Podcasts about eimear mcbride

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). 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

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices

Narrating Irish Female Development, 1916-2018 (Edinburgh UP, 2024) studies narratives of Irish female and feminized development, arguing that these postmodern  narratives present Irish female maturation as disordered and often deliberately disorderly. The first full-length study of the Irish female  coming of age story, the book develops a feminist psychoanalytic narratology, derived from the belated oedipalization of Joyce's bildungsheld, to read these stories. This study argues that all Irish maturation stories are shaped by the uneven and belated maturation story  of the Irish republic itself, which took as its avatar the Irish woman,  whose citizenship in that republic was unrealized, as indeed was her citizenship in an Irish republic of letters. Dougherty takes the writing  of Irish women as seriously as other critics have taken Joyce's work. Discusses texts by James Joyce, John McGahern, Hannah Lynch, Kate O'Brien, Lady Gregory, Maud Gonne, Mary Colum, Elizabeth Bowen, Edna O'Brien, Dervla Murphy, Clare Boylan, Nuala O'Faolain, Eavan Boland, Anne Enright, Claire Keegan, Eimear McBride, Éilís ní Dhuibhne, Melatu Uche Okorie, and Soula Emmanuel Examines the form, narration, and content of fictional, non-fictional, and national narratives Develops a feminist psychoanalytic narratology Synthesizes historical, sociojuridical, feminist, post-colonial, and literary historical narratives of Irish development Jane Elizabeth Dougherty is Professor in the School of Literature, Writing and Digital Humanities and affiliate faculty in the School of Africana and Multicultural Studies at Southern Illinois University Carbondale. Helen Penet is a lecturer in English and Irish Studies at Université de Lille (France). Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Eimear McBride is captivated by the life and work of Joyce's biographer; and Mark Nayler is hot on the trail of the wolf who walked alone.'Ellmann's Joyce: the biography of a masterpiece and its maker', by Zachary Leader'Lone wolf: walking the faultlines of Europe', by Adam WeymouthProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Writing Life, novelist and screenwriter Eimear McBride on the power of language, and the ways literary fiction can evoke emotion and connection.   Eimear McBride is the award-winning author of four novels: A Girl is a Half-formed Thing, The Lesser Bohemians, Strange Hotel and The City Changes Its Face. Her debut novel A Girl is a Half-formed Thing won the inaugural Goldsmiths Prize, Irish Novel of the Year, the Bailey's Prize for Women's Fiction, The Desmond Elliott Prize and the Geoffrey Faber Memorial Award. The City Changes Its Face is a continuation of this novel, and follows an intense story of passion, jealousy and family.   She sits down with NCW's former Chief Executive and lover of books Chris Gribble to discuss the recently published The City Changes its Face, a continuation of her debut novel A Girl Is a Half-formed Thing. Together, they discuss the process of returning to characters and storylines previously written, her experience adapting her novel into a screenplay, and the machine of writing and publishing; going from the solitary task of writing to the hustle and bustle of book tours and literary events.

Authors Matt Cain and Eimear McBride join Tom Sutcliffe to review a new remake of Ang Lee's 1993 classic The Wedding Banquet. They also discuss Isabel Allende's new novel My Name is Emilia del Valle and the play The Brightening Air, on at the Old Vic theatre in London. And the National Gallery is having a re-hang, we speak to Head of the Curatorial Department, Christine Riding.

Rabbit Moon by Jennifer Haigh is a story of sisterhood, secrets and complicated family mythologies. Jennifer joined us to talk about writing in public spaces, visiting Shanghai, chance encounters, how well we really know our parents and more with guest host Brenda Allison. This episode of Poured Over was hosted by Brenda Allison and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Rabbit Moon by Jennifer Haigh Mercy Street by Jennifer Haigh Faith by Jennifer Haigh The City Changes Its Face by Eimear McBride

