Podcasts about Djuna Barnes

Founded in Chicago in 1914, the avant-garde journal the Little Review became a giant in the cause of modernism, publishing literature and art by luminaries such as T.S. Eliot, Djuna Barnes, William Butler Yeats, James Joyce, Ezra Pound, Pablo Picasso, Max Ernst, Gertrude Stein, Jean Toomer, William Carlos Williams, H.D., Amy Lowell, Marcel Duchamp, Joseph Stella, Hans Arp, Mina Loy, Emma Goldman, Wyndham Lewis, Hart Crane, Sherwood Anderson, and more. Perhaps most famously, the magazine published Joyce's Ulysses in serial form, causing a scandal and leading to a censorship trial that changed the course of literature. In this episode, Jacke talks to scholar Holly A. Baggett about her book Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review, which tells the story of the two Midwestern women behind the Little Review, who were themselves iconoclastic rebels, living openly as lesbians and advocating for causes like anarchy, feminism, free love, and of course, groundbreaking literature and art. PLUS Phil Jones (Reading Samuel Johnson: Reception and Representation, 1750-1970) stops by to discuss his choice for the last book he will ever read. Additional listening: 600 Doctor Johnson! (with Phil Jones) 564 H.D. (with Lara Vetter) 165 Ezra Pound 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

Djuna Barnes, 1892-1982 

Join us for a quick, captivating dive into the hidden world of the 19th-century Sewing Circle. In this episode, we unravel the stories of bold, trailblazing women like Mercedes de Acosta, Dorothy Arzner, and Djuna Barnes, who navigated societal constraints to live and love authentically. Discover how these women used their sewing circles as a cover to build a supportive, secret community where their true selves could flourish. It's a tale of resilience, passion, and the unstoppable power of love. Enjoyed these mini-episodes? Leave a review and let me know which historical ideas or events you'd love to hear about next! Your resident History Nerd

In this episode the Spine Crackers discuss Djuna Barnes' pioneering 1936 novel of queer modernism, identity, and history, Nightwood. Full episode available at https://www.patreon.com/spinecrackers

Djuna Barnes out here living --- Support this podcast: https://podcasters.spotify.com/pod/show/jacob-davies2/support

Djuna Barnes out here living --- Support this podcast: https://podcasters.spotify.com/pod/show/jacob-davies2/support

