Podcasts about dubus

Crecer leyendo a cuentistas convierte a Tamara Silva Bernaschina en creadora de mundos de 15 páginas, en constructora de hondos personajes en muy poco espacio. Ella es una de esas escritoras capaces de relatar grandes historias en relatos breves. Tamara tiene 25 años. En 2023, con 'Desastres naturales', empezó a cobrar notoriedad y ganó dos importantes premios de narrativa uruguaya. Al año siguiente, el Nacional de Literatura en la categoría de ópera prima. Escribió una novela, 'Temporada de ballenas', y recibió mención de honor en el concurso literario Juan Carlos Onetti. Esta tarde ha venido a presentarnos 'Larvas', editado en España por Páginas de espuma, un libro de relatos inquietantes en los que mezcla realidad y psicomagia, lo que podríamos considerar una forma contemporánea del realismo mágico.Con Laura Fernández viajamos a Iowa City, una pequeña ciudad universitaria del Medio Oeste estadounidense, donde se formó el escritor Andre Dubus. Alumno de Richard Yates —autor de 'Revolutionary Road', novela que inspiró la película en la que se reencontraron Leonardo DiCaprio y Kate Winslet—, Dubus se convirtió en experto en retratar relaciones fracturadas y matrimonios en caída libre.La primera vez que Keith LaMar habló con RNE desde el corredor de la muerte fue en mayo de 2021. Su ejecución estaba prevista para el 16 de noviembre de 2023. Sin embargo, en mayo de 2025, Keith LaMar puede responder de nuevo porque el estado de Ohio ha aplazado su ejecución hasta el 13 de enero de 2027. Ha ganado tiempo para defender su inocencia, para oponerse a la pena de muerte y para publicar un segundo disco de jazz desde la celda, junto al pianista español Albert Marquès. Íñigo Picabea ha conversado con ambos.Y cerramos con cine. Conxita Casanovas repasa los estrenos de la semana: 'La trama fenicia' de Wes Anderson, 'Érase una vez mi madre' de Ken Scott y 'El jockey', una cinta argentina dirigida por Luis Ortega.Escuchar audio

Au programme, un tour de table de l'actualité avec Alex Darmon, journaliste politique, chaine Youtube Les Indécis, Arnaud Benedetti, Professeur à la Sorbonne, rédacteur en chef de la revue politique et parlementaire et auteur de “ Aux portes du pouvoir - RN, l'inéluctable victoire ?", Jérôme Dubus, Membre du pôle idées d'Horizons et Jean Baptiste Moreau, Porte parole du think tank Agriculture Stratégies, ancien agriculteur, ancien député

Is wellness the new purity ring? In part 2 of Gender War Games, host Cristen Conger and trainer Cadence Dubus breaks down how body control, aesthetic discipline, and "clean" femininity are being sold as self-care—while reinforcing the same old patriarchal power structures. From the rise of Ozempic and disordered wellness trends to body shame masquerading as moral virtue, what happens when femininity and fitness become political battlegrounds where women are expected to be skinny, soft, and silent?(00:00) Your Body Is a Battleground (00:52) The New Right's Body Ideals(01:23) The Wellness Grind(03:16) Functional Strength > Weight-Loss Goals(05:48) Women's Fitness Mirage(11:13) The Ozempic Effect(15:18) America's Health Hierarchy(17:28) Politicized Exercise(21:15) Class, Wealth and Commodified Wellness(28:29) What's a Body to Do?For ad-free bonus episodes and uncut guest interviews, visit patreon.com/unladylikemedia. Get in touch on Instagram @unladylikemedia, and/or subscribe to the newsletter at unladylike.substack.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Au programme, un tour de table de l'actualité avec Mehdy Raïche, Analyste politique, Jean Luc Bennahmias, Membre de la Ligue des Droits de l'Homme, ancien membre du CESE, Jérôme Dubus, Membre du pôle idées d'Horizons et Gilbert Azoulay, Directeur Général de News Tank Education

The brilliant Alexis Dubus has made an entire career out of not only playing a character, but playing a misanthropic Frenchman, Marcel Lucont and that presents quite a winding path here in 2025, especially as Dubus is set to play a handful of American dates as Lucont coming up very soon. We have a badinage as well as an in-depth chat about Alexis' journey in and out of himself and Marcel and how he is forging ahead with a character drenched in tasty irony. Follow Alexis @alexisdubuscomedy and Marcel Lucont @marcel.lucont and get tickets for his 4/21 show at The Elysian here. Produced by Jake Kroeger Music by Brian Granillo Artwork by Andrew Delman and Jake Kroeger

Au programme, un tour de table de l'actualité avec Régis de Castelnau, Avocat (blog : « Vu du droit »), Auteur de « Une justice politique » (L'artilleur) et membre de la rédaction Front Populaire, Erik Tegner, Journaliste, Président de "Frontières" débat tous les vendredi dans "La vérité en face" de Patrick Roger avec Alex Darmon, Rafik Smati, Chef d'entreprise, Président du mouvement Objectif France et Jérôme Dubus, Membre du pôle idées d'Horizons

Au programme, un tour avec Brice Soccol, Politologue, essayiste, Jérôme Dubus, Membre du pôle idées d'Horizons, Sophie De Menthon, chef d'entreprise, présidente du mouvement ETHIC et Frédéric Dabi, Directeur général de l'IFOP