Great bands and great records shouldn't come down to a competition, but by way of bringing it to your attention, Tindersticks' Soft Tissue was my choice of 5th best album of 2024. I'm touched that Stuart Staples seems genuinely pleased to be on the list. Alexi Petridis' review of that record in the Guardian was so good I read it a few times. “If the overall message seems to be about noticing beauty in small things as a bulwark against the ghastliness of 21st-century life”.That captures the mood of the album in precious few words. I found myself drawn into Soft Tissue…seduced by it really. From the opening song, New World, and its topline “I won't let my love become my weakness” it got me, and the rest of the record buried itself into my brain even though I couldn't pinpoint why. But as Stuart Staples attests, the best music connects with us in a way that is beyond analysis:“If a record sets things off, gets you searching for something or looking for meaning, then it's doing its job. If we understand it too much, it's kind of dead, whereas if there is mystery to it, space to try and understand it, then it's alive”. Tindersticks music is beyond analysis but that hasn't stopped me consuming everything written about the band over the years with almost as much hunger as their music. What makes them such a well kept secret? In the book Long Players, author Eimear McBride's essay on the second Tindersticks album (the band is rare in every sense, including the dubious accolade of being a band with two self-titled albums, the debut and its follow-up). “There's a true, if disconcerting, magic to the three way wedding of the album's beautiful, intricate scoring, the cigarette-stained, shame-filled intimacy of the lyrics and Stuart Staples' deep, dark, world-weary singing voice”. If the best artists create a world in which their work can come alive and their fans can escape from the humdrum of life and the worries of the world, then Tindersticks are the perfect example. But beware those who enter, this world is not perfect and to overuse typical adjectives, it is dark and as McBride attests, disconcerting. It's also strangely comforting.Support the showGet more related content at: https://www.songsommelier.com/

This week, we're joined by Eimear McBride as she publishes a compelling new novel; and Anne Fuchs celebrates WG Sebald's illuminating and idiosyncratic essays.'The City Changes Its Face', by Eimear McBride'Silent Catastrophes: Essays in Austrian Literature', by WG Sebald, translated by Jo CatlingProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Film reviews - Eimear McBride - The Ghosts of Rome by Joseph O'Connor

Author, Actor and Director Eimear McBride on the delayed gratification of her first novel, the  ‘classic combination' of sex and death and why we should celebrate  female writers tackling difficult topics and themes.  Eimear trained as an actor before writing her first novel, A Girl is a Half-formed Thing, which took nine years to find a publisher but subsequently won the 2014 Women's Prize for Fiction, as well as the Kerry Group Irish Novel of the Year, the Goldsmiths Prize, and the Desmond Elliott Prize. Eimear's second novel, The Lesser Bohemians, won the 2016 James Tait Black Memorial Prize, and was shortlisted for the Goldsmiths Prize and the International Dublin Literary Award. Strange Hotel, her third novel, was published in 2020 and her latest release The City Changes Its Face is out in February 2025. In 2022, Eimear wrote and directed A Very Short Film About Longing (DMC/BBC Film) which was screened at the 2023 London Film Festival, and she also writes and reviews for the Guardian, New Statesman and the TLS.  Eimear's  book choices are: ** The Country Girls by Edna O'Brien ** Interview with the Vampire by Anne Rice ** Save Me the Waltz by Zelda Fitzgerald ** The Unequalled Self by Claire Tomalin ** Dependency by Tove Ditlevsen Vick Hope, multi-award winning TV and BBC Radio 1 presenter, author and journalist, is the host of season eight of the Women's Prize for Fiction Podcast. Every week, Vick will be joined by another inspirational woman to discuss the work of incredible female authors. The Women's Prize is one of the most prestigious literary awards in the world, and continues to champion the very best books written by women. Don't want to miss the rest of season eight? Listen and subscribe now! You can buy all books mentioned from our dedicated shelf on Bookshop.org - every purchase supports the work of the Women's Prize Trust and independent bookshops.  This podcast is sponsored by Baileys and produced by Bird Lime Media.

Music, books and art are what sustain us through a period of hunkering down, so it should come as no surprise that these are also the themes of this month’s episode. We head to the Swiss town of Baden to meet musician Daniela Weinmann, who goes by the moniker Odd Beholder; speak with Irish writer Eimear McBride and head to Burgundy for a site-specific art exhibition called ‘Terra’.See omnystudio.com/listener for privacy information.

Samuel Beckett and Recent Irish Fiction: A Comparative Study (Routledge, 2025) considers Samuel Beckett's fiction and drama as major aesthetic and thematic influences on the work of Irish authors Eimear McBride, Keith Ridgway, Emma Donoghue, and Kevin Barry in the post-crash period of 2009-2015. Through cross-comparisons between the aesthetics and form of Beckett's Trilogy, Mercier and Camier, Footfalls and Not I, and those of a range of post-crash Irish novels including Beatlebone, Hawthorn and Child, Room, and A Girl Is A Half-Formed Thing, this book establishes Beckett's continuing influence on Irish fiction. With particular reference to these newer authors' treatment of scarcity, trauma, indeterminism, gender and sexuality, and confinement in the context of major societal changes and traumas in Irish society since 2009, topics include the imposition of austerity, collapse of faith in institutions, and the increasing recognition of LGBTQIA+ and reproductive rights. 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

