Caste — BR Ambedkar. 49. Understanding Gandhi: Part 1: Mohandas — Episode 104 of The Seen and the Unseen (w Ram Guha). 50. Understanding Gandhi: Part 2: Mahatma — Episode 105 of The Seen and the Unseen (w Ram Guha). 51. The Indian War of Independence: 1857 -- VD Savarkar. 52. Savarkar: The True Story of the Father of Hindutva -- Vaibhav Purandare. 53. The Populist Playbook -- Episode 42 of Everything is Everything. 54. The Intellectual Foundations of Hindutva — Episode 115 of The Seen and the Unseen (w Aakar Patel). 55. Hindu-Padpaadshahi (Hindi Edition) -- VD Savarkar. 56. Veer Savarkar -- Dhananjay Keer. 57.  GS Sardesai, VK Rajwade and Jadunath Sarkar. 58. The Collected Works of MK Gandhi and BR Ambedkar. 59. Swapna Liddle and the Many Shades of Delhi — Episode 367 of The Seen and the Unseen. 60. Episodes of the Seen and the Unseen with Srinath Raghavan: 1, 2, 3, 4, 5. 61.  Episodes of the Seen and the Unseen with Manu Pillai: 1, 2, 3, 4. 62. Episodes of the Seen and the Unseen with Ramachandra Guha: 1, 2, 3, 4, 5, 6. 63. Episodes of The Seen and the Unseen with Ira Mukhoty, Parvati Sharma and Rana Safvi. 64. John McEnroe plus Anyone -- Edward Said. 65. Distinction: A Social Critique of the Judgement of Taste -- Pierre Bourdieu. 66. Lendl, Becker, McEnroe, & Wilander interviewed in the Tennis Legends Podcast. 67. Ben Böhmer, Sultan+Shepard, Nora En Pure, U2 and New Order on Spotify. 68. The Zone of Interest -- Jonathan Glazer. 69. Oldboy -- Park Chan-wook. 70. Burning -- Lee Chang-dong. 71. Memories of Murder -- Bong Joon-ho. 72. Return to Seoul -- Davy Chou. 73. Past Lives -- Celine Song. 74. Monster -- Kore-eda Hirokazu. 75. The Wind From Far Away -- Amit Varma (on Monster among other things). 76. Shoplifters -- Hirokazu Kore-eda. 77. Nobody Knows --   Hirokazu Kore-eda. 78. Broker --   Hirokazu Kore-eda. 79. A Death in the Family -- Book 1 of Karl Ove Knausgaard's A Struggle. 80. In Search Of Lost Time -- Marcel Proust. 81. My Saga -- Karl Ove Knausgaard's essay for NYT. Amit's newsletter is active again. Subscribe right away to The India Uncut Newsletter! It's free! Amit Varma and Ajay Shah have launched a new video podcast. Check out Everything is Everything on YouTube. Check out Amit's online course, The Art of Clear Writing. Episode art: ‘The Historian' by Simahina.

“A person who knows how to work will always seek to perfect others. This does not mean that he does less work. Rather, he works more than the rest of the saints, because most of his work is to perfect the saints. After he has served for three to five years, the saints can do and are doing whatever he can do. This is the way for us to build up the church.” (Witness Lee, The Collected Works of Witness Lee, 1958, vol. 1, p. 131, Living Stream Ministry) This week we continue the series titled, “The Goal of Our Christian Life,” with speaking from brother Andrew Yu on the importance of perfecting others for the Lord's work. This is part three of message six from a conference hosted by the church in New York City in November 2015. The original recording can be found at:  https://livingtohim.com/2016/02/conference-in-new-york-with-andrew-yu-november-2015/

We are joined by Jungian analyst Ann Yeoman, Ph.D. in Devon, England and Professor Kevin Lu, Ph.D. at the University of London to discuss their new book, 'C.G. Jung's Collected Works: The Basics,' scheduled to be published by Routledge on March 18th, 2024.

In our spiritual experience there is a beginning, a course, and an ending, after which we experience another beginning with another course and another ending. This cycle repeats itself, and each repetition takes us forward. The beginning, course, and ending are a spiritual metabolism. This is also a law of revival. Every new beginning is a new revival and is followed by a course. When the course reaches its fullness, the experiences in that stage come to an end. Then another beginning will ensue with another course and another ending. This is the cycle of revival. (Witness Lee, The Collected Works of Witness Lee, 1960, vol. 2, p. 384, Living Stream Ministry) This week we conclude the series titled, “The New Revival,” with testimonies that followed brother Andrew Yu's speaking. This is part three of message five from a conference hosted by the church in New York City in November 2015. The original recording can be found at:  https://livingtohim.com/2016/02/conference-in-new-york-with-andrew-yu-november-2015/