Au programme, un tour de table de l'actualité avec Andrea Kotarac, porte parole du RN, Régis de Castelnau, Avocat (blog : « Vu du droit »), Auteur de « Une justice politique », Sophie De Menthon, chef d'entreprise, présidente du mouvement ETHIC et Jérôme Dubus, Membre du pôle idées d'Horizons

ARTCENA et Rue du Conservatoire présentent « Première écoute » un rendez-vous audio pour découvrir les textes lauréats de l'Aide nationale à la création de textes dramatiques. Découvrez le texte « J'étais parti·e, pardon (dans un autre univers) » de Philippe Crubézy, lecture dirigée par Anne Canovas, lu par Marianne Wolfsohn, Nathalie Bécue et Shems Khettouch de Rue du Conservatoire. CRÉDITS : Production : ARTCENA et Rue du Conservatoire Création sonore : Marc Sayous

Au programme, un tour de table de l'actualité avec : Eric Revel, Journaliste - éditorialiste Sud Radio, Andrea Kotarac, porte parole du RN, Jean Pierre Denis, Journaliste, écrivain, chroniqueur à La Croix et Jérôme Dubus, Membre du pôle idées d'Horizons

Au programme, un tour de table de l'actualité avec : Gilles Ganzmann, Journaliste Média Sud Radio, Jérôme Dubus, Membre du pôle idées d'Horizons, Remi Branco, Vice président du département du Lot et auteur de "Loin des villes loin du coeur" (Editions de l'Aube) et Najwa El Haite, Docteur en droit public et auteur de « Laïcité et république » (L'Harmattan)

Au programme, un tour de table de l'actualité avec Rafik Smati, Chef d'entreprise, Président du mouvement Objectif France, auteur de "Le Nouveau Temps - comment reprendre le contrôle à l'ère de l'IA" (Eyrolles), Yves D'Amécourt, Viticulteur, ancien élu local, Jérôme Dubus, Membre du pôle idées d'Horizons et Charles Alloncle, Député de l'Hérault et Porte Parole de l'UDR (parti d'Eric Ciotti)

Au programme, un tour de table de l'actualité avec François Momboisse, Président de la FEVAD (Fédération du Ecommerce et de la Vente A Distance), Mehdy Raïche, Analyste politique, Jérôme Dubus, Membre du pôle idées d'Horizons et Mehdi Ouraoui, Essayiste, écrivain, auteur de "Romance nationale" (Fayard)

Au programme, un tour de table de l'actualité avec Franck Dedieu, Directeur adjoint de la rédaction de Marianne, Alexandra Szpiner, Enseignante et Déléguée spéciale en charge du décrochage scolaire à la région Ile de France, Jérôme Dubus, Membre du pôle idées d'Horizons et Régis de Castelnau, Avocat

Au programme, un tour de table de l'actualité avec : Franck Dedieu, Directeur adjoint de la rédaction de Marianne, Alexandra Szpiner, Enseignante et Déléguée spéciale en charge du décrochage scolaire à la région Ile de France, Jérôme Dubus, Membre du pôle idées d'Horizons, Najwa El Haite, Docteur en droit public et auteur de « Laïcité et république » (L'Harmattan)

Au programme, un tour de table de l'actualité avec : Jean Christophe Gallien, politologue et conseiller en communication, Jérôme Dubus, Membre du pôle idées d'Horizons, Gilles Platret, Maire de Chalon sur Saone et Frank Tapiro, Publicitaire, fondateur de Diaspora Défense Forces

Au programme, un tour de table de l'actualité avec : Virginie Le Guay, Journaliste et éditorialiste politique à France Info TV, Pascal Bataille, animateur, producteur, chef d'entreprise, Christine Bouillot, Journaliste Sud Radio, correspondante à Toulouse et Jérôme Dubus, Membre du pôle idées d'Horizons

Au programme, un tour de table de l'actualité avec : Kevin Bossuet, Professeur d'histoire en Seine Saint Denis, Jérôme Dubus, Membre du pôle idées d'Horizons, Benoit Perrin, Directeur de Contribuables associés et Alex Darmon, journaliste politique, chaine Youtube Les Indécis

Dans cet épisode, l'historienne Zoë Dubus évoque les violences sexistes et sexuelles présentes dans les milieux psychédéliques, ainsi que le cas de deux adolescents homosexuels placés dans un hôpital psychiatrique dans les années 60 en France, qui ont été forcés à subir des thérapies de conversion. Pour suivre Zoë sur X, c'est par ici : https://x.com/ZoeDubus Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Au programme, un tour de table de l'actualité avec Sophie De Menthon, chef d'entreprise, présidente du mouvement ETHIC, Eric Revel, Journaliste - éditorialiste Sud Radio, Alex Darmon, journaliste politique, chaine Youtube Les Indécis et Jérôme Dubus, Membre du pôle idées d'Horizons.

Dans cet épisode, l'historienne Zoë Dubus évoque l'invisibilisation des femmes dans l'histoire des psychédéliques, notamment des thérapeutes et scientifiques Margot Cutner, Joyce Martin et Betty Eisner. Pour suivre Zoë Dubus sur Twitter, c'est par ici : https://x.com/ZoeDubus Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Au programme: le tour de table de l'actualité avec Frédéric Fougerat, Franck Dedieu, Jean Pierre Denis et Jérôme Dubus.