Samuel Beckett and Recent Irish Fiction: A Comparative Study (Routledge, 2025) considers Samuel Beckett's fiction and drama as major aesthetic and thematic influences on the work of Irish authors Eimear McBride, Keith Ridgway, Emma Donoghue, and Kevin Barry in the post-crash period of 2009-2015. Through cross-comparisons between the aesthetics and form of Beckett's Trilogy, Mercier and Camier, Footfalls and Not I, and those of a range of post-crash Irish novels including Beatlebone, Hawthorn and Child, Room, and A Girl Is A Half-Formed Thing, this book establishes Beckett's continuing influence on Irish fiction. With particular reference to these newer authors' treatment of scarcity, trauma, indeterminism, gender and sexuality, and confinement in the context of major societal changes and traumas in Irish society since 2009, topics include the imposition of austerity, collapse of faith in institutions, and the increasing recognition of LGBTQIA+ and reproductive rights. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Samuel Beckett and Recent Irish Fiction: A Comparative Study (Routledge, 2025) considers Samuel Beckett's fiction and drama as major aesthetic and thematic influences on the work of Irish authors Eimear McBride, Keith Ridgway, Emma Donoghue, and Kevin Barry in the post-crash period of 2009-2015. Through cross-comparisons between the aesthetics and form of Beckett's Trilogy, Mercier and Camier, Footfalls and Not I, and those of a range of post-crash Irish novels including Beatlebone, Hawthorn and Child, Room, and A Girl Is A Half-Formed Thing, this book establishes Beckett's continuing influence on Irish fiction. With particular reference to these newer authors' treatment of scarcity, trauma, indeterminism, gender and sexuality, and confinement in the context of major societal changes and traumas in Irish society since 2009, topics include the imposition of austerity, collapse of faith in institutions, and the increasing recognition of LGBTQIA+ and reproductive rights. Learn more about your ad choices. Visit megaphone.fm/adchoices

Samuel Beckett and Recent Irish Fiction: A Comparative Study (Routledge, 2025) considers Samuel Beckett's fiction and drama as major aesthetic and thematic influences on the work of Irish authors Eimear McBride, Keith Ridgway, Emma Donoghue, and Kevin Barry in the post-crash period of 2009-2015. Through cross-comparisons between the aesthetics and form of Beckett's Trilogy, Mercier and Camier, Footfalls and Not I, and those of a range of post-crash Irish novels including Beatlebone, Hawthorn and Child, Room, and A Girl Is A Half-Formed Thing, this book establishes Beckett's continuing influence on Irish fiction. With particular reference to these newer authors' treatment of scarcity, trauma, indeterminism, gender and sexuality, and confinement in the context of major societal changes and traumas in Irish society since 2009, topics include the imposition of austerity, collapse of faith in institutions, and the increasing recognition of LGBTQIA+ and reproductive rights. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

