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Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Virginia Woolf (Londres, 25 de enero de 1882-28 de marzo de 1941). Es la autora de 'La señora Dalloway', 'Orlando', 'Las olas' o 'Una habitación propia'. 'Al faro' se publicó en 1927. 

„Az éjszaka álmomban megint Manderleyben jártam” – ezzel a baljós hangulatú mondattal kezdődik Daphne du Maurier eredetileg 1938-ban megjelent klasszikusa, amely azonnali sikert aratott, azután plágiumbotrányt kavart, majd adaptációk sorát indította útjára, 2019-ben a BBC pedig beválogatta a 100 leginspirálóbb regény listájára. A nő hétszer sorozat májusi olvasmánya A Manderley-ház asszonya.   A nő hétszer projekt Lány, feleség, anya, szerető, szingli, karrierista, elvált, özvegy, rebellis, alkotó, múzsa. Hányféle szerepet tölthet be egy nő élete során, és mennyiben rajta múlik mindez? Hogyan változnak lehetőségei attól függően, hogy mikor és hova született? És mit árul el mindez a környezetéről, a társadalmáról, illetve a korról, amelyben él és mozog? A nő hétszer című sorozatban Ruff Orsolya és Szeder Kata hét brit klasszikus, illetve kortárs női szerző regényén keresztül beszélget női sorsokról, választásokról, lehetőségekről – és azok korlátairól. A sorozathoz kapcsolódva könyvklub is indul, aminek a budapesti ISON ad otthont. A nő hétszer témái, olvasmányai, illetve a könyvklubos találkozók időpontjai:   február 25. – Maggie O'Farrell: Hamnet március 25. – Virginia Woolf: Mrs. Dalloway április 22. – Mary Westmacott / Agatha Christie: Távol telt tőled tavaszom május 27. – Daphne du Maurier: A Manderley-ház asszonya szeptember 15. – Jeanette Winterson: Nem a narancs az egyetlen gyümölcs október 13. – Helen Fielding: Bridget Jones naplója november 10. – Zadie Smith: NW A nő hétszer a British Council, a KultúrFlipper és az ISON közös sorozata a budapesti Brit Nagykövetség és a Könyves Magazin támogatásával valósul meg.

In August 1923, halfway through writing ‘Mrs Dalloway', Virginia Woolf recorded a new idea in her diary: she would ‘dig out beautiful caves' behind her characters, and ‘the caves shall connect, and each comes to daylight at the present moment'. This was Woolf's ‘tunnelling process', a transformative approach that led to the novel's celebrated modernist innovations, with its depiction a group of circulating consciousnesses in London over the course of one day. But underlying these innovations are the techniques of 19th-century realism, and in this episode James Wood explores what Woolf owes to Dickens and Flaubert, and the ways she breaks down these certainties to arrive at the ultimate unknowability of character. Non-subscribers will only hear an extract from the episode. To listen in full, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applecrwaor Other podcast apps: https://lrb.me/closereadingswaor Read more the LRB: Jacqueline Rose on Woolf: https://lrb.me/realismep601 Gillian Beer on Woolf‘s essays: https://lrb.me/realismep602 David Trotter on ‘Mrs Dalloway': https://lrb.me/realismep603 Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep. 396: Eric Hynes on Cannes 2026: Club Kid, The Beloved (El Ser Querido), Clarissa, Propeller One-Way Night Coach Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. With the 2026 Cannes Film Festival in full effect, I sat down again with Eric Hynes, critic and director of film curation and programming at the Jacob Burns Film Center. First we discussed two very different Competition titles about parent-child entanglements: Club Kid (directed, written by, and starring Jordan Firstman) and The Beloved (aka El Ser Querido, directed by Rodrigo Sorogoyen, starring Javier Bardem and Victoria Luengo). Then we exchanged films that only one of us had seen: Clarissa, from Directors' Fortnight, a Mrs. Dalloway adaptation directed by Arie & Chuko Esiri; and then John Travolta's directorial debut, Propeller One-Way Night Coach. Subscribe/follow for more on the latest movies premiering at Cannes! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Pénteken este vesszük fel a fonalat a cannes-i gonzó podcast újabb részében. Az estét Steven Soderbergh ígéretes tűnő John Lennon-dokumentumfilmjével kezdtük, amit sajnos sikerült rendesen hazavágni azzal, hogy minden idők egyik legjobb interjúját teletűzdelték ízléstelen, ocsmány AI-generált videóval. Aztán megnéztük Léa Seydoux és a Fűző osztrák rendezőjének újdonságát, a Gentle Monstert. A szombat reggelt a 195 perces Hamagucsi-opusszal indítottuk, utána beültünk a Mrs. Dalloway nigériai verziójára, majd Koreeda robotgyerekes filmjével zártuk ezt a nem túl fényes szériát.Filmek, amikről szó esik az adásban:John Lennon: The Last Interview (Steven Soderbergh)Gentle Monster (Marie Kreutzer)All of a Sudden (Ryûsuke Hamaguchi)Clarissa (Arie Esiri & Chuko Esiri)Sheep in the Box (Hirokazu Kore-eda)⁠⁠Itt tudjátok bekövetni a playlistünket⁠⁠⁠, amin azokat a szuper számokat gyűjtjük, amiket az idei cannes-i filmekben hallunk. Rajta van az a német hiphopszám is, amit a rendőrnő mindig hallgat a kocsiban a Gentle Monsterben!Készítette: Varga Ferenc és Onozó RóbertZene: Hegyi OlivérJó szórakozást az adáshoz, és ha tetszik, kérlek⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠támogasd a Filmklub podcastot a Patreonon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, egy dollár is nagy segítség! Ha a Patreon túl macerás, támogathatod a podcastot a PayPalon (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ferencv1976⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) vagy a Revoluton (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ferenc7drh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) keresztül is. Nagyon köszönöm!

Três mulheres, três tempos… Neste episódio, Gabi e Andreia atravessam diferentes décadas para acompanhar histórias que se entrelaçam pela literatura, pela memória e pelos silêncios do cotidiano. Sim, estamos falando de As Horas, de Michael Cunningham: o romance que reinventa Mrs. Dalloway e de sua adaptação cinematográfica dirigida por Stephen Daldry, que transforma essa estrutura fragmentada em uma experiência. Entre uma escritora em processo criativo, uma dona de casa sufocada por sua própria vida e uma editora revisitando o passado, discutimos como o filme traduz a sensibilidade do livro e amplia suas camadas de dor, desejo e conexão — sempre orbitando a presença marcante de Virginia Woolf, cuja obra pulsa através de todas essas narrativas. Então, faça uma pausa no tempo, prepare um café e venha ouvir!