We are officially in the second to last month of the podcast. So, I decided my final topic would be around side hustling and entrepreneurship, which, you can imagine, are subjects near and dear to my heart. The Financial Gym has taken me on an 11-year entrepreneurial journey, and it would have started as a side hustle if I was allowed to coach people on the side from my day job as a financial advisor. In August of 2013, I made the wild decision to jump full force into an entrepreneurial journey without testing it via a side hustle. While I'm thankful for the journey, I would advise everyone else to start with the side hustle before it becomes the full hustle.  So this month I'm going to share with you stories from side hustle through full entrepreneurship and everywhere in between. Joining me today is Cadence Dubus, who combined her love of dancing and her need to make money into a career in fitness that started from instructor to multi-gym owner to virtual business owner. Like me, Cadence didn't set out to become an entrepreneur, but she's become an amazing one in her own right. I am inspired by Cadence's strength and tenacity, and I hope you are too. For more information, visit the show notes: https://www.martinisandyourmoney.com/show-notes/episode549

Au programme, un tour de table de l'actualité avec : Jean Luc Bennahmias, Membre de la Ligue des Droits de l'Homme, ancien membre du CESE, Jean Christophe Gallien, politologue et conseiller en communication, Jean Pierre Denis, Journaliste, écrivain, chroniqueur à La Croix et Jérôme Dubus, Membre du pôle idées d'Horizons.

Retrouvez toute l'actualité qui fait réagir nos débatteurs : Virginie Le Guay, Journaliste et éditorialiste politique à France Info TV, Geneviève Goëtzinger, Présidente de l'agence imaGGe, Jérôme Dubus, Membre du pôle idées d'Horizons et Jonas Haddad, Avocat

How do you get on with life after an accident that leads to disability and chronic pain? That's the central question in Andre Dubus III's novel, Such Kindness. He talks about the injuries he faced when he was a carpenter, and how his relationship changed with his father after the senior Dubus was struck by a car and never walked again. His previous books include Townie and House of Sand and Fog. Justin Chang reviews the Western film The Dead Don't hurt.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

How do you get on with life after an accident that leads to disability and chronic pain? That's the central question in Andre Dubus III's novel, Such Kindness. He talks about the injuries he faced when he was a carpenter, and how his relationship changed with his father after the senior Dubus was struck by a car and never walked again. His previous books include Townie and House of Sand and Fog. Justin Chang reviews the Western film The Dead Don't hurt.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

"If you want to check in and get some clarity on what you believe, I tell people, well, just write something really honest and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, think, fear, regret, desire, etc.We always reveal ourselves in our work. The truth is, I identify far more with those on the outside than on the inside. And even though from the outside it looks like I'm on the inside – you know, I'm a successful author, professor, white, privileged, educated, straight male from the United States – you can't get more privileged than that in a patriarchal, misogynistic, racist society. But I don't identify with those people. And I don't know if it's because of my youth or just how I am in the world. When you read that passage from Ghost Dogs back to me about my hatred of all those things. That hatred for those kinds of injustices has never left me. In fact, they've just grown sharper."Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. "If you want to check in and get some clarity on what you believe, I tell people, well, just write something really honest and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, think, fear, regret, desire, et cetera.We always reveal ourselves in our work. The truth is, I identify far more with those on the outside than on the inside. And even though from the outside it looks like I'm on the inside – you know, I'm a successful author, professor, white, privileged, educated, straight male from the United States – you can't get more privileged than that in a patriarchal, misogynistic, racist society. But I don't identify with those people. And I don't know if it's because of my youth or just how I am in the world. When you read that passage from Ghost Dogs back to me about my hatred of all those things. That hatred for those kinds of injustices has never left me. In fact, they've just grown sharper."www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"All creative writing is that act of reaching for the pieces to put it back together again. And with the memoir, the essay, it's human memory. Your memory for your own existence. With fiction, it's a dream world where you're reaching for the shards. And I find it's so moving because that's what it feels like when I feel that I might be writing well. It's just uncovering and uncovering.Writing is a free fall into the writer's psyche, and if you want some clarity on what you believe, just write something sincere and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, what you think, what you fear, regret, and desire, etc." Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell."All creative writing is that act of reaching for the pieces to put it back together again. And with the memoir, the essay, it's human memory. Your memory for your own existence. With fiction, it's a dream world where you're reaching for the shards. And I find it's so moving because that's what it feels like when I feel that I might be writing well. It's just uncovering and uncovering.Writing is a free fall into the writer's psyche, and if you want some clarity on what you believe, just write something sincere and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, what you think, what you fear, regret, and desire, etc." www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The character I wrote about in House of Sand and Fog was based on a former colonel and aeronautical engineer in the Shah's Air Force. I watched him work at a gas station. And on his days off, he'd put on his suit and look for better work. One night I'm helping him bring his groceries in, and he said in his thick Persian accent, "You know, I used to work with kings and presidents and prime ministers in my office by myself. Now, I'm serving candy and cigarettes to kids who don't even know who I am."Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. "The character I wrote about in House of Sand and Fog was based on a former colonel and aeronautical engineer in the Shah's Air Force. I watched him work at a gas station. And on his days off, he'd put on his suit and look for better work. One night I'm helping him bring his groceries in, and he said in his thick Persian accent, "You know, I used to work with kings and presidents and prime ministers in my office by myself. Now, I'm serving candy and cigarettes to kids who don't even know who I am.""I did some acting in my 20s and 30s. It's an art form I really admire, but it's a sister art form where you are emptying yourself of yourself to become someone else, except you're bringing your humanity to whoever's point of view you're writing from, whether it's a man or a woman, someone from a different race or ethnicity or religious background. We all share far more than we do not, and so we have to find that common thread. It's ironic that you find more of yourself stepping into the private skin of another, but isn't that always also the case being a reader? We read from the points of view of other human beings, sometimes from cultures we've never even stepped into, and we find more of ourselves than we did before. It's the miraculous promise of literature."www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I was the boy whose hatred for bullies had become a hatred for injustice of all kinds–for imperialism and colonialism, for racism and poverty, for a world where cruelty and violence and oppression were rewarded with power and vast sums of money for the brutal for the brutal few at the expense of many."Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell."I was the boy whose hatred for bullies had become a hatred for injustice of all kinds–for imperialism and colonialism, for racism and poverty, for a world where cruelty and violence and oppression were rewarded with power and vast sums of money for the brutal for the brutal few at the expense of many."www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“And so I teach young people, and I find it immensely gratifying to do so, especially for those who've already found writing in their blood so young. I say, ‘Do you know how lucky you are to have found something that makes you feel so alive this early in your life? People live whole lives and never find it.' ”Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell.“And so I teach young people, and I find it immensely gratifying to do so, especially for those who've already found writing in their blood so young. I say, "Do you know how lucky you are to have found something that makes you feel so alive this early in your life? People live whole lives and never find it.”www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"If you want to check in and get some clarity on what you believe, I tell people, well, just write something really honest and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, think, fear, regret, desire, etc.We always reveal ourselves in our work. The truth is, I identify far more with those on the outside than on the inside. And even though from the outside it looks like I'm on the inside – you know, I'm a successful author, professor, white, privileged, educated, straight male from the United States – you can't get more privileged than that in a patriarchal, misogynistic, racist society. But I don't identify with those people. And I don't know if it's because of my youth or just how I am in the world. When you read that passage from Ghost Dogs back to me about my hatred of all those things. That hatred for those kinds of injustices has never left me. In fact, they've just grown sharper."Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I am deeply concerned about the digital world. My deep concern about the handheld is it's casting everybody to be in a trance, and it's taking from them the only thing we have, which is the present moment. Everyone's walking around in a state of continuous partial attention."Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?Andre Dubus III's nine books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. "I am deeply concerned about the digital world. My deep concern about the handheld is it's casting everybody to be in a trance, and it's taking from them the only thing we have, which is the present moment. Everyone's walking around in a state of continuous partial attention."www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Acclaimed author Andre Dubus III once wrote that he's drawn to writing about “working class men who work with their hands … men up against it who only know one or two ways how to get free, both of which can hurt other people or themselves.” Dubus knows from experience. He grew up in the 1970s and 80s with a famous but notoriously absent father in the mill towns along the Merrimack River in Massachusetts, always eager to throw a punch if it proved his worth as a man. His experiences led to the celebrated memoir Townie, dubbed by one critic as “the most sensitive and gripping account of male violence imaginable.” On this episode of Paternal, Dubus discusses how he learned to perform masculinity with his fists, the influence of his literary father, how prisoners and police officers alike responded to the violence in Townie, and how his three grown children reacted to reading about their father's past life as a man fighting to get free. Dubus' latest novel, Such Kindness, is available now wherever you buy books. Learn more about Paternal and sign up for our newsletter at www.paternalpodcast.com. You can also email host Nick Firchau at nick@paternalpodcast.com with any comments or suggestions for men he should profile on the show. Make sure you subscribe to the show on Apple Podcasts or wherever you're listening, then keep an eye on your feed for new episodes.

Indeed, it's our 50th episode, which is a wicked big deal, and Sam and Hannah are high on the successful Andre Dubus III event they have just completed, and so you get a recaap of that and some behind-the-scenes stuff (he is very charming; throws out Ezra Pound quotes off the top of his head), but no worries, we quickly move into talk of similar dude-lit writer Richard Ford's "Be Mine," the third Frank Bascombe book. It touches off a discussion of the "shitty dad" trope and the relative rarity of father-son stories in contemporary lit. Just because you're privileged doesn't mean bad things don't happen to you and you don't deserve empathy (but not Jann Wenner; that guy deserves ridicule). But it's not all quite that serious — Hannah just read "Business or Pleasure," which is about just what you think it is (a ghostwriter hooks up with her boss and teaches him how to have sex; that's what you thought, right?). Just make sure you keep the windows rolled up for the audiobook. And "North Woods," by Daniel Mason, is seriously good, but way too weird to be "serious." Sam praises it as "like a David Mitchel novel." Finally, we wrap with the new "Square of Sevens," the plot of which reminds Sam of Zadie Smith's new novel (but with a lot of fortune telling), and a BIG ANNOUNCEMENT.

How do you get on with life after an accident that leads to disability and chronic pain? That's the central question in Andre Dubus III's new novel, Such Kindness. He talks about the injuries he faced when he was a carpenter, and how his relationship changed with his father after the senior Dubus was struck by a car and never walked again. His previous books include Townie and House of Sand and Fog.

In today's flashback, an outtake from Episode 549, my conversation with Andre Dubus III from October 2018. Dubus is the author of several books, including Dirty Love, The Garden of Last Days, House of Sand and Fog (a New York Times bestseller, Oprah's Book Club pick, and finalist for the National Book Award), and a memoir called Townie. Earlier this month, he published his latest novel, entitled Such Kindness, available now from W.W. Norton & Co. I spoke with Andre Dubus III as he was on tour for his novel Gone So Long. Air date: October 31, 2018. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andre Dubus III — bestselling author of nine books including “House of Sand and Fog,” “The Garden of Last Days,” “Bluesman” and the memoir “Townie” — is out with his latest novel, “Such Kindness.” Dubus was a finalist for the National Book Award (for “House of Sand and Fog”), has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, Two Pushcart Prizes, and an American Academy of Arts and Letters Award in Literature. His books are published in more than 25 languages, and he teaches full-time at the University of Massachusetts, Lowell. He lives in Massachusetts with his wife, Fontaine, a modern dancer, and their three children. We discuss: >> His hardscrabble upbringing>> Boxing, bullying and aversion to violence>> Andre Dubus II>> The mystical writing experience>> Affinity for Persian culture>> Getting discovered by Oprah Winfrey>> Forthcoming work>> Teaching writing>> Etc. Learn more about Andre Dubus III here: https://www.andredubus.com Novelist Spotlight is produced and hosted by Mike Consol, author of “Lolita Firestone: A Supernatural Novel,” “Family Recipes: A Novel About Italian Culture, Catholic Guilt and the Culinary Crime of the Century” and “Hardwood: A Novel About College Basketball and Other Games Young Men Play.” Buy them on any major bookselling site. Write to Mike Consol at novelistspotlight@gmail.com. We hope you will subscribe and share the link with any family, friends or colleagues who might benefit from this program.

Bill welcomes celebrated novelist Andre Dubus III to the show. Andre's books include the New York Times' bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His novel, Gone So Long, received starred reviews from Publisher's Weekly and Library Journal and has been named on many “Best Books” lists, including selection for The Boston Globe's “Twenty Best Books of 2018” and “The Best Books of 2018”, “Top 100”, Amazon. He has three new books out or forthcoming, his novel Such Kindness, June 2023, a collection of personal essays, Ghost Dogs: On Killers and Kin, due winter 2024, and, as editor, Reaching Inside: 50 Acclaimed Authors on 100 Unforgettable Short Stories, (Godine).​ Mr. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches full-time at the University of Massachusetts Lowell.

Qu'est-ce que la réalité? Qui sommes-nous vraiment? Comment être sûr du monde dans lequel nous vivons? Ces questions traversent et soutiennent la quasi-totalité de l'œuvre de l'écrivain de science-fiction de Philip K. Dick, auteur prolifique et grand inspirateur d'Hollywood. Des milliers de pages mais aucune réponse claire de la part du maître de l'illusion, de l'équivoque et des mondes parallèles. Il ne sait pas, ou il ne sait plus, ce qu'est le réel. Et, à la fin de sa vie, sa vision du monde se confond avec son imaginaire, perdue dans ses mondes parallèles. Un soir, Justine veut provoquer son petit ami en tirant quelques bouffées d'un joint d'herbe. Un geste devenu commun, mais qui la plongera dans une profonde perplexité. L'histoire de Justine a été recueillie au micro d'Alizée Dubus. Transfert est un podcast produit et réalisé par Slate Podcasts. Direction éditoriale: Christophe Carron Direction de la production: Sarah Koskievic Direction artistique et habillage musical: Benjamin Saeptem Hours Production éditoriale: Sarah Koskievic et Benjamin Saeptem Hours Dérushage: Alizée Dubus Prise de son et réalisation: Victor Benhamou Musique: «Clouds» et «Eureka», Huma Huma L'introduction a été écrite par Christophe Carron. Elle est lue par Aurélie Rodrigues. Retrouvez Transfert tous les jeudis sur Slate.fr et sur votre application d'écoute. Découvrez aussi Transfert Club, l'offre premium de Transfert. Deux fois par mois, Transfert Club donne accès à du contenu exclusif, des histoires inédites et les coulisses de vos épisodes préférés. Pour vous abonner, rendez-vous sur slate.fr/transfertclub. Pour proposer une histoire, vous pouvez nous envoyer un mail à l'adresse transfert@slate.fr.

What you'll learn in this episode: How synesthesia—the ability to hear colors and see music—has impacted William's work Inside William's creative process, and why he never uses sketches or finishes a piece in one sitting Why jewelry artists should never scrap a piece, even if they don't like it in the moment The benefits of being a self-taught artist, and why art teachers should never aim to impart their style onto their students How a wearer's body becomes like a gallery wall for jewelry About William Harper Born in Ohio and currently working in New York City, William Harper is considered one of the most significant jewelers of the 20th century. After studying advanced enameling techniques at the Cleveland Institute of Art, Harper began his career as an abstract painter but transitioned to enameling and studio craft jewelry in the 1960s. He is known for creating esoteric works rooted in mythology and art history, often using unexpected objects such as bone, nails, and plastic beads in addition to traditional enamel, pearls, and precious metals and stones. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Cleveland Museum of Art, and the Museum of Fine Arts, Boston. A retrospective of his work, William Harper: The Beautiful & the Grotesque, was exhibited at the Cleveland Institute of Art in 2019. Additional Resources: William's Instagram Photos available on TheJewelryJourney.com Transcript: Rather than stifle his creativity, the constraints of quarantine lockdown and physical health issues helped artist-jeweler William Harper create a series of intricate jewels and paintings imbued with meaning. After 50+ years as an enamellist, educator and artist in a variety of media, he continues to find new ways to capture and share his ideas. He joined the Jewelry Journey Podcast to talk about his creative process; why he didn't want his art students to copy his style; and why he never throws a piece in progress away, even if he doesn't like it. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I'd like to welcome back one of today's foremost jewelers, William Harper. To say he is a jeweler leaves out many parts of him. He's a sculptor, an educator, an artist, an enamellist, and I'm sure I've leaving out a lot more. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Museum of Fine Arts, and most recently he had a one-person show, “The Beautiful & the Grotesque,” at the Cleveland Institute of Art. I can't do justice to all of his work, so I'll let him try to do some. Bill, welcome to the program. William: Thank you. It's great to see you again. Sharon: It's so great to see you after everything we've gone through. Give us an overview of how you got into jewelry and enameling, your art, everything. How did you get into it? William: One of the questions you gave me to ponder ahead of time was if I was interested in jewelry when I was a child. I was not even interested in jewelry when I was in college, except for taking one course to make the wedding rings for my now ex-wife, but that was it. A few years later, I got a phone call from Florida State University asking me if I would like to interview for a job teaching jewelry and metals and enameling. I wrote back and said, “I don't think I'm the person you want, because I don't know very much about jewelry.” So, I said no. Two days later, they called me again, and I told them the same thing. Then two days later, they called me again and I said, “Let me think about this. You're on the quarter system. Are you willing to pay me for one quarter, when I'm not there and I'm cramming on how to teach jewelry?” The head of the department said, “That sounds like a great idea. As long as you can come three weeks ahead of the students, we'll be happy.” I'm basically self-taught except for watching people at a few workshops. I think being self-taught is a very valuable tool because I was not chained to the style or techniques of any major professor, which happens so much, especially to students coming out with MFAs. For years, their work will look pretty much like what their instructor was doing. I didn't have that. I was my own instructor, and I was able to play out, in my 55-year career, how to do what I saw vaguely in my mind. I should say at this point, I had synesthesia—I could never say it correctly—which is the ability to hear music and see colors or see a painting and hear music. I'm blessed with that. I used to think it was a chain around my neck, but I appreciate the fact that I can do something that very few people can do. Sharon: You mean you see a painting or you hear music and you think about how that translates into art or jewelry? I'll call what you do jewelry. William: Yeah. The strangest one is I can smell an odor, whether it's bad or something overly sweet, like old lady rose perfume or cigars, and I have an instant reaction where I see—I don't see things; I sense things in my mind. That's the way it works. Sharon: You've talked about the dichotomy in your work. Does that play into it? William: Oh, absolutely. I've always been in opposites. Long before I was doing jewelry, I had a very successful enamel career. I would usually make two different objects in the same physical format, but one would deal with sensations that are opposite of the other, such as light and dark, good and evil, colorful and noncolorful. That informed that work. Now, after all the years doing jewelry exclusively, I try to build diametrically opposed ideas into the forms. You mentioned the exhibition the Cleveland Institute of Art gave me a few years ago, “The Beautiful & the Grotesque.” The title of that show epitomized what I'm usually doing in my work. Sometimes it's not always obvious to the viewer, but it serves as a jumping point for me. If I can plug the catalogue— Sharon: Please do. William: Cleveland did a beautiful catalogue. Everything that was in the show was there. If you're interested in it, it's $25 plus $9.95 shipping. It adds up to $34.95. To get it, you can contact me at my email address, which is ArtWilliamHarper@mac.com. Sharon: ArtWilliamHarper@mac.com. William: Yes. Sharon: We'll have a thumbnail of that on the website so you can click on it and order it. William: Good, you've seen the catalogue. Can you vouch for how beautiful it is? Sharon: It's a beautiful catalogue. It has everything, the jewelry, the boxes, all of the art. When I say boxes, I'm thinking of the ones that are really art pieces. You said you think a lot of art is about thinking. What do you think about when you're doing your art? William: It often starts way before I actually begin making anything. That's a hard question to answer. For instance, I've done several series based on other artists, all of whom were painters. I prefer painting to jewelry right now, I have to say. But in terms of these influences, I would look at the work, for instance the work of Jean Dubuffet. He has incredibly beautiful, messy patterns that run— Sharon: Who? William: Jean Dubuffet. Sharon: Oh, Dubuffet, yes. William: I have loved his work for many, many years, and I have known that he was the instigator of what is called the art brut movement, which is art that is made by people that not only are not highly educated in universities or art departments, but they might have some kind of physical disability or mental disability, where they express themselves in these absolutely gorgeous, out of this world ways, not like any professional artist would do. Dubuffet collected those and was instrumental in having a museum set up—I think it was in Switzerland; I should know that—of this work. Talking about dichotomy, I wanted to catch that quality of not knowing what I was doing along with my sophisticated technique and taste. So, I did this series. I think there are 10 pieces. In order to do it, as I got into the third or fourth piece, I decided I wanted to write an essay about what the series meant to me being put into this catalogue. So, I gave it the name Dubu. Sharon: How? William: D-U-B-U. I came up with idea that a Dubu is a fantastical creature that can infect your mind and cause you to do absolutely glorious things. It was just something I made up in my mind. I should also say that I don't start a piece and finish it immediately. I don't even know where I'm going when I start a piece. I simply go into the studio and start playing around with the gold. I know that sounds silly, that somebody can play around with something as precious as gold. But in doing so, there's another dichotomy. I'm able to come up with forms that I would never be able to otherwise. At this point, I should mention I do absolutely no sketches, diagrams, or beginning things on paper to guide me. I simply allow the materials to guide me. I trust in them and my manipulation of them that they will start leading me to see what I want to be after. Sometimes these are small enamel pieces. Sometimes they're more complex with gold pieces. Sometimes they're a consideration of how to use a stone or a pearl. As I'm making these things, I know I can't use them necessarily in piece number one. So, my idea is, “O.K., go to my idea for piece number two and follow the same format of making things, simply because they amuse me.” I don't take myself seriously while I'm doing these things. I think that's part of why they're successful. I should say one of the qualities that my work has been lauded for is being humorous without being funny, without being a caricature. I have found that is a rather rough road to travel, but I'm able to facilitate it somehow. Anyway, I have these pieces I made, piece number one and piece number two. I still want to play around with making, let's say, a different kind of cloisonné enamel that had been used in pieces one and two. At that point, after I have made things that could become three different pieces, I take what I like and finish piece number one. As often as not, I think of the title first, which I know is a rather strange way to go about it. But in thinking of a title, it helps me guide the quality of the personage I'm dealing with. So, I finished piece number one. I don't take anything away from it at that point. When I get to piece number two, I'd better start making things for piece number four. There's this manipulation where all the pieces start moving around on my desk. When I start seeing there is a conclusion in making each one successfully, I know I can stop. Often in that process, I paint myself into a corner. I don't know where I'm going, but actually that's the best part in terms of the quality of the piece, because it gives me the opportunity to really think about what I'm after. After I've contemplated that, I'm able to get out of the corner, and I do piece number two and piece number three. This is a process I've used my entire career. I've done a series dedicated to Jasper Johns which is very intellectual, because he's a very intellectual artist. I did a series on Fabergé. I don't really like Fabergé. I admire him, but I don't like him particularly. In my series, each brooch had an egg-shaped enamel part as a part of the physicality of the piece. One of the things I don't like about Fabergé is that his work was very dry. It's beautiful, but it's dry. It doesn't have any kind of emotion attached to it at all. It was perfect for the Russian nobility because they were decadent. They were inbred. They proceeded far too long in this sociological process. So, I changed it by having in each piece a little zip that went from the outside peripheral into the center, which was like a sperm getting to the egg and fertilizing it. That's how I dealt with that matter. I've also done a series on Cy Twombly, who is my favorite painter. I know people wonder how I can be influenced by his work, which I admire for its messiness. I wish I could do it. People either get Twombly or they don't. When I look at a group of Twombly pieces, I'll have an idea of how to start meshing these into the same process I mentioned before, with the Dubus. I think I did the Twomblys 25 years ago and they still look fresh. That's how my process works. Sharon: How do you know if you've hit a wall? If you say, “This isn't going to work. I'm going to put it in the junk pile”? William: I don't put things in junk piles. It's too expensive and the enamel is too precious. I just put the elements aside. I know if I'm doing a series of 10 pieces, or if I decide I want it to be 12 pieces—it's never more than 12 in a series—by the time I get to 10 or 12, I had better have come to a conclusion with all those pieces and not have left off too many elements. I just put those aside. I might use them again in four years, five years. My work is rather slow because I think a lot about it, and I don't have drawings to follow. I don't think of myself as a designer; I think of myself as an artist who makes jewelry. There's a difference. Sharon: Do you know before you start how many pieces will be in a collection? Do you say, “I'm going to make 10 pieces. They're going to be in the collection, and I have no idea what it is”? William: Yeah, I generally set a goal for myself. There are other pieces I do that I call knee play pieces. Knee plays come from music. Robert Wilson collaborated on a piece that is now an iconic gem called Einstein on the Beach. It was in five acts, which, if you think my work is unintelligible, this work was almost totally unintelligible. But it appealed to a certain kind of mind as being exquisite. Between each act, without scenery or costumes or anything like that, there were groups of instrumentalists and vocalists who would improvise. With the knee play pieces, it's not determined what the music and the vocalization is going to be. The vocalization is not consisting of words; it's consisting of almost primal sounds that are put together with a cadence of Phillip Glass music. The reason they call it knee play is that they connect the acts. As soon as this group of pieces, the knee play music, is over from act one, they will usually suggest some kind of music or situation you're going to see in act two. That's sort of a meandering, intellectual approach, but I really like the idea. In my career, I haven't just made series. I've often done isolated pieces, and I would do those in order to open up thought processes I could use to get to the next series. Does that make sense? Sharon: Yes. Is that how you got to the collection you did during lockdown quarantine?