词汇提示1.archetypes 典型2.anorexia 厌食症3.bulimia 贪食症4.tithe 十一捐献5.disobedience 不服从原文Naomi Wolf : 'A Woman's Place' (2)We lack archetypes for the questing young woman, her trials by fire; for how one "becomes a woman" through the chrysalis of education, the difficult passage from one book, one idea to the next.Let's refuse to have our scholarship and our gender pitted against each other.In our definition, the scholar learns woman hood and the woman learns scholarship;Plato and Djuna Barnes, mediated to their own enrichment through the eyes of the female body with its wisdoms and its gifts.I saythat you have already shown courage:Many of you graduate today in spite of the post-traumatic syndrome of acquaintance rape,which one-fourth of female students undergo.Many of you were so weakened by anorexia and bulimia that it took every ounce of your will to get your work in.You negotiated private lives through a mine field of new strains of VD and the ascending shadow of AIDS.Triumphant survivors, you have already "become women."Message No. 2 breaks the ultimate taboo for women.Ask for money in your lives.Expect it. Own it. Learn to use it.Little girls learn a debilitating fear of money - that it's not feminine to insure we are fairly paid for honest work.Meanwhile,women make 68 cents for every male dollar and half of marriages end in divorce,after which women's income drops precipitously.But whatever field your heart decides on, for god's sake get the most specialized training in it you can and hold out hard for just compensation, parental leave and child care.Resist your assignment to the class of highly competent, grossly underpaid women who run the show while others get the case - and the credit.Claim money not out of greed, but so you can tithe to women's political organizations, shelters and educational institutions.Sexist institutions won't yield power if we are just patient long enough.The only language the status quo understands is money, votes and public embarrassment.When you have equity, you have influence- as sponsors, shareholders and alumnae.Use it to open opportunities to women who deserve the chances you've had.Your B. A. does not belong to you alone, just as the earth does not belong to its present tenants alone.Your education was lent to you by women of the past, and you will give some back to living women, and to your daughters seven generations from now.Message No. 3: Never cook for or sleep with anyone who routinely puts you down.Message No. 4: Become goddesses of disobedience.Virginia Woolf once wrote that we must slay the Angel in the House, the censor within.Young women tell me of injustices, from campus rape cover ups to classroom sexism.But at the thought of confrontation, they freeze into niceness.We are told that the worst thing we can do is cause conflict, even in the service of doing right.Antigone is imprisoned.Joan of Arc burns at the stake.And someone might call us unfeminine!翻译娜奥米·沃尔夫:《女人的位置》(2)我们缺乏追求的年轻女子的原型，她的考验;一个人如何通过教育的茧，从一本书、一种思想到下一种思想的艰难过渡，“成为一个女人”。让我们拒绝把我们的学识和我们的性别对立起来。在我们的定义中，学者学习女性气质，女性学习学术;柏拉图和Djuna Barnes，通过女性身体的智慧和天赋的眼睛来调解他们自己的丰富。我要说的是，你们已经表现出了勇气:尽管四分之一的女学生都患有熟人强奸的创伤后综合症，但今天你们中的许多人还是毕业了。你们中的许多人因为厌食症和暴食症而变得如此虚弱，以至于用尽了每一盎司的意志来完成你的工作。你们在新的性病毒株和不断上升的艾滋病阴影中度过了私人生活。胜利的幸存者们，你们已经“成为女人”了。信息2：打破了女性的终极禁忌。在你的生活中要钱。期望它。拥有它。学会使用它。小女孩学会了对金钱的一种使人衰弱的恐惧——确保我们诚实地工作得到公平的报酬并不是女性的行为。与此同时，女性的收入为男性的68美分，一半的婚姻以离婚告终，此后女性的收入急剧下降。但无论你决定从事什么行业，看在上帝的份上，都要尽可能接受最专业的培训，并努力争取公正的薪酬、育儿假和育儿服务。不要把你的任务分配给那些能力出众、收入极低的女性，她们在主持这个节目，而其他人则负责案件和荣誉。要钱不是出于贪婪，而是为了给妇女政治组织、庇护所和教育机构奉献什一税。只要我们有足够的耐心，性别歧视的机构就不会屈服。维持现状者唯一能理解的语言就是金钱、选票和公众尴尬。当你拥有股权时，你就有影响力——作为赞助商、股东和校友。用它来为那些值得拥有你所拥有的机会的女人打开机会之门。你的学士学位并不只属于你一个人，正如地球并不只属于它现在的房客一样。从前的妇女借给你们受教育，从今以后，你们要把教育还给活着的妇女和你们的女儿。信息3:永远不要为那些经常让你失望的人做饭或和他上床。信息4:成为不服从的女神。弗吉尼亚·伍尔夫(Virginia Woolf)曾写道，我们必须杀死屋里的天使和屋里的审查者。年轻女性向我讲述了各种不公，从掩盖校园强奸案到课堂性别歧视。但一想到要对抗，他们就变得友善起来。我们被告知，我们能做的最糟糕的事情就是引起冲突，即使是为了做好事。安提戈涅被囚禁。圣女贞德被处以火刑。有人可能会说我们没有女人味!