A második világháború idején mindössze három nap alatt írta meg Agatha Christie a Távol telt tőlem tavaszom című regényét, amely Mary Westmacott álnév alatt jelent meg 1944-ben.  A kötet egy patthelyzetbe került középkorú nő belső utazását követi nyomon, aki pár napos sivatagi magányában kénytelen szembenézni mindazzal, amit addig magáról, a múltjáról és a családjáról gondolt. Christie a detektívregényekből megszokott módszerrel apró villanásokból, elharapott mondatokból, elsőre jelentéktelennek tűnő mozzanatokból festi fel a teljes képet. A nő hétszer projekt Lány, feleség, anya, szerető, szingli, karrierista, elvált, özvegy, rebellis, alkotó, múzsa. Hányféle szerepet tölthet be egy nő élete során, és mennyiben rajta múlik mindez? Hogyan változnak lehetőségei attól függően, hogy mikor és hova született? És mit árul el mindez a környezetéről, a társadalmáról, illetve a korról, amelyben él és mozog? A nő hétszer című sorozatban Ruff Orsolya és Szeder Kata hét brit klasszikus, illetve kortárs női szerző regényén keresztül beszélget női sorsokról, választásokról, lehetőségekről – és azok korlátairól. A sorozathoz kapcsolódva könyvklub is indul, aminek a budapesti ISON ad otthont. A nő hétszer témái, olvasmányai, illetve a könyvklubos találkozók időpontjai: február 25. – Maggie O'Farrell: Hamnet március 25. – Virginia Woolf: Mrs. Dalloway április 22. – Mary Westmacott / Agatha Christie: Távol telt tőled tavaszom május 27. – Daphne du Maurier: A Manderley-ház asszonya szeptember 15. – Jeanette Winterson: Nem a narancs az egyetlen gyümölcs október 13. – Helen Fielding: Bridget Jones naplója november 10. – Zadie Smith: NW A nő hétszer a British Council, a KultúrFlipper és az ISON közös sorozata a budapesti Brit Nagykövetség és a Könyves Magazin támogatásával valósul meg.

O que pensar antes de ser anfitriã de uma festa? Neste episódio, Gabi e Andreia caminham pelas ruas de Londres ao longo de um único dia, acompanhando memórias, escolhas e silêncios que ecoam no tempo. Sim, estamos falando de Mrs. Dalloway, de Virginia Woolf — um dos romances mais sensíveis e inovadores da literatura moderna — e de sua adaptação cinematográfica de 1997, dirigida por Marleen Gorris. Como o filme traduz a interioridade da escrita de Woolf e preserva a beleza fragmentada de seus personagens? Venha tentar descobrir! Comentados no episódio Mrs Dalloway, romance de Virginia Woolf Mrs Dalloway (1997 ‧ Romance/Drama ‧ 1h 37m) dirigido por Marleen Gorris Um Teto Todo Seu, ensaio de Virginia Woolf Profissões Para Mulheres e Outros Artigos Feministas, ensaios de Virginia Woolf Possessão, romance de A. S. Byatt Possessão (2002 ‧ Romance/Thriller ‧ 1h 43m), dirigido por Neil LaBute The Crown (2016 ‧ História ‧ 6 temporadas) Downton Abbey (2010 ‧ Drama ‧ 6 temporadas)

“Time won't fly, it's like I'm paralyzed by it.” What happens when you try to pin down something as slippery as time itself? This week's episode gets philosophical as we explore how Taylor Swift uses time as a literary device—as narrative structure, as metaphor, as a way to measure how much we've changed. From flashbacks and tense shifts to nostalgia and the ache of looking back, we unpack how time shapes Taylor's storytelling. Maansi traces the dramatic irony of “15” (Fearless, 2008), Jenn explores how “Timeless” (Speak Now (Taylor's Version), 2023) removes time to reveal the purest form of love, and Jodi breaks down the stream-of-consciousness time travel of “All Too Well” (Red, 2012). Grab your clocks, calendars, and time-turners—class is in session. Subscribe for free to get episode updates or upgrade to paid to get our After School premium content: aptaylorswift.substack.com/subscribe After School subscribers get monthly bonus episodes, exclusive content, and early access to help shape future topics! Stay up to date at aptaylorswift.com Discover all our book recs & episodes: https://swift-recs-explorer.lovable.app/ Mentioned in this episode: Memento (2000 film) The Night Circus, Erin Morgenstern Wuthering Heights, Emily Brontë Mrs. Dalloway, Virginia Woolf Station Eleven, Emily St. John Mandel Inside Out (2015 film) The Merge, [Author] StoryGraph Atonement, Ian McEwan The Ministry of Time, Kaliane Bradley Outlander, Diana Gabaldon The Unmaking of June Farrow, Adrienne Young The Good Place (Jeremy Bearimy)   ***   Episode Highlights: [01:12] Time as a literary device: structure, theme, and symbolism [08:52] “Fifteen,” Fearless [20:23] “Timeless,” Speak Now (Taylor's Version)   [31:39] “All Too Well,” (Red)   Follow AP Taylor Swift podcast on social! TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree → linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm → tinyurl.com/aptslibro   Contact us at aptaylorswift@gmail.com Affiliate Codes: Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off! Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

Virginia Woolf 1925-ös klasszikusa, a Mrs. Dalloway korlenyomat az első világháború utáni világról, egy intenzív átalakulásban lévő társadalomról, amely tele van sérelmekkel és sérülésekkel, eszmékkel, dilemmákkal, ki nem mondott vagy épp elfojtani illő érzésekkel.  A könyv egyetlen londoni nap történetét meséli el, de közben hatalmas távokat járunk be térben és időben is: a regény gondolattöredékekből, emlékfoszlányokból, benyomásokból, álomképekből épít fel egy olyan valóságot, amely valójában minden embernek sajátja. A nő hétszer projekt Lány, feleség, anya, szerető, szingli, karrierista, elvált, özvegy, rebellis, alkotó, múzsa. Hányféle szerepet tölthet be egy nő élete során, és mennyiben rajta múlik mindez? Hogyan változnak lehetőségei attól függően, hogy mikor és hova született? És mit árul el mindez a környezetéről, a társadalmáról, illetve a korról, amelyben él és mozog? A nő hétszer című sorozatban Ruff Orsolya és Szeder Kata hét brit klasszikus, illetve kortárs női szerző regényén keresztül beszélget női sorsokról, választásokról, lehetőségekről – és azok korlátairól. A sorozathoz kapcsolódva könyvklub is indul, aminek a budapesti ISON ad otthont. A nő hétszer témái, olvasmányai, illetve a könyvklubos találkozók időpontjai: február 25. – Maggie O'Farrell: Hamnet március 25. – Virginia Woolf: Mrs. Dalloway április 22. – Mary Westmacott / Agatha Christie: Távol telt tőled tavaszom május 27. – Daphne du Maurier: A Manderley-ház asszonya szeptember 15. – Jeanette Winterson: Nem a narancs az egyetlen gyümölcs október 13. – Helen Fielding: Bridget Jones naplója november 10. – Zadie Smith: NW A nő hétszer a British Council, a KultúrFlipper és az ISON közös sorozata a budapesti Brit Nagykövetség és a Könyves Magazin támogatásával valósul meg.

William Shakespeare világába kalauzol Maggie O'Farrell Hamnetje, de mit árul el a regény a női szerepekről, a családi kötelékekről, nő és férfi viszonyáról? Lány, feleség, anya, szerető, szingli, karrierista, elvált, özvegy, rebellis, alkotó, múzsa. Hányféle szerepet tölthet be egy nő élete során, és mennyiben rajta múlik mindez? Hogyan változnak lehetőségei attól függően, hogy mikor és hova született? És mit árul el mindez a környezetéről, a társadalmáról, illetve a korról, amelyben él és mozog? A nő hétszer című sorozatban Ruff Orsolya és Szeder Kata hét brit klasszikus, illetve kortárs női szerző regényén keresztül beszélget női sorsokról, választásokról, lehetőségekről – és azok korlátairól. A sorozathoz kapcsolódva könyvklub is indul, aminek a budapesti ISON ad otthont. A nő hétszer témái, olvasmányai, illetve a könyvklubos találkozók időpontjai: • február 25. – Maggie O'Farrell: Hamnet • március 25. – Virginia Woolf: Mrs. Dalloway • április 22. – Mary Westmacott / Agatha Christie: Távol telt tőled tavaszom • május 27. – Daphne du Maurier: A Manderley-ház asszonya • szeptember 15. – Jeanette Winterson: Nem a narancs az egyetlen gyümölcs • október 13. – Helen Fielding: Bridget Jones naplója • november 10. – Zadie Smith: NW A nő hétszer a British Council, a KultúrFlipper és az ISON közös sorozata a budapesti Brit Nagykövetség és a Könyves Magazin támogatásával valósul meg.