We press publisher and writer SAM JORDISON for the five tracks he will meet in Hell!Sam is one half of Galley Beggar Press, the small independent publisher with a bunch of big hits to its name: Eimear McBride's Women's Prize winning A Girl is a Half Formed Thing, Lucy Ellman's Booker-shortlisted Ducks, Newburyport and Alex Pheby's Cities of the Weft trilogy to name but a few. Sam talked us through what it's like to found and then run a small press, including the economic challenges, and sifting through the submissions pile. He also talked about his writing career, including the now-legendary Crap Towns series.Check out Galley Beggar Press here: https://www.galleybeggar.co.ukHead to https://www.patreon.com/hellishpod to access episodes early and ad free, where you will find out which artists our guests will meet in Hell. You'll also get our two pilot episodes, and a bunch of other stuff depending which tier you pick - including the chance to come and work for Hell's H.R. department! If you just want to be nice/bribe your way out of Hell then you can also tip us over at https://www.ko-fi.com/hellishpodHellish now has a bookshop - https://uk.bookshop.org/shop/hellish - where you can get books written by our guests, and a choice selection of Hell literature. Help us out by ordering from us! (Though if you're ordering Galley Beggar books, get them direct from them instead)Find us on Spotify to hear the songs on Sam's Infernal Playlist in full, as well as the Ultimate Infernal Playlist which combines the choices of every damned soul we've met so far. https://tinyurl.com/hellishpodYou can find us/beg for absolution on social media...Instagram: www.instagram.com/hellish_podThreads: https://www.threads.net/@hellish_podFacebook: www.facebook.com/hellishpodcastBlueSky: https://bsky.app/profile/hellishpod.comTwitter: www.twitter.com/hellishpodTikTok: www.tiktok.com/hellishpod Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Writing Life, novelists and NCW Academy tutors Benjamin Johncock and Megan Bradbury give insight into their writing lives, and offer their advice to emerging novelists and writers of all kinds.   Benjamin Johncock is an award-winning novelist, short story writer and journalist. His debut novel, The Last Pilot, was published in the U.S. and U.K. to widespread critical acclaim. It won the Authors' Club Best First Novel Award, was shortlisted for the East Anglian Book of the Year, selected for Brave New Reads, and was one of The Observer's Hidden Gems of 2016.   Megan Bradbury is a British writer, tutor, and mentor, and author of the critically acclaimed novel, Everyone is Watching. Described as a ‘beating heart of a novel' by Ali Smith and ‘kaleidoscopic' by Eimear McBride, the novel was longlisted for the Rathbones Folio Prize, and was listed as one of the Guardian's Best Books of 2016.   Benjamin and Megan will be teaching on our beginner and intermediate online tutored fiction courses, which begin on Monday 23 September. This podcast is a great first look into the practical advice and guidance they offer on their courses, and an excellent insight into their writing and teaching styles. If you listen to this podcast and would like the opportunity to learn more from Benjamin or Megan, you can go to nationalcentreforwriting.org.uk/academy/tutored-courses/ to find out more.   In this podcast, Benjamin and Megan discuss the writing tools, programmes and learning opportunities available for emerging writers, and the benefits of continued learning. They also touch on the early influences in their writing, how their routines have changed over time, and the challenge of separating your creative life from your domestic life.

The Irish novelist Edna O'Brien who has died aged 93. President of Ireland Michael D Higgins said she was "one of the outstanding writers of modern times". She is perhaps best known for her portrayal of women's lives against repressive expectations in Irish society. Her first novel, The Country Girls, was published in 1960 and became part of a trilogy that was banned in Ireland for their references to sexual expression and social issues. Nuala McGovern speaks to Irish novelist Eimear McBride, who knew Edna.Parents, children and politicians all agree that the SEND education system for children with special educational needs and disabilities is 'broken'. How can it be fixed? The Local Government Association and the County Councils Network have published a 'landmark' report which warns that the current system is failing children and too adversarial. Reporter Carolyn Atkinson investigates. The Government accepts educational outcomes are 'flatlining', as parents and local authorities are pitted against each other. But 12 Chief Executives of leading childrens' charities are warning that some of the suggestions in the report won't work. Katie Ghose, CEO of Kids joins Nuala in the studio to discuss.The US presidential election race now looks set, with Donald Trump and Kamala Harris attempting to win the confidence of US voters. Today we're taking a closer look at the Republicans and how their policies might shape women's rights in America. Nuala speaks to the BBC US Special Correspondent Katty Kay, who's also written four New York Times bestselling books on women and work. Hailed as the “Carmen of our time,” mezzo-soprano Aigul Akhmetshina was chosen to lead the cast of Bizet's immortal masterpiece in eight international productions in one season. At the age of 27, Aigul has made history as the youngest artist ever to take on the title role at both the Royal Opera House in London and the Metropolitan Opera in New York. Her debut album features a portrait of her famed Carmen and other operatic arias, including a Bashkort folk song. She joins Nuala to discuss her music, and perform live in the studio.Presented by Nuala McGovern Producer: Louise Corley

We hear from critically acclaimed author Eimear McBride

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. 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

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Paige Reynolds's book Modernism in Irish Women's Contemporary Writing: The Stubborn Mode (Oxford UP, 2023) examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world.  Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse. Disclaimer/apology: Slightly stormy conditions during the recording of the interview led to slightly reduced sound quality.