In "Dancing After Hours" by Andre Dubus, main character Emily is convinced she will never find love. At the tavern where she tends bar, she sees clearly the loneliness of other people. One night, that perception changes in the most unlikely of ways.

It's okay to be somber, Slushies! Don't let the poetic gestures confuse you as the rhythm and pacing contribute to a starburst of flash fiction by Maria McLeod. The obligation to help the writer leaves the crew thinking, as Kathy recalls Dubus's “A Fathers Story” and Marion thinking of “The Defeated” on Netflix. “The Eternal Fall Backwards” will have you captured in the stream of the writer's thoughts and deeply invested in remaining there.  What piece of media did you recall while reading “The Eternal Fall Backwards”?  This episode is brought to you by one of our sponsors, Wilbur Records, who kindly introduced us to the artist A.M.Mills, whose song “Spaghetti with Loretta” now opens our show.   Maria McLeod writes poetry and prose. Honors include the Indiana Review Poetry Prize, the Robert J. DeMott Short Prose Prize, and three Pushcart Prize nominations. She was named the 2020 WaterSedge Poetry Chapbook Contest winner, judged by Oregon State Poet Laureate Kim Stafford, for “Mother Want,” published in 2021. Her second poetry chapbook, "Skin. Hair. Bones.," will be published by Finishing Line Press in 2022. Her poetry and prose has appeared in leading literary journals such as Puerto Del Sol, The Brooklyn Rail, Critical Quarterly, Crab Orchard Review, Sonora Review and others. Originally from the Detroit area, she currently resides in Bellingham, Washington where she works as a professor of journalism for Western Washington University.  The Eternal Fall Backwards  I hold his head in my hands, pull it to my chest. O. O of his mouth. Eyes glazed. It's dark and he didn't mean to do it. Make out the words, hit and run, man run over. Wanted to kill him. Words of the mouth: pathetic, half human, why don't I die, why not dead. Words slide one after another, into each other, slur, collapse, run down, run out. There are tears and, sorry, I'm so sorry, drinking, always too much drinking. How an evening progresses, regresses. There are his two bodies: one ferocious, to be feared, a man afire; the other, a boy's, a fetal position, a thumb to his lips. There are nights like this when I am the mother. When I cradle his head in my lap, smooth his hair and say, it's okay, you're okay now. I have gone to the jail tonight to pay them to release him, because, drunk, he tried to kill a man. Drunk and stoned or hallucinating, he had run over a man, but missed his body and only hit his leg and the man fell down in the night and someone thought they heard a deep, deep moan but all were sure they had seen him fall backward in that eternal fall backwards that happens in slow motion. And someone said the man's body flailed and twitched after the car drove too fast and right at the man who didn't have time to run but looked up to see the face of a driver already afraid of what he had done. There are days when I am not the mother. There are days when I am small, when I am the girl, when his hands are too large and his arms too strong. Days when my death comes too soon and then not soon enough, when he drinks too much and finds me in his bathroom seeing myself in his mirror and he's angry; my face is too much in his house and he cannot stand it there and pushes me quick into the mirror and the mirror cracks and my face is cut. These are the days I am not in my body, and so I walk and walk away and down the street afloat above myself, waiting for him to come. But first, he must hit me so it's my voice calling us back from the street, my screaming that draws us from the dark, saying look, look what you have done. Night again. I bathe him and he is crying into the bath. On this night, he has pushed his best friend through a storefront and has cut himself trying to save him, deciding, after the glass shattered, he didn't mean it. It is like this for him, the before and the after: the anger behind the headlights followed by the fear of the body fallen backwards. Collision of two moments: hit and run. He bleeds into the bath, and I worry that I will need to take him to the doctors and they will see that he has taken drugs and has been drinking. I fear they'll send him away, or keep him for themselves, thinking I won't know how to heal him. I am good at giving the bath. I rub circles at the sides of his head. I know to scoop hands full of warm water over his shoulders so they run down his chest. When I do this, my mother appears in my head, angry and not allowing my brothers to bathe because they make a mess she is sick of cleaning up. Instead she drinks and sleeps on the couch with her own hair greasy and stuck to her head. My brothers would go to school stained, unwashed, and the others would hold their noses and laugh and point. So I would wait until my mother fell into the deep sleep she does not easily wake from and I would gather my two brothers into the bathroom and tell them to take their clothes off. And I would fill the tub with water and the oldest one would refuse to take off his underwear because he didn't want me to see him. And I would say to get in anyway and I won't look at you. And this time he would do what I said. I know his sickness. I know that what is left looks like him, but is not him. When I bathe him, he stops my hand from scooping the water and pulls me to him. He sees that I have been crying, too. He says that he did this. And I say yes, but that moment is past and now we are in another. He is crying the tears that come after the screaming and the hitting, tears that ask forgive me. I am closing my eyes and whispering that I have a room where a bed waits for him, where the walls give way and the light is a soft, cloudy white. I am circling him with my arms and he is crying into my belly. I am taking him, guiding him down the cold hallway into the warmth of the room where I cover him and keep watch, waiting for what is yet to come.