Esta semana venimos atrapados Arrancamos con sidney Prescott que vive atrapada en un bucle de gente que no para de intentar matarla. La pobre no coge respiro 30 años después de Scream nos llega Scream 7 a los cines. De ahí nos encontramos con Agnes que vive atrapada en la universidad donde estudió luchando por una plaza de profesora a pesar de tener que desenterrar los fantasmas de su pasado en Sorry Baby. Atrapada por la IA está la protagonista de “La ResidencIA” o en su original DAlloway, una escritora que recurrirá a la inteligencia artificial para terminar su bloqueo aunque ésta parece tener conciencia propia. Terminamos en casa en Filmin donde Dj Ahmed nos sirve la música y el drama en esta cinta de Macedonia. y shelby oaks, que Rocio ha ido a verla porque es la nueva musa del cine de terror Todo ello, como siempre, sin spoilers.

In this week's episode, Kayla and Taylor discuss Virginia Woolf's 1925 novel Mrs. Dalloway. Topics include the best way to read this book, horn rimmed glasses and the people who wear them, and deep dives into the main characters. Plus, we talk about the shows we are currently watching (Heated Rivalry, The Pitt, and Derry Girls).This week's drink: the Virginia Woolf via BuzzworthyINGREDIENTS 2 shots oaked amber rum¾ shot peach syrup¾ shot fresh lemon juiceMint to garnishINSTRUCTIONS:Add all ingredients to a shaker filled with ice and shake vigorouslyStrain through a fine strainer into a Nick and Nora glassGently press mint with fingers to release oils, and garnishCurrent/recommended reads, links, etc.:HEATED RIVALRY!!!Follow us on Instagram @literatureandlibationspod.You can email us at literatureandlibationspod@gmail.com.Please leave us a review and/or rating! It really helps others find our podcast…and it makes us happy!Purchase books via bookshop.org or check them out from your local public library. Join us next time as we read The Hours by Michael Cunningham

In this episode of Biographers in Conversation, Mark Hussey chats with Gabriella Kelly-Davies about Mrs Dalloway: Biography of a Novel. Here's what you'll discover in this episode: Mrs Dalloway: Biography of a Novel was published exactly 100 years after Virginia Woolf's famous novel appeared. Why Mark Hussey portrayed Virginia Woolf's novel Mrs Dalloway as a living subject with its own life story. Why Mrs Dalloway: Biography of a Novel is considered as an object biography. Mrs Dalloway: Biography of a Novel follows Woolf's story chronologically from its first creative stirrings in her diary through conception, writing, drafting, revision, publication, early reviews, and onward throughout its extraordinary afterlife, which continues today. How Woolf's earliest notes from 6 October 1922 reveal she knew from the outset that ‘all must converge upon the party at the end'. How Mrs Dalloway inspired creative works such as novels set on a single day, films, an opera, plays, cartoons, memes, tattoos and songs.

In this week's episode, Kayla and Taylor discuss Madeline L'Engle's 1962 classic A Wrinkle in Time Topics include Disney Channel classic Johnny Tsunami, the idiocy of teenage boys, there's Jesus in my science!, the clunkiness of the plot, how the series continues, realizing your parents don't have all the answers, Meg as a great example for young girls, and the power of love. Plus, we go on a slight tangent about the state of Disney animated movies today.This week's drink: Maple Orange Spritz via Thirsty TalesINGREDIENTS 2 fresh oranges, juiced 2 tablespoons of maple syrup½ cup of sparkling waterIce cubes for servingOrange slices for garnishINSTRUCTIONS:Juice the orangesStir the juice and maple syrup in a glassAdd the ice cubes and sparkling water, stirring gentlyGarnish with orange slices and serve immediatelyCurrent/recommended reads, links, etc.:Project Hail Mary by Andy WeirThe Serviceberry: Abundance and Reciprocity in the Natural World by Robin Wall Kimmerer Follow us on Instagram @literatureandlibationspod.You can email us at literatureandlibationspod@gmail.com.Please leave us a review and/or rating! It really helps others find our podcast…and it makes us happy!Purchase books via bookshop.org or check them out from your local public library. Join us next time as we read Mrs. Dalloway by Virginia Woolf

15 minutos a cada 15 dias.No episódio de hoje, Edmara Galvão comenta sobre a pressão do agronegócio na alteração de em materiais escolares, a adaptação de "O Museu da Inocência", de Orhan Pamuk, com comentário de Cecilia Garcia Marcon, traz curiosidades sobre a história da prensa de Gutenberg, comenta sobre a antologia "Inesquecíveis: quatro séculos de poetas brasileiras", organizada por Ana Rüsche e Lubi Prates, traz o lançamento de um quadrinho que é uma antologia de narrativas indígenas, anuncia o lançamento do documentário inspirado em "A Queda do Céu" no serviço de streaming e comenta sobre a participação de Wagner Moura em adaptação de "Mrs. Dalloway".O episódio também traz uma Resenha Relâmpago da ouvinte Lydianne Aquino sobre "Cartas a uma negra", de Françoise Ega.---RecebidosInesquecíveis: quatro séculos de poetas brasileiras, org. Ana Rüsche e Lubi Prates - Editora Bazar do TempoGarota sobre garota: como a cultura pop colocou uma geração de mulheres contra si mesmas, de Sophie Gilbert (com tradução de Emanuela Siqueira) - Editora TodaviaО último dia da vida anterior, de Andrés Barba (com tradução de Fabiane Secches) - Editora TodaviaO primeiro gato no espaço e a vingança do bebê pirata, de Mac Barnett e Shawn Harris (com tradução de Erico Assis) - Editora TodaviaUma história da literatura brasileira contemporânea: a narrativa, de Regina Dalcastagné - Editora Todavia---Links citadosPressão do agro altera conteúdos de livros escolares, denunciam editoresAntologia "Territórios Compartilhados" desafia imaginários e celebra a ancestralidade com protagonismo indígenaSo, Gutenberg Didn't Actually Invent Printing As We Know It

How to Commit a Postcolonial Murder by Nina McConigley follows two sisters who plot to kill their uncle in the summer of 1986. Nina joined us live at B&N Upper West Side to talk about story adaptation, the mythology of the American West, biracial characters, Wyoming, extraction, colonialism and more with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): How to Commit a Postcolonial Murder by Nina McConigley Cowboys and East Indians by Nina McConigley Mrs. Dalloway by Virginia Woolf Ulysses by James Joyce In the Distance by Hernan Diaz Stoner by John Williams Butcher's Crossing by John Williams A Passage to India by E.M. Forster Folktales from India by A.K. Ramanujan On the Banks of Plum Creek by Laura Ingalls Wilder  

Arthur Marchetto e Cecilia Garcia Marcon discutem Mrs. Dalloway, de Virginia Woolf. A apresentação do livro inclui pontos de seu contexto de publicação, situando a obra dentro do modernismo e do período entreguerras.A conversa analisa os principais temas da narrativa, como a experiência subjetiva do tempo, a investigação da consciência através do fluxo de pensamento e as tensões sociais e psicológicas da Inglaterra pós-Primeira Guerra. O episódio também comenta o livro e o filme "As Horas", que dialogam diretamente com a obra de Woolf. Então, aperta o play e conta pra gente: já leu o livro? vai ler? VOCÊ TEM MEDO DE VIRGINIA WOOLF?