This week on the Infinite Library, we're talking about modern love (as in "modernism", get it?). John's girlfriend Ana joins the Book Boys to talk about Djuna Barnes' classic of lesbian literature. We talk about why this book isn't as well known as its peers, Freud and fascism, and whether or not books are supposed to teach us things. We hope you'll enjoy this discussion. Note: We had some audio issues with this episode. We apologize for the quality here and we're working hard to figure out how to solve these problems for future episodes. Show Notes: https://docs.google.com/document/d/16laFsna0Lqe2NMHhJlGTdBzZ7VJrIAnM8JnZRAIFUmg/edit?usp=sharing

Är clowner verklighetens folk? Med poeten Elis Monteverde Burrau som gäst går vi till botten med narrspelens komplexitet. Elis talar ut om sin samling av Clownen Jac, sina epigoner och varför clowner inte är till för barn. Dessutom diskuterar vi vemodet i Henrich Bölls clownskildring, cirkusens solkighet hos Djuna Barnes och varför professionella clowner behöver betablockerare. Prenumerera för att få tillgång till hela avsnittet! Prenumerera här för att slippa reklamen, få tillgång till exklusivt extramaterial och stötta Gästabudet så att vi kan göra ännu fler och bättre avsnitt. https://plus.acast.com/s/gastabudet. Hosted on Acast. See acast.com/privacy for more information.

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices

As far back as Aristotle, plots have been viewed as essential components of long-form narratives. So what happened when Modern novelists like James Joyce, Virginia Woolf, William Faulkner, and Djuna Barnes began turning away from conventional plots? Why did they do this and what were the consequences for their art? In this episode, Jacke talks to Professor Pardis Dabashi about her new book, Losing the Plot: Film and Feeling in the Modern Novel. PLUS Booker Prize-winning author Anne Enright (The Wren, The Wren) stops by to discuss her choice for the last book she will ever read. 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 www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation. In the episode, Pardis references Thomas Edison's 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls's 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane's The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant's Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008). The occasion for our conversation was Pardis's new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you'd like to get yourself a copy there's a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It's a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it's definitely worth a read if you're interested in either of the genres it addresses. Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you're feeling a flashback. The image for this episode is a publicity still from George Cukor's 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit - Un documentaire de Françoise Werner, Pierre Mine et Paméla Doussaud

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on October 15, 2023. www.poets.org

Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun --- Send in a voice message: https://podcasters.spotify.com/pod/show/irving-sun/message

Would you like to receive a daily, random quote by email from my Little Box of Quotes?https://constantine.name/lboqA long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are nearly 1,000 quotes and the collection continues to grow.My mission is creating better conversations to spread understanding and compassion. This podcast is a small part of what I do. Drop by https://constantine.name for my weekly email, podcasts, writing and more.

Would you like to receive a daily, random quote by email from my Little Box of Quotes? https://constantine.name/lboq A long long time ago I began collecting inspirational quotes and aphorisms. I kept them on the first version of my web site, where they were displayed randomly. But as time went on, I realized I wanted them where I would see them. Eventually I copied the fledgeling collection onto 3×5 cards and put them in a small box. As I find new ones, I add cards. Today, there are more than 1,000 quotes and the collection continues to grow. Hello, I'm Craig Constantine

Imagine writing a book that was so obviously gay that the censorship committees couldn't even tell what it was. This week, Sadie brings us up to speed on Djuna Barnes, a fascinating and influential figure of the 20th-century modernist literature movement. Known for her provocative and experimental writing style, Barnes pushed boundaries through her life and writing with an unapologetic embrace of her queerness. With an unconventional childhood, a career in journalism, poetry, and writing, and her unique blend of modernism, feminism, and social critique, Barnes left a lasting impact as a trailblazer in the literary world. Also, check out our Provincetown Players episode! Learn more about your ad choices. Visit megaphone.fm/adchoices

Un día como hoy, 12 de junio: Nace: 1819: Charles Kingsley, escritor británico (f. 1875). 1827: Johanna Spyri, escritora suiza (f. 1901). 1892: Djuna Barnes, escritora estadounidense (f. 1982). 1941: Chick Corea, pianista, teclista y compositor estadounidense de jazz, ganador de 20 premios Grammy (f. 2021). 1962: Jordan Peterson, psicólogo clínico y profesor. Fallece: 1917: Teresa Carreño, pianista venezolana (n. 1853). 1995: Arturo Benedetti Michelangeli, pianista italiano (n. 1920). 2003: Gregory Peck, actor estadounidense (n. 1916). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