We're joined on this morning's show by Mary Costello, whose new collection of short stories, Barcelona, has just been published by Canongate."Barcelona is full of devastating lines … Costello is working in the tradition of her literary heroes [Kafka, Musil, Coetzee]: delivering insights which are painful but also energising because of the beauty with which they're captured … The most impressive collection I've read in some time"  JOHN SELF  The Times"Clear-eyed and provocative, bruised and bruising: these are the stories of a writer at the very top of her game"  EIMEAR MCBRIDE"It is rare that a writer of fiction can evoke such depth of feeling and visceral/moral revulsion as Mary Costello … in stories dealing with cruelty to animals, especially the slaughter of farm animals; rare that marital intimacy is so powerfully rendered"  JOYCE CAROL OATES"Costello's writing is insistent, precise and unsparing. Everyday acts and ordinary lives are infused with a sense of the skull beneath the skin and of a catastrophe held tautly at bay"  ObserverIntro/outro music: Colm Mac Con Iomaire, ‘Thou Shalt Not Carry' from The Hare's Corner, 2008, with thanks to Colm for permission to use it. Incidental music Wanderlust by Scott Buckley | https://soundcloud.com/scottbuckleyMusic promoted by https://www.free-stock-music.comArtwork by Freya SirrTo subscribe to Books for Breakfast go to your podcast provider of choice (Apple Podcasts, Spotify, Google etc) and search for the podcast then hit subscribe or follow, or simply click the appropriate button above. Support the show

When I start an interview, I can never anticipate the tone or everything we will cover in the conversation. You are about to listen to me, and Allison dive into the nature of creativity. What we talk about transcends creating games or a podcast. We discuss what creating means and the barriers between you and creating. Links Little Oracles: https://www.littleoracles.com/ Itch Page: https://itch.io/profile/allisonarth A Ghost in the Throat by Doireann Ní Ghríofa: https://www.amazon.com/Ghost-Throat-Doireann-N%C3%AD-Ghr%C3%ADofa/dp/1771964111 A Girl Is a Half-formed Thing by Eimear McBride: https://www.amazon.com/Girl-Half-formed-Thing-Novel/dp/1101903430#:~:text=Book%20details&text=In%20scathing%2C%20furious%2C%20unforgettable%20prose,denial%2C%20and%20chaos%20at%20home. Small Things Like These by Claire Keegan: https://www.amazon.com/Small-Things-These-Claire-Keegan/dp/0802158749 The Trees Witness Everything by Victoria Chang: https://www.coppercanyonpress.org/books/the-trees-witness-everything-by-victoria-chang/ Dead to Me: https://www.netflix.com/title/80219707 Black Dog: https://www.imdb.com/title/tt0120610/ Harry Styles: https://www.hstyles.co.uk/ Beatles, Get Back: https://www.disneyplus.com/series/the-beatles-get-back/7DcWEeWVqrkE Ani DiFranco: https://www.righteousbabe.com/ Tori Amos: https://toriamos.com/ Calibro 35: http://www.calibro35.com/?lang=en ********************* Support the show for as little as $1 month: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Thirdfloorwars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out our live streaming content on Twitch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitch.tv/thirdfloorwars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't miss our RPG Actual Plays, tutorials, and gaming content on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCA496705JLkpgAssAhetpdw⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen to an excellent boardgame podcast: ⁠⁠⁠⁠⁠https://www.ascentofboardgames.com/⁠⁠⁠⁠⁠ Go to the Writer's Room for 7th Sea Adventures! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/writersroom7thsea⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out the great games from A Couple of Drakes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://acoupleofdrakes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen to Thin Places Radio: https://thin.place/ Please support us by shopping with Gadzooks Gaming: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.gadzooksgaming.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get a cool T-Shirt or mug and help us bring you more content. The store is open! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://thirdfloorwars.com/shop/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/thirdfloorwars/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ThirdFloorWars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/thirdfloorwars/message Support this podcast: https://podcasters.spotify.com/pod/show/thirdfloorwars/support