Notes and Links to Carolina Ixta's Work   Carolina Ixta is a writer from Oakland, California. A daughter of Mexican immigrants, she received her BA in creative writing and Spanish language and literature at the University of California, Santa Cruz, and obtained her master's degree in education at the University of California, Berkeley. Her debut novel, Shut Up, This Is Serious, was a Morris Award finalist, an LA Times Book Prize finalist, and the winner of the Pura Belpré Award. Few Blue Skies is out now. Buy Few Blue Skies   Carolina Ixta's Website   Kirkus Review on Few Blue Skies At about 1:50, Carolina responds to Pete's question about how she feels with her book at Pub Day At about 3:35, Carolina shouts out Mrs. Dalloway's and other bookstores to buy Few Blue Skies At about 4:25, Carolina talks about her language and reading background  At about 6:00, Pete and Carolina reminisce on taking the challenging Spanish linguistics class At about 8:25, The two reflect on the unceasing reading list At about 9:15, Carolina shouts out Pam Munoz Ryan and Esperanza Rising-a transformative book and wonderful person At about 10:45, Carolina highlights the wonderful evolution of young adult fiction At about 12:45, The two fanboy and -girl over Jason Reynolds At about 14:55-RILKE! At about 16:30, Aria Aber is cited as a great fan and proponent of Rilke At about 18:10, Carolina gives an intricate and wise explanation of how writing and teaching elementary school and her own schooling have come together in a balance in writing for young people  At about 24:30, Carolina gives information on seeds for Few Blue Skies-an urban education class and references to drinking water in Oakland Public Schools is cited At about 27:05, Pete compliments the universality and specificity of the book in asking Carolina about the area in which she writes and connections to real-life companies At about 28:30, The two set the book's exposition  At about 32:40, Carolina expands on familial connections to the Bracero Program and cites Alejandra Oliva's Rivermouth as a great source for information about the shocking (or not) racism associated with the program At about 36:20, Carolina likes to  At about 38:00, Carolina makes interesting points about the “invisible” work done by Paloma's mother and many women At about 42:00, The two discuss the strike undertaken in the book and ideas of practicality and idealism At about 42:40, AQA days are discussed in connection to air quality issues that happen in the book and in real life At about 44:00, The two discuss grief, and Pete compliments the realism shown by the character in the book after Julio's father's death At about 45:20, Carolina responds to Pete's question about the significance of a garden envisioned by Julio in the book At about 47:40, Carolina expands on Julio as a “wholesome character” and drawing his dimensions and his future and romantic life At about 49:00, Carolina talks about stretching her Bay Area loyalties in writing realistically about the IE and their sports loyalties; she talks about wanting/needing to write something that shows her "range"  At about 51:15, Carolina responds to Pete's question about the provenance of the book's Mayor Warner At about 55:45, Pete and Carolina talk about ideas of ignorance with regard to Paloma, and real-life versions of naivete and idealism   At about 59:00, Carolina talks about anxieties around proving that she can write fiction rooted in nonfiction, and how she so wants kids to go to Wikipedia and do deeper research in enjoying reading  At about 1:01:55, Pete cites the “good and fun awkwardness” in some of the romantic scenes in the book, and Carolina talks about struggling to write those scenes    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. His conversation with Jeff Pearlman, a recent guest, is up soon 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, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode features an exploration of formative and transformative writing for children, as Pete surveys wonderful writers on their own influences. Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would 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 322 with Peter Orner, the author of eight books, most recently the novel, The Gossip Columnist's Daughter, named one of the best books of 2025 by the New Yorker and the Chicago Tribune, as well as the essay collections, Still No Word from You, a finalist for the PEN Award for the Art of the Essay, and Am I Alone Here?, a finalist for the National Book Critics Circle Award for Criticism.  The episode airs February 3, later in the day. Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.  

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Sophie B. Hawkins performs “Not Beating Around the Bush” (recording of her original song made exclusively for “This Way Out”) and reads an excerpt from “Mrs. Dalloway” by Virginia Woolf. SOPHIE B. HAWKINS is a U.S.-born singer-songwriter whose commercial success has been matched by her passionate advocacy for animal rights, and the equality of women and the queer community. In 1925, VIRGINIA WOOLF introduced the world to “MRS. DALLOWAY”, a groundbreaking novel that explores a single day in the life of an upper-class woman in post-World War I England. With its innovative stream-of-consciousness narrative, “Mrs. Dalloway” remains a landmark in modernist literature. In “NewsWrap” 106 people are roughly arrested in a late December raid on a gay nightspot in Baku, the capital city of Azerbaijan; ten people in France are convicted of online bullying for “maliciously” claiming that First Lady Brigitte Macron is transgender; a U.S. federal judge rules that teachers or other school officials can out trans students to their parents without their consent; while a different federal judge decides that “devoutly Christian” parents can prevent their children from learning about the mere existence of LGBTQ people in school; under pressure from the Trump administration and a lawsuit filed by “devoutly Christian” foster parent applicants, Massachusetts replaces policies specifically requiring foster parents to support LGBTQ children in their care with the more innocuous “based on their individual identity and needs”; and her wife Becca remembers Renee Nicole Good (written this week by GREG GORDON, edited by TANYA KANE-PARRY, produced by BRIAN DeSHAZOR, and reported by RET and MARCOS NAJERA). (written this week by GREG GORDON and TANYA KANE-PARRY, reported by RET and MARCOS NAJERA, and produced by BRIAN DeSHAZOR).