In this episode, translator Laura Radosh introduces us to the fascinating and troubled writer Djuna Barnes.  The journalist, novelist, and artist mixed with everyone from James Joyce to Peggy Guggenheim, and was at the center of Bohemian life in 1920s New York and Paris, though perhaps not quite as much as she would like. Best known (if at all) for her modernist novel “Nightwood,” Djuna once called herself  ''the most famous unknown in the world.''  DLS co-founder Florian Duijsens joins producer/host Susan Stone to muse about Djuna and her circle of modernist Dead Ladies.  Find out more about Djuna and her work, and see her polka-dot portrait here: https://deadladiesshow.com/2023/05/11/podcast-63-djuna-barnes Djuna Barnes intersects with a great number of our previously presented Dead Ladies, including: photographer Berenice Abbott (who took the above mentioned portrait): https://deadladiesshow.com/2023/01/20/podcast-59-berenice-abbott/ and  dadaist Elsa von Freytag Loringhoven: https://deadladiesshow.com/2021/10/16/podcast-47-elsa-von-freytag-loringhoven/ Here's the documentary Laura cited where you can see Natalie Barney's Parisian home and garden with its Temple of Friendship: https://youtu.be/ihzoLrUkNoc The documentary we mentioned is “Paris Was a Woman” by Greta Schiller  https://jezebelproductions.org/paris-was-a-woman/ And Will Self's radio segment on “Nightwood” can be found here: https://youtu.be/5cy3-uOTTfE Our theme music is “Little Lily Swing” by Tri-Tachyon. Want to suggest a Dead Lady for us?  Drop us a line to info@deadladiesshow.com or tell us on social media @deadladiesshow If you'd like to get advance tickets for our May show in Berlin they are here: https://www.eventbrite.com/e/dead-ladies-show-34-tickets-632679640837 DLS NYC tickets can be purchased here:  https://www.eventbrite.com/e/dead-ladies-show-nyc-no-23-tickets-628717840987 Thanks for listening! We'll be back with a new episode next month. **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast

Die Literatur war eine Männerdomäne, aber nach 1900 veränderte sich das künstlerische Selbstverständnis von Frauen überall auf der Welt von Grund auf. Sie eroberten sich kreative Freiräume, brachten weibliches Denken und Fühlen in die Literatur ein und schufen große Erzählkunst. Die renommierte Literaturredakteurin Sandra Kegel hat ihnen den Band „Prosaische Passionen“ gewidmet. Insgesamt 101 Erzählungen hat Sandra Kegel zusammengetragen von Selma Lagerlöf, Else Lasker-Schüler, Eileen Chang, Djuna Barnes, Marina Zwetajewa und vielen mehr. Einige von ihnen sind erstmals in deutscher Übersetzung erschienen. Ein Mammut-Projekt. Der Menasse-Verlag nennt es einen „repräsentativen Gegenkanon zur patriarchalen Dominanz“.

On the first edition of Chi Chi's exclusive Patreon bookclub, we discuss “Nightwood” by Djuna Barnes. If you'd like to participate in February's bookclub, you can subscribe on Patreon: patreon.com/imsopopular (S3.E30レズな夜)

Die Literatur war eine Männerdomäne, aber nach 1900 veränderte sich das künstlerische Selbstverständnis von Frauen überall auf der Welt von Grund auf. Sie eroberten sich kreative Freiräume, brachten weibliches Denken und Fühlen in die Literatur ein und schufen große Erzählkunst. Die renommierte Literaturkritikerin Sandra Kegel widmet ihnen den Band „Prosaische Passionen“. Insgesamt 101 Erzählungen hat Sandra Kegel zusammengetragen von Selma Lagerlöf, Else Lasker-Schüler, Eileen Chang, Djuna Barnes, Marina Zwetajewa und vielen mehr. Der Band wirft dabei auch einen Blick hinaus über den westlich geprägten Tellerrand nach Asien, Afrika und Südamerika. Einige der Short Stories erscheinen erstmals in deutscher Übersetzung. Ein Mammut-Projekt. Der Manesse-Verlag nennt es einen „repräsentativen Gegenkanon zur patriarchalen Dominanz“. Am Mikrofon: Nadine Kreuzahler und Thomas Geiger

Siempre es buen momento, incluso entre chichas y empanadas, para detenernos a hablar de un libro notable, del que poco se habla. En la cita habitual con la literatura de Antonella Estévez, Alberto Mayol y Omar Sarrás comentan la alucinante novela "El bosque de la noche" de Djuna Barnes.

Siempre es buen momento, incluso entre chichas y empanadas, para detenernos a hablar de un libro notable, del que poco se habla. En la cita habitual con la literatura de Antonella Estévez, Alberto Mayol y Omar Sarrás comentan la alucinante novela "El bosque de la noche" de Djuna Barnes.

"Libri che mi hanno rovinato la vita. E altri amori malinconici" di Daria Bignardi (Einaudi) racconta la passione per i libri e la lettura. Una passione per Daria Bignardi nata da piccola: la madre ansiosa non la faceva uscire di casa e lei passava interi pomeriggi a leggere. Fra i 12 e i 18 anni aveva letto i classici russi e francesi, poi gli americani e gli italiani. Ma in questo percorso fra ricordi personali e letteratura, si parla soprattutto dei libri che hanno "rovinato" la vita, perché "l'arte non deve consolare, ma turbare". E allora Daria Bignardi ricorda le emozioni scatenate in particolare da tre romanzi: "La foresta della notte" di Djuna Barnes, "Il demone meschino" di Sologub e "Così parlò Zarathustra" di Nietzsche. Il particolare il romanzo dello scrittore russo, letto a 13 anni, le aveva fatto scoprire il male e, dunque, la fascinazione per il dolore, il buio e l'infelicità ("soffrire mi esaltava"). Un romanzo apprezzato sia negli Stati Uniti che in Gran Bretagna (è stato primo nelle classifiche del New York Times per mesi) che ora è arrivato in Italia: è "Il palazzo di carta", opera prima dell'americana Miranda Cowley Heller (Garzanti - traduz. Stefano Beretta). È la storia di una donna, Elle, cinquantenne sposata con tre figli, che torna nel luogo dove ha sempre trascorso l'estate fin da piccola, Cape Cod. Qui incontra un amore di gioventù, Jonas, un amore che era stato interrotto da qualcosa che era accaduto nel passato. Elle e Jonas condividono un segreto sulla loro adolescenza e il romanzo è costruito su diversi piani temporali: quello che accade oggi in un solo giorno nel momento in cui Elle e Jonas si rivedono in compagnia dei rispettivi partner e il passato.

Alan Singer is the author of six novels, including The Charnel Imp, The Inquisitor's Tongue, and most recently Play, A Novel (Grand Iota, 2020). He also writes about aesthetics and the visual arts. His most recent work in this area is Posing Sex: Toward a Perceptual Ethics for Literary and Visual Art (Bloomsbury, 2018).In this episode, we talk about whether or not an MFA is useful, the increasingly stifling atmosphere of universities, the question of free will versus ‘acting', the primitive muses of violence and sex, film adaptions, dealing with doubt as a writer, Alan's fruitful friendship with Joseph McElroy, his unfortunately failed attempt to befriend Djuna Barnes, and much more! Purchase Singer's latest novel here: https://www.grandiota.co.uk/alan-singer.phpDancing in Chains: An Interview with Alan Singer: https://thecollidescope.com/2021/01/24/dancing-in-chains-an-interview-with-alan-singer/A review of The Ox-Breadth by Alan Singer: https://thecollidescope.com/2021/11/01/the-ox-breadth-by-alan-singer/A review of The Charnel Imp by Alan Singer: https://thecollidescope.com/2021/01/24/the-charnel-imp-by-alan-singer/Intro/outro music: DJ GriffinSupport the show

Today's poem is Pastoral by Djuna Barnes.

Today's poem is Pastoral by Djuna Barnes.

Shalini Sengupta thinks together ‘the mycological turn' in the humanities and the narrative and aesthetic work that mushrooms do in some modernist literature. She draws from Anna Tsing's The Mushroom at the End of the World and the research of Sam Solomon and Natalia Cecire. Modernist mushrooms, if they are a thing, exist in the writings of Alfred Kreymborg, Djuna Barnes, and Sylvia Plath, and the photography of Alfred Stieglitz. Shalini is a final year PhD student at the University of Sussex, UK. Her thesis explores the concept of modernist difficulty in British and diasporic poetry through the lens of intersectionality. Her academic writing have appeared/are forthcoming in Modernism/modernity Print Plus, Contemporary Women's Writing, and the Journal of British and Irish Innovative Poetry. In 2021, she was selected as a Ledbury Emerging Critic. Image Art by Saronik Bosu Music used in promotional material: ‘How Many' by Windmill Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Shalini Sengupta thinks together ‘the mycological turn' in the humanities and the narrative and aesthetic work that mushrooms do in some modernist literature. She draws from Anna Tsing's The Mushroom at the End of the World and the research of Sam Solomon and Natalia Cecire. Modernist mushrooms, if they are a thing, exist in the writings of Alfred Kreymborg, Djuna Barnes, and Sylvia Plath, and the photography of Alfred Stieglitz. Shalini is a final year PhD student at the University of Sussex, UK. Her thesis explores the concept of modernist difficulty in British and diasporic poetry through the lens of intersectionality. Her academic writing have appeared/are forthcoming in Modernism/modernity Print Plus, Contemporary Women's Writing, and the Journal of British and Irish Innovative Poetry. In 2021, she was selected as a Ledbury Emerging Critic. Image Art by Saronik Bosu Music used in promotional material: ‘How Many' by Windmill Learn more about your ad choices. Visit megaphone.fm/adchoices

Shalini Sengupta thinks together ‘the mycological turn' in the humanities and the narrative and aesthetic work that mushrooms do in some modernist literature. She draws from Anna Tsing's The Mushroom at the End of the World and the research of Sam Solomon and Natalia Cecire. Modernist mushrooms, if they are a thing, exist in the writings of Alfred Kreymborg, Djuna Barnes, and Sylvia Plath, and the photography of Alfred Stieglitz. Shalini is a final year PhD student at the University of Sussex, UK. Her thesis explores the concept of modernist difficulty in British and diasporic poetry through the lens of intersectionality. Her academic writing have appeared/are forthcoming in Modernism/modernity Print Plus, Contemporary Women's Writing, and the Journal of British and Irish Innovative Poetry. In 2021, she was selected as a Ledbury Emerging Critic. Image Art by Saronik Bosu Music used in promotional material: ‘How Many' by Windmill Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Shalini Sengupta thinks together ‘the mycological turn' in the humanities and the narrative and aesthetic work that mushrooms do in some modernist literature. She draws from Anna Tsing's The Mushroom at the End of the World and the research of Sam Solomon and Natalia Cecire. Modernist mushrooms, if they are a thing, exist in the writings of Alfred Kreymborg, Djuna Barnes, and Sylvia Plath, and the photography of Alfred Stieglitz. Shalini is a final year PhD student at the University of Sussex, UK. Her thesis explores the concept of modernist difficulty in British and diasporic poetry through the lens of intersectionality. Her academic writing have appeared/are forthcoming in Modernism/modernity Print Plus, Contemporary Women's Writing, and the Journal of British and Irish Innovative Poetry. In 2021, she was selected as a Ledbury Emerging Critic. Image Art by Saronik Bosu Music used in promotional material: ‘How Many' by Windmill Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

"What's a Spring Tonic? The early settlers were firm believers in the restorative powers of early spring greens! Dandelion leaves, ramps, stewed rhubarb, boiled sassafras, wild strawberries, and young tender greens stimulated the digestion and strengthened the body after a long winter. Learn more..."  Join Rob as he discusses springtime sleeping with the peepers, power cycling with your computers, spring tonics, and how winter used to mean "lean" times before the spring season. Rob also discusses his experience with fasting, fermented foods and supplementation to rejuvenate and rebuild his own gut biome after years of neglect and abuse of food and alcohol. Also...discover the origin of the phrase “burning the candle at both ends”!  A frog leaps out across the lawn,  And crouches there—all heavy and alone,  And like a blossom, pale and over-blown,  Once more the moon turns dim against the dawn.  –Djuna Barnes (1892–1982)  What's your experience with fasting and spring tonics? Let us know in the group chat!  Telegram Group Chat - https://t.me/allaroundgrowth ~Connect on social media!  Twitter - https://twitter.com/allaroundgrowth Flote - https://flote.app/allaroundgrowth Facebook Page - https://www.facebook.com/allaroundgrowth Facebook Group - https://www.facebook.com/groups/allaroundgrowth ~  Subscribe to the All Around Growth Podcast Telegram Channel for show updates ONLY:    https://t.me/allaroundgrowthpodcast  ~Follow this link to ALL EPISODES   ~ How To Leave a Rating & Review in Apple Podcast AppThis really *does* affect the algorithm......as of recording in March 2022 - I would invite you to do this!The podcast game is changing - help us with a rating and review!~Have a Question or any feedback for Rob?Send me an email at allaroundgrowth@gmail.com~Discussion Links:March 24, 2022Spring TonicsWhat's a Spring Tonic? The early settlers were firm believers in the restorative powers of early spring greens! Dandelion leaves, ramps, stewed rhubarb, boiled sassafras, wild strawberries, and young tender greens stimulated the digestion and strengthened the body after a long winter. Learn more.Yoder's Good Health Recipe Center for Functional Medicine - Cleveland ClinicSupport the show (https://www.patreon.com/allaroundgrowth)

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 20, 2022. www.poets.org

"Libri che mi hanno rovinato la vita. E altri amori malinconici" di Daria Bignardi (Einaudi) racconta la passione per i libri e la lettura. Una passione per Daria Bignardi nata da piccola: la madre ansiosa non la faceva uscire di casa e lei passava interi pomeriggi a leggere. Fra i 12 e i 18 anni aveva letto i classici russi e francesi, poi gli americani e gli italiani. Ma in questo percorso fra ricordi personali e letteratura, si parla soprattutto dei libri che hanno "rovinato" la vita, perché "l'arte non deve consolare, ma turbare". E allora Daria Bignardi ricorda le emozioni scatenate in particolare da tre romanzi: "La foresta della notte" di Djuna Barnes, "Il demone meschino" di Sologub e "Così parlò Zarathustra" di Nietzsche. Il particolare il romanzo dello scrittore russo, letto a 13 anni, le aveva fatto scoprire il male e, dunque, la fascinazione per il dolore, il buio e l'infelicità ("soffrire mi esaltava"). Nella seconda parte parliamo di "Divorzio di velluto" (Feltrinelli) di Jana Karsaiova. Un romanzo sulla divisione e la separazione, ma anche sulla ricerca della propria identità. Separazione fra un uomo e una donna che erano stati una coppia, separazione dalla famiglia d'origine e dalla città d'origine, ma anche separazione di un Paese. "Divorzio di velluto" è l'espressione con cui i cechi definivano la divisione della Cecoslovacchia in Repubblica Ceca e Slovacchia, avvenuta nel 1993. Si tratta, dunque, di un romanzo sulla separazione che apparentemente viene gestita con naturalezza, ma che in realtà nasconde strappi dolorosi. L'autrice, nata in Slovacchia, vive da anni in Italia e ha deciso di scrivere il suo primo romanzo in italiano.

Lexi & Ben get literary AF with their first ever book club episode! Dork book club? Book dork club? Whatever. Listen in as they dork out about some of the formative books that made them the dorks they are today.SHOW NOTES:Books we talked about:The Count of Monte Cristo by Alexandre Dumas  (Lexi)Catacombs by Paul McCusker (Ben)It Happened in Boston? by Russell H. Greenan (Lexi)The Lord of the Rings by J.R.R. Tolkien (Ben)Jitterbug Perfume by Tom Robbins (Ben)Neverwhere by Neil Gaiman (Lexi)Redwall by Brian Jacques (not Jeph Jacques) (Ben)Kafka on the Shore by Haruki Murakami (Lexi & Ben)Every book ever written by David Sedaris (Lexi)The Discworld series by Terry Pratchett (Ben)Hitchiker's Guide to the Galaxy by Douglas Adams (Ben)Important references:Scotish snowplowsReading Rainbow (We  love you LeVar)Jonathon Frakes libidoChristian Persecution ComplexEveryone is DEADCletusToonie (ferreal)Margaret AtwoodTheodore Mouse Goes to Sea"A jack of all trades is a master of none, but oftentimes better than a master of one"Becky ChambersBONUS MATERIAL:Producer Jess' formative book picks and explanations:Howl's Moving Castle, Diana Wynne Jones. I wasn't really much of a reader until I was turned on to the Harry Potter series, but this was the first book I read before even those ones that made me interested in fantasy, and was ultimately what put me on the path of being a lifelong book lover (Gail Carson Levine also falls under this umbrella as another kickass fairytale fantasy writer)A Complicated Kindness, Miriam Toews. I think YA is grossly underrated and books like this prove that; I also think the idea that YA has to have a happy ending is ridiculous and this is a book that proves that because it's decidedly melancholic throughout all the way to the end (but honestly that is how teenagerdom felt for me, so I appreciate that)Nightwood, Djuna Barnes. From a stylistic perspective it's unlike any other book I've ever read (it's a story with no plot, really - contemporary of TS Eliot if that gives any context) and it fundamentally changed the way I think about love and sexualityThe Waves, Virginia Woolf. My favourite of Woolf's work, this is the first time I ever got to read an experience of depression that felt like my ownThe Good Earth, Pearl S. Buck. Yes, this is an Oprah Book Club book that was given to me by my mother as an "easy read" because I was feeling overwhelmed crushing out a shitload of classics readings in my undergrad, but this is a book that I re-read probably once a year. It just kind of makes you feel good despite the fact that it's about the cyclical folly of man, and I love that Difficult Women, Roxane Gay - I love short stories as much as I love novels, and this is one of the best collections I've ever read, period. Every single one of these stories completely captures the terror and power of what it means to be a womanGrief is the Thing with Feathers, Max Porter - I don't think I've ever cried so hard reading before (like had to stop because I couldn't see the page crying) but you feel really cathartically better after because if you've ever experienced any death in your life this is a heartbreakingly true articulation of how truly awful it is to lose someone you love SOCIALS:Here's where you can find us!Lexi's website and twitter and instagramBen's website and instagram and where to buy his book: Amazon.ca / Comixology / Ind!go / Renegade ArtsDork Matter's website(WIP) and twitter and instagramIf you're enjoying Dork Matters, we'd really appreciate a nice rating and review on Apple Podcasts, or wherever you get your pods. It would very much help us get this show to the other dorks out there.“Stay gold, Ponyboy, stay gold."