Today's podcast episode surrounds the concept of imagining and one particular genre: science fiction. Although the conversation focuses on one specific genre, the subject elicits questions about what writing within a particular genre does for your work. Which genres do you write in and what ways do they help you imagine? Does writing in a particular genre open doors to reimagine reality?   Questions 1. How do you learn craft between workshops, writing classes/seminars, reading and practice? What do you think the right balance when it comes to learning craft? Do you ever feel out of balance and why? 2. The question Octavia Butler was often asked: What good is science fiction to Black people?”    Show Notes Octavia Butler, Positive Obsession essay can be found here: https://www.loa.org/news-and-views/1779-octavia-e-butler-positive-obsession  Samuel R Delaney, The Motion of Light and Water, https://www.eileenmcginnis.com/blog/2018/10/19/turn-and-face-the-strange-samuel-delany-queering-science-fiction-queering-fatherhood Check out the wonderful world of Helen Oyeyemi here: https://www.goodreads.com/author/show/80808.Helen_Oyeyemi  Robert Jordan, Wheel of Time, https://www.goodreads.com/series/41526-the-wheel-of-time  Crystal Wilkinson again! - https://www.crystalewilkinson.net/ Hurston-Wright Foundation (https://www.hurstonwright.org/) has some upcoming workshops for emerging Black writers definitely worth checking out  Lighthouse Writers Workshop - https://www.lighthousewriters.org/  Neil Gaiman, American Gods, https://www.goodreads.com/book/show/30165203-american-gods  Deep Reading taught by Michael Duszat, The Reader Berlin, https://www.thereaderberlin.com/weekend-workshop/the-deep-reading-workshop-with-michael-duszat/ - sign up for this class whenever it is on next! E.M. Forrester, A Passage to India (not voyage!), https://www.goodreads.com/book/show/45195.A_Passage_to_India  Toni Morrison, Paradise, https://www.goodreads.com/book/show/5198.Paradise?ref=nav_sb_ss_1_14 - "They shoot the white girl first. With the rest they can take their time." - what a line! Eimear McBride, A Girl Is a Half-Formed Thing,  https://www.goodreads.com/book/show/18218630-a-girl-is-a-half-formed-thing?from_search=true&from_srp=true&qid=69SsZIKOJh&rank=1  Experimental Writing for Non-Experimental Writers  was facilitated by Porochista Khakpour  (https://porochistakhakpour.com/) via The Center for Fiction  (https://centerforfiction.org/groups-workshops-all/)  Brittany's amazing VONA instructor for Fiction, Mathangi Subramanian,  https://www.mathangisubramanian.com/  VONA- https://www.vonavoices.org/ Rooted and Written Poetry Cohort - https://rooted-written.org/ led by Tonya Foster (https://tonyafosterpoet.com/)

Mouthpieces' by Eimear McBride. A radio work by the acclaimed author of A Girl Is a Half-formed Thing and The Lesser Bohemians

Pages 336 - 344│Sirens, part II│Read by Eimear McBrideEimear McBride is the author of three novels: Strange Hotel, The Lesser Bohemians and A Girl is a Half-formed Thing. The extended essay, Something Out of Place: Women and Disgust, is her most recent work. She is a recipient of the Women's Prize for Fiction, the Goldsmiths Prize and the James Tait Black Memorial Prize and held the inaugural creative fellowship at the Beckett Research Centre.Buy Something Out of Place here: https://shakespeareandcompany.com/d/9781788162869/something-out-of-place-women-disgust*Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-companySUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/Photo of Eimear McBride by Sophie Bassouls See acast.com/privacy for privacy and opt-out information.

Leer Toxic Loves, Impossible Futures es como estar invitada a una cena íntima con las personas que han tenido un impacto enorme en tu forma de ver y analizar el mundo y con quienes has pasado muchísimo tiempo – en tu cerebro. Pero además de inspirar momentos profundos de crecimiento intelectual, lo que te sorprende es el acercamiento emocional que produce Emmelhainz, productora de esta situación. En este sentido, la autora sigue lo que se espera de un discurso feminista, romper la expectativa de que un texto intelectual te ponga en la situación pasiva de sólo recibir información. El impacto de leer desde esta perspectiva analítica, emocional y empoderada, es imprescindible. Toxic Loves, Impossible Futures entra en discurso con una combinación de escritoras feministas y creadores para después crear un mapa del momento actual en crisis global, ambiental y política que se fomenta a través de un desprecio tanto de la vida humana como las relaciones interpersonales. En un mundo en el cual la voz de la mujer existe en cuerpos que supuestamente se deben ocupar puestos importantes en corporaciones, el gobierno, además de institutos culturales y académicos, y también trabajar en fábricas y participar en el ejército – estos mismos cuerpos sistemáticamente convertidos en cuerpos vulnerables por la violencia de género y la responsabilidad doble que se les impone por exigir labor productivo y reproductivo – Emmelhainz pregunta: ¿Cuál es el trabajo de los pensamientos y las materias contemporáneos situados en conocimiento feminista? Este libro es una colección de ensayos en los cuales se propone re-pensar asuntos feministas en este momento lleno de producción de poblaciones superfluas, la omnipresencia de la esfera tecnológica y desastre ambiental, relaciones tóxicas, nacionalismos tóxicos y mas. Son diálogos en los cuales las voces de mujeres como bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Grunerque proponen la necesidad uberurgente de resistir el presente. Toxic Loves, Impossible Futures avanza el discurso de cómo deshacer la misoginia, además de derribar las trampas denigrantes y sublimatorias contra las mujeres perpetuadas por el sistema heteropatriarcal, trampas que se entrelazan íntimamente con el colonialismo y la violencia contra la Tierra. Entrevista por Candance Skibba profesora en la Universidad de Carnegie Mellon en Pittsburgh, Pennsylvania.

Leer Toxic Loves, Impossible Futures es como estar invitada a una cena íntima con las personas que han tenido un impacto enorme en tu forma de ver y analizar el mundo y con quienes has pasado muchísimo tiempo – en tu cerebro. Pero además de inspirar momentos profundos de crecimiento intelectual, lo que te sorprende es el acercamiento emocional que produce Emmelhainz, productora de esta situación. En este sentido, la autora sigue lo que se espera de un discurso feminista, romper la expectativa de que un texto intelectual te ponga en la situación pasiva de sólo recibir información. El impacto de leer desde esta perspectiva analítica, emocional y empoderada, es imprescindible. Toxic Loves, Impossible Futures entra en discurso con una combinación de escritoras feministas y creadores para después crear un mapa del momento actual en crisis global, ambiental y política que se fomenta a través de un desprecio tanto de la vida humana como las relaciones interpersonales. En un mundo en el cual la voz de la mujer existe en cuerpos que supuestamente se deben ocupar puestos importantes en corporaciones, el gobierno, además de institutos culturales y académicos, y también trabajar en fábricas y participar en el ejército – estos mismos cuerpos sistemáticamente convertidos en cuerpos vulnerables por la violencia de género y la responsabilidad doble que se les impone por exigir labor productivo y reproductivo – Emmelhainz pregunta: ¿Cuál es el trabajo de los pensamientos y las materias contemporáneos situados en conocimiento feminista? Este libro es una colección de ensayos en los cuales se propone re-pensar asuntos feministas en este momento lleno de producción de poblaciones superfluas, la omnipresencia de la esfera tecnológica y desastre ambiental, relaciones tóxicas, nacionalismos tóxicos y mas. Son diálogos en los cuales las voces de mujeres como bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Grunerque proponen la necesidad uberurgente de resistir el presente. Toxic Loves, Impossible Futures avanza el discurso de cómo deshacer la misoginia, además de derribar las trampas denigrantes y sublimatorias contra las mujeres perpetuadas por el sistema heteropatriarcal, trampas que se entrelazan íntimamente con el colonialismo y la violencia contra la Tierra. Entrevista por Candance Skibba profesora en la Universidad de Carnegie Mellon en Pittsburgh, Pennsylvania.

Toxic Loves, Impossible Futures: Feminist Living as Resistance (Vanderbilt UP, 2022) is an homage to a constellation of women writers, feminists, and creators whose voices draw a map of our current global political-environmental crisis and the interlinked massive violence, enabled by the denigration of life and human relationships. In a world in which "a woman's voice" exists in bodies called on to occupy important positions in corporations, government, and cultural and academic institutions, to work in factories, and to join the army—but whose bodies are systematically rendered vulnerable by gender violence and by the double burden imposed on them to perform both productive and reproductive labor—Emmelhainz asks: What is the task of thought and form in contemporary feminist-situated knowledge?  Toxic Loves, Impossible Futures is a collection of essays rethinking feminist issues in the current context of the production of redundant populations, the omnipresence of the technosphere and environmental devastation, toxic relationships, toxic nationalisms, and more. These reflections and dialogues are an urgent attempt to resist the present in the company of the voices of women like bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Gruner. Toxic Loves, Impossible Futures continues the discussion on how to undo misogyny and dismantle heteropatriarchy's sublimating and denigrating tricks against women, which are intrinsically linked to colonialism and violence against the Earth. Learn more about your ad choices. Visit megaphone.fm/adchoices

Toxic Loves, Impossible Futures: Feminist Living as Resistance (Vanderbilt UP, 2022) is an homage to a constellation of women writers, feminists, and creators whose voices draw a map of our current global political-environmental crisis and the interlinked massive violence, enabled by the denigration of life and human relationships. In a world in which "a woman's voice" exists in bodies called on to occupy important positions in corporations, government, and cultural and academic institutions, to work in factories, and to join the army—but whose bodies are systematically rendered vulnerable by gender violence and by the double burden imposed on them to perform both productive and reproductive labor—Emmelhainz asks: What is the task of thought and form in contemporary feminist-situated knowledge?  Toxic Loves, Impossible Futures is a collection of essays rethinking feminist issues in the current context of the production of redundant populations, the omnipresence of the technosphere and environmental devastation, toxic relationships, toxic nationalisms, and more. These reflections and dialogues are an urgent attempt to resist the present in the company of the voices of women like bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Gruner. Toxic Loves, Impossible Futures continues the discussion on how to undo misogyny and dismantle heteropatriarchy's sublimating and denigrating tricks against women, which are intrinsically linked to colonialism and violence against the Earth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Eimear McBride trained at The Drama Centre in London. Her debut novel A Girl is a Half-formed Thing received a number of awards, including the Bailey Women's Prize for Fiction, and the Irish Novel of the Year. She occasionally writes interviews for The Guardian, TLS, and The New Statesman. · http://eimearmcbride.com · www.creativeprocess.info

Eimear McBride trained at The Drama Centre in London. Her debut novel A Girl is a Half-formed Thing received a number of awards, including the Bailey Women's Prize for Fiction, and the Irish Novel of the Year. She occasionally writes interviews for The Guardian, TLS, and The New Statesman. · http://eimearmcbride.com · www.creativeprocess.info

Eimear McBride trained at The Drama Centre in London. Her debut novel A Girl is a Half-formed Thing received a number of awards, including the Bailey Women's Prize for Fiction, and the Irish Novel of the Year. She occasionally writes interviews for The Guardian, TLS, and The New Statesman. · http://eimearmcbride.com · www.creativeprocess.info

Eimear McBride trained at The Drama Centre in London. Her debut novel A Girl is a Half-formed Thing received a number of awards, including the Bailey Women's Prize for Fiction, and the Irish Novel of the Year. She occasionally writes interviews for The Guardian, TLS, and The New Statesman. · http://eimearmcbride.com · www.creativeprocess.info

Some of the biggest names from the writing world share their top writing tips.

Eimear McBride trained at The Drama Centre in London. Her debut novel A Girl is a Half-formed Thing received a number of awards, including the Bailey Women's Prize for Fiction, and the Irish Novel of the Year. She occasionally writes interviews for The Guardian, TLS, and The New Statesman. · http://eimearmcbride.com · www.creativeprocess.info

Eimear McBride trained at The Drama Centre in London. Her debut novel A Girl is a Half-formed Thing received a number of awards, including the Bailey Women's Prize for Fiction, and the Irish Novel of the Year. She occasionally writes interviews for The Guardian, TLS, and The New Statesman. · http://eimearmcbride.com · www.creativeprocess.info

To support our work and listen to additional content, see here: https://patreon.com/yourshelf and follow us on social media @_yourshelf_. In our latest, seventh episode of The YourShelf Podcast, Fantasy City, our chief curator Juliano Zaffino (Jay) catches up with writer Alex Pheby to discuss books, genre fiction vs literary fiction, the world of rights and publishing, and the ins-and-outs of Pheby's new fantasy novel, Mordew. For full show notes, see here: https://podcast.yourshelf.uk/episodes/7. Thanks for listening.  LinksPatreonInstagramTwitterPodcastYourShelfEpisode NotesJay asks Alex about who he'd like to get a book recommendation from, what book he'd like to live in, and what his home bookshelves look like. (from 0:48)Alex discusses the origins and influences of his new fantasy novel Mordew, the tensions between genre fiction and literary fiction, the complicated world of rights and publishing, and the darkly fantastical world of Mordew. (from 15:15)Finally, Alex discusses the future of the Mordew trilogy and what he's currently reading. (from 1:02:28)Jay wraps up with the books and authors that were discussed in the episode: the works of Dostoyevsky and Tolstoy, Jack Vance, JRR Tolkien, Paul Stanbridge, Albert Camus' The Plague, Simon Gough's The White Goddess, Eimear McBride's A Girl Is A Half Formed Thing, Jonathan Gibbs' Randall, Charles Dickens' Oliver Twist, Stephen King's Carrie, Lucy Ellmann's Ducks, Newburyport, Graham Greene, Preti Taneja, Fritz Leiber's Swords and Deviltry, Iain M Banks, Hilary Mantel, and the short stories of Richard Yates. Jay also recommends two of his favourite fantasy/sci-fi writers, Ursula K LeGuin and Becky Chambers. (1:12:25)Buy, read and review Mordew now, available from all good bookstores! Alex's earlier novels Lucia and Playthings are also available for purchase. Alex's bonus episode is available on our Patreon page now.Thanks for listening and tune in again (very very very) soon for Episode Eight!

Some of the biggest names from the writing world share their top writing tips.

A woman in a series of hotel rooms, two boys riding bikes in 1960s Sri Lanka, and a girl fleeing an ominous pairing of a Priest and a Poacher. New fiction.