On Christmas Day, we bring our year-end tradition to a close by counting down our top five books of 2025. From beloved classics to unexpected discoveries, these final picks reflect a reading year shaped by curiosity, challenge, and joy. Settle in with us for a reflective conversation about the books that defined 2025 . . . and the anticipation of new reading adventures waiting in 2026!2026 Novella Book ClubWe have announced the four novellas we will be reading for The Mookse and Gripes Novella Book Club in 2026!* January: Daisy Miller, by Henry James* April: An Episode in the Life of a Landscape Painter, by César Aira* July: The Hour of the Star, by Clarice Lispector* September: Prelude, by Katherine MansfieldDiscussions will be hosted at The Mookse and the Gripes Discord (see below!).We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Shownotes* The Secret of Secrets, by Dan Brown* The Melancholy of Resistance, by László Krasznahorkai, translated by George Szirtes* Swann's Way, by Marcel Proust, translated by C K Scott Moncrieff, Terence Kilmartin, and D.J. Enright* Dr Chizhevsky's Chandelier: The Decline of the USSR and other Heresies of the Twentieth Century, by Dan Elkind* The Narrow Road to the Deep North, by Richard Flanagan* Palinuro of Mexico, by Fernando del Paso, translated by Elisabeth Plaister* The Tunnel, by William Gass* A Fine Balance, by Rohinton Mistry* The Undead Fox of Deadwood Forest, by Aubrey Hartman* Free Day, by Inès Cagnati, translated by Liesl Schillinger* Crazy Genie, by Inès Cagnati, translated by Liesl Schillinger* The Motion of the Body Through Space, by Lionel Shriver* Ultramarine, by Mariette Navarro, translated by Eve Hill-Agnus* North Sun, by Ethan Rutherford* We Are Green and Trembling, by Gabriela Cabezón Cámara, translated by Robin Myers * The Adventures of China Iron, by Gabriela Cabezón Cámara, translated by Fiona Mackintosh and Iona Macintyre* Slum Virgin, by Gabriela Cabezón Cámara, translated by Frances Riddle* Skylark, by Dezső Kosztolányi, translated by Richard Aczel* Memoirs from Beyond the Grave, by François-Réne de Chateaubriand, translated by Alex Andriesse* Effingers, by Gabriele Tergit, translated by Sophie Duvernoy* Bomarzo, by Manuel Mujica Lainez, translated from the Spanish by Gregory Rabassa* Lies and Sorcery, by Elsa Morante, translated by Jenny McPhee* Mrs. Dalloway, by Virginia Woolf* The Sweet Dove Died, by Barbara Pym* The Bear, by Andrew Krivak* Bear, by Marian Engel* Small Reckonings, by Karin Melberg Schwier* The Unselected Journals of Emma M. Lion, by Beth Brower* The City and Its Uncertain Walls, by Haruki Murakami, translated by Philip Gabriel* The End of the World and Hard-Boiled Wonderland, by Haruki Murakami, translated by Jay Rubin* A Strange and Sublime Address, by Amit Chaudhuri* A New World, by Amit Chaudhuri* The Immortals, by Amit Chaudhuri* Incompleteness, by Amit Chaudhuri* Sojourn, by Amit Chaudhuri* Friend of My Youth, by Amit Chaudhuri* Afternoon Raag, by Amit Chaudhuri* The Pursuit of Love, by Nancy Mitford* Anima: A Wild Pastoral, by Kapka Kassabova* Border: A Journey to the Edge of Europe, by Kapka Kassabova* Käsebier Takes Berlin, by Gabriele Tergit, translated by Sophie Duvernoy* The Story of a Life, by Konstantin Paustovsky, translated by Douglas Smith* Life and Fate, by Vasily Grossman, translated by Robert Chandler* Stalingrad, by Vasily Grossman, translated by Robert Chandler and Elizabeth Chandler* The Anatomy of Melancholy, by Robert Burton* Sea, Poison, by Caren Beilin* The Decameron, by Giovanni Boccaccio* The Stronghold, by Dino Buzzati, translated by Lawrence Venuti* A Love Affair, by Dino Buzzati, translated by Joseph Green* The Singularity, by Dino Buzzati, translated by Anne Milano Appel* The Bewitched Bourgeoisie: Fifty Stories, by Dino Buzzati, translated by Lawrence Venuti* Waiting for the Barbarians, by J.M. Coetzee* The Portrait of a Lady, by Henry James* Daisy Miller, by Henry James* The Ambassadors, by Henry James* The Turn of the Screw, by Henry James* Washington Square, by Henry James* The Coxon Fund, by Henry JamesOther* Shawn's Review of Small ReckoningsJoin the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in our third novella book club, where we're reading The Prime of Miss Jean Brodie, by Muriel Spark. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.The Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Si, como si fuera crear un remanso de paz en nuestras vidas y dejarnos llevar por la lectura. Eso propone Miguel Ángel Cayuela en sus retiros lectores Un Remanso, y eso hacemos en el programa. Repasamos a sus próximas autoras invitadas, Manuela Carmena que propone una guía de lectura sobre autores africanos y Lana Orujo y su gran novela "Han Cantado Bingo" que Miguel Ángel define como la novela de este 2025. Los retiros se realizan en diferentes puntos de la Península y también en autocaravanas para leer, como lo han hecho en este 2025 a Virgina Woolf y su gran obra "La señora Dalloway" Escuchamos un framento de esa obra en voz de Marta Orquín, y también a Montse Soto interpretando un párrafo de "Han Cantado Bingo" o a Consol Saénz mandándonos un mensaje para encontrar tiempo para leer. Y nos acompaña la música de: TITI ZARÓ- Gawé; FRANÇOISE ATLAN- Hublot bleu; TAMIKREST- Aicha; NAWAL- Hima; FLOWPIANO- Alas de MARIPOSA; AZIZA BRAHIM- Marhabna; ORHAM OLMEZ- Damla Damla; BADIAA BOUHRIZI- Mana’a; MARIA RODES+ MARTI SALES+ REFREE- La visita. Escuchar audio

durée : 00:58:33 - Le Souffle de la pensée - par : Géraldine Mosna-Savoye - "Mrs Dalloway" ou comment Virginia Woolf critique subtilement les conventions sociales de la petite bourgeoisie et la société londonienne, à travers la journée d'une femme de la haute société, dans l'Angleterre de l'après Première Guerre mondiale. Une évocation de l'œuvre avec Belinda Cannone. - réalisation : Nicolas Berger - invités : Belinda Cannone Docteur en littérature comparée, romancière et essayiste

2025 touche bientôt à sa fin, mais il y a encore plein de films vus à traiter dans 24FPS, le podcast ciné avec ou sans spoiler ! Voici les 23 films abordés sans spoiler par Jérôme et Julien dans cet épisode : Dalloway de Yann Gozlan (à partir de 0:02:57) In Whose Name ? de Nico Ballesteros (à partir de 0:07:35) Marche Ou Crève de Francis Lawrence (à partir de 0:15:39) Chien 51 de Cédric Jimenez (à partir de 0:37:21) Bone Lake de Mercedes Bryce Morgan (à partir de 0:48:58) TRON Arès de Joachim Rønning (à partir de 0:51:58) L'Homme Qui Rétrécit de Jan Kounen (à partir de 1:34:59) Good Fortune de Aziz Ansari (à partir de 1:47:40) Good Boy de Ben Leonberg (à partir de 1:57:50) Black Phone 2 de Scott Derrickson (à partir de 2:11:58) Smashing Machine de Benny Safdie (à partir de 2:18:10) Roofman de Derek Cianfrance (à partir de 2:41:13) Arco de Ugo Bienvenu (à partir de 2:48:51) The Mastermind de Kelly Reichardt (à partir de 2:54:50) Predator - Badlands de Dan Trachtenberg (à partir de 2:59:46) La Voisine Idéale de Geeta Gandbhir (à partir de 3:20:58) Insaisissables 3 de Ruben Fleischer (à partir de 3:29:20) Frankenstein de Guillermo del Toro (à partir de 3:36:55) Sisu - Le Chemin De La Vengeance de Jalmari Helander (à partir de 3:57:38) Zootopie 2 de Byron Howard et Jared Bush (à partir de 4:01:43) Running Man de Edgar Wright (à partir de 4:06:34) Rental Family de Mitsuyo Miyazaki (à partir de 4:37:44) A House Of Dynamite de Kathryn Bigelow (à partir de 4:45:57) Et ils abordent des spoilers sur House Of Dynamite à partir de 5:09:55 ! Bonne écoute, et n'hésitez pas à donner votre avis sur la défense française ! Crédits musicaux : Broadcast Attack de Harold Faltermeyer, issu de l'album The Running Man - Original Motion Picture Soundtrack (1987), et Keep On Running de Tom Jones, issu de l'album 13 Smash Hits (1967)

Heart the Lover by Lily King is a gripping story of family, identity, life and love from the bestselling author of Writers & Lovers. Lily joined us live at B&N Upper West Side to talk about crafting an emotional arc, writing little moments between characters, details, process, vulnerability and more with host Miwa Messer.  This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Heart the Lover by Lily King Writers & Lovers by Lily King The Pleasing Hour by Lily King The English Teacher by Lily King Father of the Rain by Lily King Euphoria by Lily King The Evening of the Holiday by Shirley Hazzard Mrs. Dalloway by Virginia Woolf To the Lighthouse by Virginia Woolf  

Daily Quote A life spent making mistakes is not only more honorable, but more useful than a life spent doing nothing. (George Bernard Shaw) Poem of the Day Why Flowers Change Colour Robert Herrick Beauty of Words Mrs. Dalloway Virginia Woolf

Languages of Home by John Edgar Wideman is a collection of the acclaimed author and cultural critic's most influential works — five decades in the making. John joins us to talk about the creative process, improvisation, basketball, storytelling, the evolution of voice, translation and more with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Languages of Home: Essays on Writing, Hoop, and American Lives 1975-2025 by John Edgar Wideman Slaveroad by John Edgar Wideman Heart of Darkness by Joseph Conrad Joseph Conrad and the Fiction of Autobiography by Edward Said The Homewood Trilogy by John Edgar Wideman The Autobiography of Malcolm X by Malcolm X Corregidora by Gayl Jones Ulysses by James Joyce Mrs. Dalloway by Virginia Woolf Philadelphia Fire by John Edgar Wideman Invisible Man by Ralph Ellison Every Tongue Got to Confess: Negro Folk-tales from the Gulf States by Zora Neale Hurston  

The Notes: Nelson's mic is a traitor! Little Guy Button vs Big Guy Button! Will is skipping the life tutorial! Where school does and doesn't fail us! Nelson has nothing personal against Mrs. Dalloway! Hamster coma! Keeping up with the sandwiches! Potatoes and grain in a Predator-style, flexing hand-clasp! Teachers, bookmark this episode! No respect for cabbage! Will is a cabbage apologist! Cabbage v Lettuce: Dawn of Ruffage! Real self-worth comes from within, not from without, cabbage and/or Will! Q&A for Will's book, Day After the Waste Land, this Tuesday night, 7pm at the Raven! Peel that man's layers! Apologies, Mr. Eliot's Ghost! Hit the hashtag, Mr. Eliot's Ghost! The TS Eliot is Nice to a Child Domino that inevitably leads to the Digital Removal of Human-Cat Buttholes Domino! Mother, father, please explain the buttholes! A real cat weighs in! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter & Instagram: @doubledeucepod Bluesky: @doubledeucepod.bsky.social Facebook: www.facebook.com/DoubleDeucePod/ Patreon: patreon.com/DoubleDeucePod Also, please subscribe/rate/review/share us! We're on Apple, Android, Libsyn, Stitcher, Google, Spotify, Amazon, Radio.com, RadioPublic, pretty much anywhere they got podcasts, you can find the Deuce! Podcast logo art by Jason Keezer! Find his art online at Keezograms! Intro & Outro featuring Rob Schulte! Check out his many podcasts! Brought to you in part by sponsorship from Courtney Shipley, Official Superfans Stefan Rider, Amber Fraley, Nate Copt, and listeners like you! Join a tier on our Patreon! Advertise with us! If you want that good, all-natural focus and energy, our DOUBLEDEUCE20 code still works at www.magicmind.com/doubledeuce for 20% off all purchases and subscriptions. Check out the Lawrence Times's 785 Collective at https://lawrencekstimes.com/785collective/ for a list of local LFK podcasts including this one!  

Daily Quote 生命的意义在于付出，在于给予，而不是在于接受，也不是在于索取。（巴金） Poem of the Day 秋天 顾城 Beauty of Words Mrs. Dalloway Virginia Woolf

Virginia Woolf's incredible novel Mrs. Dalloway turns 100 this year! Shruti and Neha talk about this book and its themes of perception, inadequacy, memory, illness, and death. They discuss the effect of the past on the characters, the book's imperialist and pro-colonialism project, and the disappearance of the narrator.Books Mentioned & Shelf Discovery:On Being Ill by Virginia WoolfCulture and Imperialism by Edward SaidThe Annotated Mrs. Dalloway edited by Merve EmreA Room of One's Own by Virginia WoolfTo The Lighthouse by Virginia WoolfThe Hours by Michael CunninghamIf you would like to get additional behind-the-scenes content related to this and all of our episodes, subscribe to our free newsletter.We love to hear from listeners about the books we discuss - you can connect with us on Instagram or by emailing us at thenovelteapod@gmail.com.This episode description contains links to Bookshop.org, a website that supports independent bookstores. If you use these links we may earn a small commission at no additional cost to you. Hosted on Acast. See acast.com/privacy for more information.

Paul Myers, author of John Candy: A Life in Comedy, talks to Ed about the famous "I like me" speech that John Candy delivered as Del Griffith in Planes, Trains, and Automobiles (1987) and how director John Hughes understood the essence of Candy as few others did. John Candy: A Life in Comedy becomes available wherever books are sold Tuesday, Oct. 7 through House of Anansi Press, as well as Amazon.com. Listeners in the San Francisco Bay Area can meet Paul Myers at Mrs Dalloway's Literary and Garden Arts, 2904 College Avenue in Berkeley, CA on Tuesday Oct. 7 beginning at 7pm. Paul will also appear on stage at the 4 Star Theatre, 2200 Clement Street in San Francisco, CA on Saturday Oct. 11 beginning at 7pm; Paul's appearance that night will be immediately followed by a screening of Uncle Buck. For details on these and other upcoming events, go to Houseof Anansi.com and type in John Candy A Life in Comedy Book Tour. Our complete interview with Paul Myers will air later in October on TV Confidential. 

The Wilderness by Angela Flournoy is a big-hearted story about community and friendship amid the chaos of life's uncertainties. Angela joined us live at B&N Upper West Side to talk about friendship, adulthood, building a life, platonic love, what it means to be good, money, class and more with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): The Wilderness by Angela Flournoy Turner House by Angela Flournoy Mrs. Dalloway by Virginia Woolf Sula by Toni Morrison Beloved by Toni Morrison A Visit from the Goon Squad by Jennifer Egan Lost in the City by Edward P. Jones Temple Folk by Aaliyah Bilal  

Call this Mrs. Dalloway’s podcast. We’re reading classic fiction from a century ago for light on the strangeness of the world in our day, or maybe just for relief reading a great old book. The ... The post Mrs. Dalloway at 100 appeared first on Open Source with Christopher Lydon.

Jocelyn Jane Cox joins Let's Talk Memoir for a conversation about the challenges and guilt around caretaking, her childhood experience as a competitive figure skater, telling a story in the structure of a day, using the directed “you” in a book, writing about what has shaped us and played a role in the story we are trying to tell, using Post-It Notes, ordering our backstory, listmaking a low pressure way to get material on the page, as the process of adding and subtracting, exploring divisions within ourselves, developing and exploring metaphor in our narratives, and her new memoir Motion Dazzle: A Memoir of Motherhood, Loss, and Skating on Thin Ice.  Also in this episode: -reducing page count -relying on Beta readers -the silver tsunami   Books mentioned in this episode: -Mrs. Dalloway by Virginia Wolf -On Earth We're Briefly Gorgeous by Ocean Vuong -The Art of Memoir by Mary Karr -Fast Draft Your Memoir: Write Your Story in 45 Hours by Rachel Herron   Jocelyn Jane Cox joins Let's Talk Memoir for a conversation about Motion Dazzle: A Memoir of Motherhood, Loss, and Skating on Thin Ice.  Jocelyn Jane Cox holds an MFA in Creative Writing (Fiction) from Sarah Lawrence College. She competed in the United States Figure Skating Championships with her older brother Brad four times (twice in pair skating and twice in ice dance). She has been coaching kids, teenagers, and adults in both skating and writing for over 25 years. Her creative nonfiction was included in the anthology Awakenings: Stories of Body Consciousness, edited by Diane Gottlieb (2023). Among other publications, her work has appeared in The New York Times, Slate, Newsweek, Good Men Project, WIRED, Belladonna Comedy, The Offing, HAD, Cleaver, Litro Magazine, Literal Latte, and Colorado Review. Her fiction has been nominated for a Pushcart Prize. She lives with her son and husband in the Hudson Valley of New York.   Connect with Jocelyn: Website: https://www.jocelynjanecox.com Instagram: https://www.instagram.com/jocelynjanecoxwriter/ Facebook: https://www.facebook.com/JocelynJaneCoxWriter BlueSky: https://bsky.app/profile/jocelynjanecox.bsky.social   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Jacke talks to author Mark Hussey (Mrs Dalloway: Biography of a Novel) about Virginia Woolf's beloved novel Mrs Dalloway, which turned 100 earlier this year. PLUS author Graham Watson (The Invention of Charlotte Bronte) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England (signup open through the end of September)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠John Shors Travel⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠historyofliterature.com⁠⁠⁠. Or visit the ⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠ at ⁠⁠⁠John Shors Travel⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠gabrielruizbernal.com⁠⁠. Help support the show at ⁠⁠⁠patreon.com/literature ⁠⁠⁠or ⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whether you've loved Mrs. Dalloway forever or Woolf is new to you, there's nothing more satisfying than thinking about this book for 45 minutes. We do a quick bio, a little chunk on modernism then a deep dive into the SEXY parts of the book. Indulge now and come away a little smarter.

French pop star Mylène Farmer makes a rare appearance as the voice of an AI-powered virtual assistant in "Dalloway", which deals with some of the darker sides of creativity in Yann Gozlan's latest film. Manon Kerjean, the founder of Lost in Translation, a film club screening French features in Paris for non-French speakers, joins us to discuss the merits of this "Black Mirror"-adjacent movie. We also discuss Pierre Schoeller's psychological thriller "Rembrandt" and reflect on the complexities at the centre of the troubled relationship between Yves Montand and Simone Signoret, as the actress and singer's lives are examined by Diane Kurys in "C'est Si Bon". And Manon flags up a Maurice Pialat retrospective at the Cinémathèque Française that provides an insight into the iconoclastic French filmmaker.

‘He stood still in the gloom of the hall, trying to catch the air that the voice was singing and gazing up at his wife. There was grace and mystery in her attitude as if she were a symbol of something.' A special episode this week, as we join Sally in conversation with James Bowen, the podcast's producer and a fellow teacher of literature. Listen for a conversation on the role of objects in narratives, and the way in which characters reduce one another to symbols in modernist literature, ranging across Joyce's short story ‘The Dead' (1904) to Virginia Woolf's Mrs Dalloway (1925) and To the Lighthouse (1927). You can find out more about James and his work here. Alice Jolly's novel, The Matchbox Girl, discussed near the end of the episode is forthcoming with Bloomsbury, and is available to pre-order from all good booksellers. The wonderful piano music in the closing section is ‘Monday', by Paul Seba. You can listen to more of his work here. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus. A note on the sound: We are still experimenting with this format, and apologise that the sound levels are a touch more uneven than normal. As such, you may need to set the volume at a slightly higher level than you normally might when playing this episode!

To end our second year of Rosebud, we have one of our most charming, talented and brilliant theatrical dames: Dame Eileen Atkins. Dame Eileen is a uniquely talented writer and actor, both on stage and screen - from Cranford, to the RSC, to The Killing of Sister George on Broadway, to Upstairs, Downstairs and The House of Eliot (which she co-created), to Mrs Dalloway (for which she wrote the screenplay). And this is one of our most entertaining interviews yet, with stories from Dame Eileen's long life and career . From her early years in Tottenham, when a gypsy going door-to-door prophesied that the three year-old Eileen would be a world-famous dancer, to her career as a child performer playing the working men's clubs, to her school days in Edmonton - the anecdotes from Eileen's life are brilliantly told. We then hear about her days at drama school, her friendship with Sir Alec Guinness and a couple of very funny stories from her working life. This is a fitting end to a fabulous two years for our podcast. We're very proud of the show we've created, and of our community of listeners - we're grateful to each and every one of you for your emails, your ears, your reviews, and your time. Thank you so much for being here with us! And thank you to Dame Eileen for this special conversation. Here's to many more years of Rosebud to come. Enjoy this. Hosted on Acast. See acast.com/privacy for more information.

Welcome to a new season! Today we're talking all about cities in literature – what cities represent, what ‘setting as character' really means, and books we've read that really capture the magic of cities. We then share the seven books we'll be reading this season, along with context and background, and the themes and elements we'll be paying attention to as we read.Books Mentioned:Uglies by Scott WesterfeldThe Hunger Games by Suzanne CollinsAnna Karenina by Leo TolstoyBangkok Wakes to Rain by Pitchaya SudbanthadBrooklyn by Colm ToibinMrs. Dalloway by Virginia WoolfWhite Teeth by Zadie SmithThe City We Became by NK JemisonSuch a Long Journey by Rohinton MistryThe Museum of Innocence by Orhan PamukIf you would like to get additional behind-the-scenes content related to this and all of our episodes, subscribe to our free newsletter.We love to hear from listeners about the books we discuss - you can connect with us on Instagram or by emailing us at thenovelteapod@gmail.com.This episode description contains links to Bookshop.org, a website that supports independent bookstores. If you use these links we may earn a small commission at no additional cost to you. Hosted on Acast. See acast.com/privacy for more information.

What does it take to build the perfect first shelf? This week we tackle the joyful—and surprisingly stressful—task of creating a starter library. We're joined by John Williams, book editor at The Washington Post, to discuss how to choose ten books that someone can use as a starter library, offering comfort, surprise, and a little stretch along the way. We compare approaches, confess our struggles, and share the shelves we'd hand to a friend ready build their personal library.We'd love to hear from you—what books would make it onto your own starter library?We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 115: Kazuo Ishiguro* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in our second novella book club, where we're reading Giovanni's Room by James Baldwin. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.ShownotesWhat are we reading?* Paul: The Endless Week, by Laura Vasquez, translated by Alex Niemi* John: Giovanni's Room, by James Baldin* Trevor: Nadja, by André Breton, translated by Mark PolizzottiOur Starter LibrariesPaul* The Complete Calvin and Hobbes, by Bill Waterson* Moby-Dick, by Herman Melville* Finding Beauty in a Broken World, by Terry Tempest Williams* The Complete Works of William Shakespeare* Lonesome Dove, by Larry McMurtry* The Complete Poems of Emily Dickinson* The Complete Stories of Clarice Lispector* To the Lighthouse, by Virginia Woolf* Kindred, by Octavia Butler* Pride and Prejudice, by Jane AustenTrevor* Ex Libris, by Anne Fademan* The Remains of the Day, by Kazuo Ishiguro* The Count of Monte Cristo, by Alexandre Dumas* A Good Man Is Hard to Find, by Flannery O'Connor* The Emigrants, by W.G. Sebald, translated by Michael Hulse* The Hobbit, by J.R.R. Tolkein* Cockroaches, by Scholastique Mukasonga, translated by Jordan Stump* So Long, See You Tomorrow, by William Maxwell* Pilgrim at Tinker Creek, by Annie Dillard* The Complete Poems of Emily DickinsonJohn* The Collected Stories of William Trevor* The Varieties of Religious Experience, by William James* The Collected Poems of Philip Larkin* Notes from Underground, by Fyodor Dostoevsky* The Book of Disquiet, by Fernando Pessoa* The Sellout, by Paul Beatty* The Black Prince, by Iris Murdoch* Nixon Agonistes: The Crisis of the Self-Made Man, by Garry Wills* Essays in Disguise, by Wilfrid Sheed* Mrs. Dalloway, by Virginia Woolf* Why Does the World Exist, by Jim HoltOther* The Library, Duncan FallowellThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Arthur Marchetto e Cecilia Garcia Marcon falam sobre a evolução do monólogo na literatura. A dupla traça sua trajetória histórica, desde as origens no teatro clássico até as inovações modernas, destacando como essa forma expressiva se alterou ao longo dos séculos.Os participantes analisam diferentes vertentes do monólogo, incluindo o dramático, o lírico e as técnicas de fluxo de consciência, com autores como Dostoiévski, Virginia Woolf e Álvaro de Campos. Aperte o play para ouvir trechos emblemáticos recitados pela dupla e descubra como um único discurso pode revelar universos inteiros. Ao final, conte pra gente: qual monólogo literário você recitaria para o mundo?---Links⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoie o 30:MIN⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Siga a gente nas redes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Já apoia? Acesse suas recompensas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Confira todos os títulos do clube!---Livros citados no episódioMoby Dick, de Herman MelvilleFrankenstein, ou o Prometeu Moderno, de Mary ShelleyHamlet, de William ShakespeareMacbeth, de William ShakespeareO Mercador de Veneza, de William ShakespeareUlysses, de James JoyceO Som e a Fúria, de William FaulknerA Tabacaria, de Álvaro de CamposA Vida é Sonho, de Calderón de la BarcaMemória do Subsolo, de Fiódor DostoiévskiIrmãos Karamazov, de Dostoiévski (trecho de O Grande Inquisidor)Jane Eyre, de Charlotte BrontëMrs. Dalloway, de Virginia WoolfSolenoide, de Mircea Cărtărescu

“Mrs. Dalloway said she would buy the flowers herself”: So reads one of the great opening lines in British literature, the first sentence of Virginia Woolf's classic 1925 novel, “Mrs. Dalloway.”The book tracks one day in the life of an English woman, Clarissa Dalloway, living in post-World War I London, as she prepares for, and then hosts, a party. That's pretty much it, as far as the plot goes. But within that single day, whole worlds unfold, as Woolf captures the expansiveness of human experience through Clarissa's roving thoughts. On this week's episode, Book Club host MJ Franklin discusses it with his colleagues Joumana Khatib and Laura Thompson.Other books mentioned in this episode:“The Passion According to G.H.,” by Clarice Lispector“A Girl Is a Half-Formed Thing,” by Eimear McBride“The Lesser Bohemians,” by Eimear McBride“To the Lighthouse,” by Virginia Woolf“Orlando,” by Virginia Woolf“A Room of One's Own,” by Virginia Woolf“The Hours,” by Michael Cunningham“Headshot,” by Rita Bullwinkel“Tilt,” by Emma Pattee Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Bestselling, award-winning author, and founder of the LA Review of Books, Tom Lutz, returned to talk with me about life in the French countryside, his writer's residency, and the greatest year in literary history, 1925. He's a Professor Emeritus of Creative Writing at UC Riverside, and the author of multiple bestselling and award-winning titles – translated into dozens of languages – including Doing Nothing (American Book Award winner), Crying, American Nervousness, 1903 (both New York Times Notables), and Born Slippy, his first novel. His latest, 1925: A Literary Encyclopedia, is described as an “… exploration of one of the richest moments in our literary and cultural history .… an explosion of literary innovation, from the rise of modernist masterpieces like Mrs. Dalloway and The Great Gatsby to a boom in pulp fiction.” Besides founding the Los Angeles Review of Books, "... a nonprofit organization dedicated to promoting and disseminating ... engaging writing on every aspect of literature, culture, and the arts," Tom also founded The LARB Radio Hour, The LARB Quarterly Journal, The LARB/USC Publishing Workshop, and LARB Books. He and his wife now run a residency for writers and artists in St. Chamassy, in France's Dordogne region. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In Part Two of this file Tom Lutz and I discussed: Adjusting to the life of a country gentleman and all the great wines Why he cares less than ever about what people think of his work The legion of classic texts that came out of one of the most prolific years in history How 1925 birthed so much progress for American culture Why literature is the R&D wing of human enterprise, especially in 2025 And a lot more! Show Notes: 1925: A Literary Encyclopedia by Tom Lutz TomLutzWriter.com⁠ All things ⁠LARB⁠ French Presse - St.-Chamassy Writers' Residency: A quiet place to live and work in the French countryside. ⁠Tom Lutz's Amazon Author Page⁠ ⁠Tom Lutz on Facebook⁠ ⁠Tom Lutz on Instagram⁠ ⁠Tom Lutz on Twitter⁠ Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 02:40:02 - Les Matins - par : Guillaume Erner, Isabelle de Gaulmyn - - réalisation : Félicie Faugère

durée : 00:37:48 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner, Isabelle de Gaulmyn - "Mrs Dalloway" a cent ans. Dans ce roman phare, Virginia Woolf nous entraîne le temps d'une journée dans l'existence d'une femme de la haute société londonienne, Clarissa Dalloway. - réalisation : Félicie Faugère - invités : Nathalie Azoulai Traductrice, romancière.; Marc Porée Angliciste, professeur émérite de l'ENS

This week, Vanessa Curtis celebrates a century of Mrs Dalloway; and Claire Lowdon on the capacious diaries of Helen Garner.'Mrs Dalloway', by Virginia Woolf'Monkey grip', 'The children's Bach', 'This house of grief', 'How to end a story: collected diaries', by Helen GarnerProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

From To The Lighthouse to Mrs Dalloway, the writing of Virginia Woolf shook up literary norms and challenged societal ideas about what it meant to be a woman. In this 'life of the week' episode, Francesca Wade discusses the impact of Woolf's work, and the key moments of her life – from her late-night soirées with the Bloomsbury Group and love affair with Vita Sackville-West, to her long struggles with her mental health. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices