Podcasts about Graham Greene

For more than five decades, Canadian acting legend Tantoo Cardinal (Dances with Wolves, Killers of the Flower Moon) has worked tirelessly to bring nuanced Indigenous stories to the stage and screen — and she says there's no turning back. The renowned actor was recently honoured with the Equity in Entertainment Award at The Hollywood Reporter's Women in Entertainment Canada gala in Toronto. She joins Tom Power to reflect on her remarkable career, and why she'll never stop advocating for authenticity and accuracy when it comes to Indigenous representation. In case you missed it, you might also enjoy Tom's interview with Canadian icon Graham Greene, whom Tantoo shared the screen with in “Dances with Wolves.”

En el programa de hoy, Fernando Villegas aborda la problemática de las contribuciones a la vivienda, criticando cómo esta carga fiscal afecta especialmente a personas mayores con menos ingresos y propiedades revalorizadas. También analiza la nueva Ley de Pesca, señalando la inestabilidad normativa que perjudica a la industria y denuncia la persecución ideológica contra las empresas pesqueras. Comenta sobre la irrelevancia actual del Partido Radical y las tensiones internas en la izquierda frente a posibles candidaturas presidenciales. Luego profundiza en nuevas irregularidades que involucran al gobernador Orrego y Karol Cariola, acusando a una generación política de corrupción estructural. Reacciona críticamente al proyecto de Boric que busca constitucionalizar a los pueblos indígenas y promueve la "interculturalidad", calificándolo como una fuente de conflictos. Revisa también el informe de la PDI sobre la participación masiva de extranjeros en bandas criminales como el Tren de Aragua. Finalmente, reflexiona sobre el turismo masivo en ciudades como Venecia, analiza el panorama económico internacional con escepticismo frente al informe del Banco Central, y recomienda una autobiografía de Graham Greene. Para acceder al programa sin interrupción de comerciales, suscríbete a Patreon: https://www.patreon.com/elvillegas 00:02:35 - Contribuciones injustas a viviendas 00:10:17 - Nueva Ley de Pesca y oposición industrial 00:18:06 - Partido Radical y candidaturas del oficialismo 00:27:08 - Irregularidades del gobernador Orrego y corrupción política 00:42:15 - Crimen extranjero y el Tren de Aragua 00:49:07 - Boric, pueblos originarios e interculturalidad

Book Vs. Movie: Breakfast with ScotThe 1999 Novel  Vs the 2007 MovieMichael Downing's 1999 novel Breakfast with Scot and the 2007 film adaptation of the same name both follow the story of a gay couple who unexpectedly become the guardians of a precocious and flamboyant eleven-year-old boy named Scot. But while they share a common setup, the tone, themes, and emotional arcs of the two versions diverge significantly, offering very different takes on gender identity, gay masculinity, and parenting.Between the original novel and the film, which did we prefer? Have a listen to find out! In this episode, the Margos discuss:The sheer number of Pride Month books we have covered and how they have changed over the last ten yearsWhat was politically happening when the book and then later the movie were releasedThe differences between book & movie. The cast includes: Tom Cavanagh (Eric McNally), Ben Shenkman (Sam), Noah Bernett (Scot), Jeananne Goossen (Nula), Benz Antoine (Greg Graham), Shauna MacDonald (Joan), Megan Follows (Barbara Warren), Colin Cunningham (Billy), and Graham Greene as Bud Wilson. Clips Featured:Scene with Megan FollowsBreakfast with Scot (2007 trailer)Scot and Eric are talking in the bathroomScot being bullied Scot reunites with his father BillyMusic by Robert CarliFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: Breakfast with ScotThe 1999 Novel  Vs the 2007 MovieMichael Downing's 1999 novel Breakfast with Scot and the 2007 film adaptation of the same name both follow the story of a gay couple who unexpectedly become the guardians of a precocious and flamboyant eleven-year-old boy named Scot. But while they share a common setup, the tone, themes, and emotional arcs of the two versions diverge significantly, offering very different takes on gender identity, gay masculinity, and parenting.Between the original novel and the film, which did we prefer? Have a listen to find out! In this episode, the Margos discuss:The sheer number of Pride Month books we have covered and how they have changed over the last ten yearsWhat was politically happening when the book and then later the movie were releasedThe differences between book & movie. The cast includes: Tom Cavanagh (Eric McNally), Ben Shenkman (Sam), Noah Bernett (Scot), Jeananne Goossen (Nula), Benz Antoine (Greg Graham), Shauna MacDonald (Joan), Megan Follows (Barbara Warren), Colin Cunningham (Billy), and Graham Greene as Bud Wilson. Clips Featured:Scene with Megan FollowsBreakfast with Scot (2007 trailer)Scot and Eric are talking in the bathroomScot being bullied Scot reunites with his father BillyMusic by Robert CarliFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Canadian icon Graham Greene (Dances With Wolves, The Green Mile, Wind River) is one of the most recognizable Indigenous actors in North America. Recently, he was honoured with a Lifetime Artistic Achievement Award from the Governor General's Awards, which recognizes his prolific career on stage and screen. In this career-spanning interview, Graham joins Tom Power to talk about the incredible work ethic he developed during his early days as a roadie, how he learned Lakota for “Dances With Wolves,” his Oscar nomination and his advice to up-and-coming actors.

For years, listeners have been requesting an episode devoted to the French novelist, journalist, playwright, and public intellectual Émile Zola (1840-1902). In this episode, Jacke talks to author Robert Lethbridge, whose new book Émile Zola: A Determined Life presents a comprehensive exploration of the life, work, and times of the celebrated French literary polymath. PLUS Jacke takes a look at some news that a ghost story by Graham Greene - perhaps the only one he ever wrote - has recently emerged from the literary graveyard. AND FINALLY Russian-American poet and co-editor of The Penguin Book of Russian Poetry Irina Mashinski stops by to discuss her choice for the last book she will ever read. Additional listening: 501 The Naked World (with Irina Mashinski) 420 Honoré de Balzac 390 Victor Hugo The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com . "Two Butterflies" performed by Gabriel Ruiz-Bernal and Allison Hughes. Help support the show at patreon.com/literature or historyofliterature.com/donate . The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature . Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a free preview of a paid episode. To hear more, visit www.racket.newsWalter and Matt on another hilarious propaganda scare and few chuckles over Jake Tapper's "Original Sin." Plus, the thrilling end of "The Quiet American," by Graham Greene.

Littérature étrangère de Gorian Delpâture : "Deux hommes en un" de Graham Greene (Flammarion). Quand « Deux hommes en un » paraît en 1929, Graham Greene a vingt-quatre ans et c'est son premier roman publié – le succès sera immédiat et lancera sa carrière d'écrivain. Dans cette sombre histoire de contrebandiers située au XIXᵉ siècle apparaissent déjà les thèmes majeurs de l'oeuvre de Greene : l'inéluctable trahison, le doute religieux, les pièges de la morale, la peur et la lâcheté. Incroyablement dense, ce récit fondateur témoigne d'un auteur ayant à coeur de peindre la grandeur et la décadence de l'âme humaine. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

After a two-week hiatus, the Monday livestream of America This Week returned at 4:00 PM ET, Monday, instead of the previous campaign-inspired evening schedule. With Harvard University at the center of the news cycle, it's a lucky accident Walter and I chose Graham Greene's The Quiet American as our first novel to discuss. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.racket.news/subscribe

Join us on a jam packed episode of Ye Olde Guide!This is the second part of three episodes on NottinghamIn the Science & industry section we discover the history of the Lace industry and the big companies that grew in Nottingham like Boots chemist, Raleigh Cycles and Players Cigarettes.  We will learn about the contributions of the Universities in Nottingham.In the Arts & Culture section we discuss the legacies of Robin Hood, Nottingham's sporting clubs and several writers who were heavily influenced by the city including Graham Greene, DH Lawrence, and Alan Sillitoe.  We learn about Lord Byron, Paul Smith and the Goose Fair.Check out part 1 for the introduction to our historical guide to NottinghamSend us a text

durée : 00:58:47 - La Conversation littéraire - par : Mathias Énard - Alors que deux nouvelles traductions de l'œuvre de Graham Greene paraissent aux éditions Flammarion, La Conversation littéraire explore l'univers littéraire de l'écrivain. "Le Ministère de la peur" a paru en 1943 et "Deux hommes en un", "The man within" en anglais, son premier roman date de 1929. - réalisation : Laure-Hélène Planchet - invités : Claro Ecrivain, traducteur et éditeur; Jonathan Bourget Directeur de Graham Greene Estate.; François Rivière Romancier, critique littéraire, éditeur, traducteur, biographe et scénariste de bande dessinée

Our hopes were so high for Ministry of Fear (1944). Sure, Carol Reed is the best at adapting Graham Greene novels, but Fritz Lang? He's just one of the best European directors there is. Lang adapting Greene? Making a movie called Ministry of Fear in 1944? We didn't think anything could go wrong. Enter Seton I. Miller, executive producer and screenwriter, a dangerous combination in normal circumstances, but when dealing with a director who famously had little regard for the script, the end result is...not great?

It's believed Ukrainian and Russian negotiators will meet face to face tomorrow for the first time in three years. That's after President Putin of Russia announced overnight he wouldn't attend the meetings held in Istanbul personally. Ukraine's President Zelensky did turn up and accused Moscow of failing to take the talks seriously. We hear from Ukrainian and Russian civilians on their expectations for the negotiations.The clock ticks down further to a planned EU-UK "reset" summit on Monday. But with reports negotiators are struggling to reach a draft communique amid disputes over fishing rights, we ask what the UK should be prepared to give up.And a previously unpublished ghost story written by Graham Greene has finally made it into print.

Bishop's Book Club - May 2025 - The Heart of the Matter, Graham Greene by Catholic Diocese of Rapid City, SD

Actor Geoffrey McGivern (Hitchhiker's Guide To The Galaxy, Ghosts, Back) talks about the bittersweet Viennese comforts of Graham Greene and Carol Reed's blackly comic thriller 'The Third Man'.Support us making these podcasts by becoming a paid subscriber at:https://joelmorris.substack.com/or:https://www.patreon.com/c/comfortblanketpodor donate via ko-fi at:https://ko-fi.com/gralefrit Hosted on Acast. See acast.com/privacy for more information.

Volvemos a la novela policiaca y de espías con un montón de personajes peculiares subidos a un tren o, mejor dicho, a varios. Y en todos -absolutamente todos- pasan cosas muy misteriosas... Sé bienvenido. "El tren de Estambul", de Graham Greene. "El tren de la muerte", de Sebastien Japrisot. Y la película "Night Train to Munich", una rareza mexicana de principios del sonoro. Sed bienvenidos. Intervienen: Pablo González, Alfonso De Lucas. ¡¡¡Estrenamos Instagram!!! https://www.instagram.com/tipos_oscuros/?hl=es

Moody Movies: Hospital (1970), From Ground Zero (2024), Clearcut (1991), Arrival (2016), Sinners (2025)Welcome back to Moody Movie Club! In this episode, Kylie and Elliott don't eat snacks while watching a documentary, spend time with humans rather than headlines, celebrate National Canadian Film Day with a Graham Greene banger, explore the boundaries of language, and are reminded why movie theatres exist.Follow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Listen to ASCO's Journal of Clinical Oncology Art of Oncology article, "Writing a Medical Memoir: Lessons From a Long, Steep Road” by David Marks, consultant at University Hospitals Bristol NHS Foundation Trust. The article is followed by an interview with Marks and host Dr. Mikkael Sekeres. Marks shares his challenging journey of writing a memoir describing his patients and career. Transcript Narrator: Writing a Medical Memoir: Lessons From a Long, Steep Road, by David Marks, PhD, MBBS, FRACP, FRCPath  The purpose of this essay is to take hematologist/oncologist readers of the Journal on my challenging journey of trying to write a memoir describing my patients and career. This piece is not just for those who might wish to write a book, it also can be generalized to other creative writing such as short stories or other narrative pieces intended for publication. My experience is that many of my colleagues have considered doing this but do not know where to start and that many embarking on this journey lack the self-confidence most writers require. I also describe other issues that unexpectably arose, particularly my struggle to get the book to its intended target audience, and of writing about myself in such a personal way. In my book of semifiction, I tell the stories of my patients with leukemia, but also describe what it is like to be a physician looking after young patients with curable but life-threatening diseases. I recount my medical career and working in the United Kingdom's National Health Service (NHS), a very different health system to the one I experienced when I worked in Philadelphia during the early 1990s. Telling the stories of my patients with leukemia (and my story) was my main motivation but I also wanted to challenge my creative writing skills in a longer format. As a young person, I wrote essays and some poetry. As a hemato-oncologist, the major outputs of my writing have been over 300 scientific papers and a 230-page PhD thesis. The discipline required to write papers does help with writing a nonfiction book, and as with writing scientific papers, the first step is having a novel idea. I admired the work of Siddhartha Mukherjee (“The Emperor of all Maladies”) and Mikkael Sekeres (“When Blood Breaks Down”), but I wanted to write about my patients and their effect upon me from a more personal perspective. I obtained written consent from the patients I wrote about; nearly all of them were happy for me to use their first name; they trusted me to tell their stories. All of the patients' stories have a substantial basis in fact. I also wrote about colleagues and other people I encountered professionally, but those parts were semifiction. Names, places, times, and details of events were changed to preserve anonymity. For example, one subchapter titled “A tale of two managers” comprises events that relate to a number of interactions with NHS medical managers over 30 years. The managers I wrote about represent a combination of many people, but it would not have been possible to write this while still working at my hospital. I had wanted to write a book for years but like most transplanters never had the sustained free time to jot down more than a few ideas. In the second UK lockdown of 2020 when we were only allowed to go out to work and for an hour of exercise, we all had more time on our hands. A columnist in the Guardian said that people should have a “lockdown achievement”; this would be mine. This is how I went about it. I knew enough about writing to know that I could not just go and write a book. I considered a university writing degree, but they were all online: There was not the nourishment of meeting and interacting with fellow writers. I joined two virtual writing groups and got some private sessions with the group's leader. We had to write something every week, submitted on time, and open for discussion. In one writing group, there was a no negative criticism rule, which I found frustrating, as I knew my writing was not good enough and that I needed to improve. I had no shortage of ideas, stories to tell, and patients and anecdotes to write about. I have a pretty good memory for key conversations with patients but learned that I did not have to slavishly stick to what was said. I also wrote about myself: my emotions and the obstacles I encountered. To understand how I guided my patients' journeys, my readers would need to understand me and my background. I carried a notebook around and constantly wrote down ideas, interesting events, and phrases. Every chapter underwent several drafts and even then much was totally discarded. I was disciplined and tried to write something every day, realizing that if I did not make progress, I might give up. Most days the words flowed; refining and editing what I wrote was the difficult part. Very different to Graham Greene in Antibes. He would go to his local café, write 200-400 words, then stop work for the day and have his first glass of wine with lunch before an afternoon siesta. How would I tell the story? My story was chronological (in the main), but I felt no need for the patient stories to be strictly in time order. The stories had titles and I did not avoid spoilers. “Too late” is the story of a patient with acute promyelocytic leukemia who died before she could receive specialist medical attention. This had a devastating effect on the GP who saw her that morning. So, there were plenty of patient stories to tell, but I needed to learn the craft of writing. Visual description of scenes, plots, and giving hints of what is to come—I had to learn all these techniques. Everything I wrote was looked at at least once by my mentor and beta readers, but I also submitted my work for professional review by an experienced editor at Cornerstones. This person saw merit in my work but said that the stories about myself would only interest readers if I was “somebody like David Attenborough.” Other readers said the stories about me were the most interesting parts. So far, I have focused on the mechanics and logistics of writing, but there is more to it than that. My oncology colleague Sam Guglani, who has successfully published in the medical area, was very useful. I asked him how his second book was progressing. “Not very well.” “Why?” “It takes a lot of time and I'm not very confident.” Sam writes such lovely prose; Histories was positively reviewed yet even he still has self-doubt. Hematologists/oncologists, transplanters, and chimeric antigen receptor T cell physicians are often confident people. Most of the time we know what to do clinically, and when we give medical advice, we are secure in our knowledge. This is because we have undergone prolonged training in the areas we practice in and possess the scientific basis for our decisions. This is not the case when doctors take on creative writing. Few of us have training; it is out of our comfort zone. Nearly all new writers are insecure, in a constant state of worry that our outpourings are not “good enough,” that “nobody will like it.” Even high-quality memoirs may be hard to get published. I did not enter this thinking I would fail, and I have received feedback that I “can write.” But when you look at people who can really write, who have already been published, and earn a living from writing, you think that you will never be as good. Does this matter for a medical memoir? Yes, it does. I came to realize to improve it is important to surround yourself with people who read a lot and preferably with some who are well-regarded published writers. These people should offer unrestrained feedback, and you should take note. However, I learned you do not need to do everything they say—it is not like responding to the reviewers of scientific papers—your book should retain your individual stamp and cover what you think is important. I found there are risks in writing a memoir. Private matters become public knowledge to your family and friends. In a hospital you have lots of work relationships, not all of which are perfect. It can be a tense environment; you often have to keep quiet. Writing about them in a book, even if colleagues and events are disguised or anonymized, runs the risk of colleagues recognizing themselves and not being happy with how they are portrayed. Writing a book's first draft is hard; getting it to its final draft even harder but perhaps not harder than writing a major paper for JCO or Blood. (For me writing the discussion section of a paper was the most difficult task). However, finding an agent is perhaps the hardest of all. Every agent has their own laborious submission system. About a third of agents do not respond at all; they may not even read your book. Another third may send you a response (after up to 3 months) saying that the book is “not for me.” Three agents told me that their own experiences with cancer made it impossible for them to read the book while others said it was a worthwhile project but it was not their area of interest. That encouraged me. It required resilience to get Life Blood published. I did not have the skills to self-publish, but I found a publisher that would accept the book, provided I contributed to the costs of publishing. This was not easy either because my book did not have as much final editing as a conventional publisher provides. Getting the book to its target audience was another major challenge. A number of hematologic journals agreed to consider reviews of the book, and my colleagues were generous in offering to review it. However, I wanted my book to be read by people with cancer and their families: nearly all of us at some point in our lives. A digital marketing consultant helped me publicize the book on social media and construct a user-friendly Web site. I hope this reflection offers some encouragement for budding authors who are hematologists/oncologists. However, as all writers reading this will know, writing is a lonely pursuit; it is something you do on your own for long periods and you cannot be sure your work will ever see the light of day. One of the main ingredients is persistence; this is probably the main difference between people who finish books and those who do not. Of course there may be benefits to physicians from writing per se, even if it is never published, although most hematologists/oncologists I know are quite goal oriented. Was it all worthwhile? Yes, I think so. Writing about my career stirred up lots of memories and has been quite cathartic. Physicians often feel they have insufficient time to reflect on their practice. It made me reflect on my achievements and what I could have done better. Could I have worked harder for my patients (rarely) or thought of therapeutic interventions earlier (sometimes)? What about my professional relationships? In my efforts to do the best for my patients, was I sometimes too impatient (yes)? I hope the book inspires young people contemplating a career in hematology/oncology but also gives them a realistic idea of the commitment it requires; even relatively successful doctors encounter adversity. To all my hematologic/oncologic and transplant colleagues worldwide, if you think you have a book in you, find the time and the intellectual space, start writing but also get help. In telling the story of your patients you honor them; it is a very satisfying thing to do but there are risks. I have had lots of feedback from friends and colleagues, the great majority of it positive, but when my book was published, I prepared myself for more critical reviews. I learned a lot from writing Life Blood; at the end, I was a stronger, more secure writer and hematologist/oncologist, more confident that the story of my patients and career was worth telling and relevant to a wider audience. Dr. Mikkael Sekeres: Hello, and welcome to JCO's Cancer Stories: The Art of Oncology, which features essays and personal reflections from authors exploring their experience in the oncology field. I'm your host, Dr. Mikkael Sekeres. I'm Professor of Medicine and Chief of the Division of Hematology at the Sylvester Comprehensive Cancer Center, University of Miami. And what a pleasure it is today to be joined by Professor David Marks, a consultant at University Hospitals Bristol NHS Foundation Trust in the UK. In this episode, we will be discussing his Art of Oncology article, "Writing a Medical Memoir: Lessons from a Long, Steep Road." Our guest's disclosures will be linked in the transcript. David, welcome to our podcast, and thanks so much for joining us. Professor David Marks: Thank you very much for inviting me. It's a real honor. Dr. Mikkael Sekeres: David, I really enjoyed your piece. We've never had a "how to write a memoir" sort of piece in Art of Oncology, so it was a great opportunity. And, you know, I think 30 years ago, it was extraordinarily rare to have a doctor who also was a writer. It's become more common, and as we've grown, still among our elite core of doctor-writers, we've also birthed some folks who actually write in long form—actual books, like you did. Professor David Marks: I'd sort of become aware that I wasn't the only person doing this, that there were lots of people who liked creative writing, but they had difficulties sort of turning that into a product. This was the reason for sort of writing this. I'm hardly an expert; I've only written one book, but I sort of hope that my experiences might encourage others. Dr. Mikkael Sekeres: I think it's a terrific idea. And before we get started about the book, I, of course, know you because you and I run in some of the same academic circles, but I wonder if you could tell our listeners a little bit about yourself. Professor David Marks: So, I'm Australian. That's where I did my internal medical and hematology training in Melbourne. And then I did a PhD to do with acute lymphoblastic leukemia at the University of Melbourne. I then moved to London for three years to do some specialist training in bone marrow transplantation and some lab work, before spending three years in Philadelphia, where I did transplant, leukemia, and some more lab work. And then, mainly for family reasons, moved back to the UK to take up a post in Bristol. I have retired from patient-facing practice now, although I still give medical advice, and I'm doing some consulting for a CAR T-cell company based in LA. Dr. Mikkael Sekeres: Great. And can I ask you, what drew you to focus on treating people with leukemia and doing research in that area? Professor David Marks: I think leukemia is just such a compelling disease. From really the first patient I ever looked after, there was a person who is both life-threateningly ill, has had their life turned upside down. Yet, there is—increasingly now—there's an opportunity to cure them or, at the very least, prolong their life significantly. And also, its sort of proximity to scientific research—that was the attraction for me. Dr. Mikkael Sekeres: There is something compelling about cancer stories in general. I think we talk about the privilege of doing what we do, and I think part of that is being invited into people's lives at probably one of the most dramatic moments of those lives. We're, of course, unwelcome visitors; nobody wants a diagnosis of cancer and having to have that initial conversation with an oncologist. But I wonder if, as doctors and as writers, we feel compelled to share that story and really celebrate what our patients are going through. Professor David Marks: So, that absolutely is one of my main motivations. I thought- there aren't, to my mind, all that many books out there that sort of try and tell things from both the patient with leukemia's point of view and the doctors looking after them. And I thought that their stories should be told. It's such a dramatic and frightening time, but I think the struggles that people go through in dealing with this—I think this is something I sort of felt people should have the opportunity to learn about. Dr. Mikkael Sekeres: Yeah, we're really honoring our patients, aren't we? Professor David Marks: Absolutely. When you think of the patients you've looked after, their courage, their steadfastness in dealing with things, of just battling on when they're not well and they're scared of things like dying—you've just got to admire that. Dr. Mikkael Sekeres: Yeah, yeah. David, you have a tremendous number of academic publications and have been transformative in how we treat people who have acute lymphoblastic leukemia. How did you first get into writing narrative medicine? Professor David Marks: Although I have written quite a lot scientifically, although that is incredibly different to creative writing, some of the same sort of care that one needs with a scientific paper, you do need for creative writing. I always liked English at school, and, you know, even as a teenager, I wrote some, you know, some poetry; it frankly wasn't very good, but I had a go. I came to a point where I wanted to write about my patients and a bit about my career. I had trouble finding the time; I had trouble finding the sort of intellectual space. But then COVID and lockdown occurred, and, you know, all of us had a lot more time; you know, we weren't even allowed to leave the house apart from working. So, at that point, I started writing. Prior to that, though, I had sort of kept a notebook, a quite big notebook, about stories I wanted to tell and events in my career and life that I wanted to tell. So there was something of a starting point there to go from. But when I first started writing, I realized that I just didn't know enough about writing. I needed to learn the craft of writing, and so I also joined a couple of writing groups. Dr. Mikkael Sekeres: That's—I find that absolutely fascinating. I think there are a lot of people who want to write, and there are some who have the confidence to go ahead and start writing, right? Whether they know the craft or not. And there are others who pause and say, "Wait a second, I've done a lot of reading, I've done a lot of academic writing, but I'm not sure I know how to do this in a creative way." So, what was your first step? Professor David Marks: I had sort of notes on these stories I wanted to write, and I did just try and write the sort of two- to five-page story, but I then sort of realized that it was just—it just wasn't very good. And I needed to learn really all the basic things that writers need, like developing a plot, like giving hints of what's to come, using visual description. Those things are obviously completely different to scientific writing, and I—it was a bit like going back to school, really. Dr. Mikkael Sekeres: And how did you even find writing groups that were at the right level for someone who was starting on this journey? Professor David Marks: So, I got a recommendation of a sort of local group in Bristol and a very established sort of mentor who has actually mentored me, Alison Powell. But it is difficult because some people on the group had written and published a couple of books; they were way ahead of me. And some people were just really starting out. But there were enough people at my level to give me sort of useful criticism and feedback. But yes, finding the right writing group where there's a free interchange of ideas—that is difficult. And, of course, my—what I was writing about was pretty much different to what everybody else was writing about. Dr. Mikkael Sekeres: So, you joined a writing group that wasn't specific to people in healthcare? Professor David Marks: There was something at my hospital; it was a quite informal group that I joined, and that had a whole number of healthcare professionals, but that didn't keep going. So, I joined a group that was really a mixture of people writing memoirs and also some people writing fiction. And I actually found a lot of the things that people writing fiction write, I needed to learn. A lot of those skills still apply to a sort of non-fictional or semi-fiction book. Dr. Mikkael Sekeres: You write in your Art of Oncology piece—I think a very insightful portion of it—where you're identifying people who can give you feedback about your writing, and you're looking for honest feedback. Because there are a lot of people where you might show them a piece and they say, "Gee, this is David Marks, I better say something nice. I mean, it's David Marks after all.” Right? So, you don't want that sort of obsequiousness when you're handing over a piece of writing because you need truth to be told if it's compelling or if it's not compelling. How did you identify the people who could give you that honest feedback, but also people you trust? Because there are also people who might read a piece and might be jealous and say, "Gee, David's already going on this journey, and I wish I had done this years ago," and they might not give you the right kind of feedback. Professor David Marks: Yeah, I mean, one of the writing groups I joined, there was a sort of "no criticism, no negative criticism" rule, and I did not find that to be useful because I knew my writing, frankly, wasn't good enough. So, funnily enough, my wife—she's very lucky—she has this reading group that she's had for 25 years, and these are—they're all women of her age, and they are just big, big readers. And those were my principal beta readers. And I sort of know them, and they knew that I wanted direction about, you know, what was working and what was not working. And so they were fairly honest. If they liked something, they said it. And if there was a chapter they just didn't think worked, they told me. And I was really very grateful for that. The other thing I did at a sort of critical moment in the book, when I just thought I was not on track, is I sent it to a professional editor at Cornerstones. And that person I'd never met, so they had no—you know, they didn't need to sort of please me. And that review was very helpful. I didn't agree with all of it, but it was incredibly useful. Dr. Mikkael Sekeres: That's fascinating. So, I've submitted pieces in venues where people can post comments, and I always force myself to read the comments. And sometimes that hurts a little bit when you get some comments back and think, "Oh my word, I didn't mean that." Sometimes those comments illuminate things that you never intended for people to take away from the piece. And sometimes you get comments where people really like one aspect, and you didn't even know that would resonate with them. So, any comments you can think of that you got back where you thought, "Oh my word, I never intended that," or the opposite, where the comments were actually quite complimentary and you didn't anticipate it? Professor David Marks: I was reviewed by an independent reviewer for The Lancet Haematology. And you've read my book, so you sort of know that looking after people with leukemia, you do encounter quite a lot of people who die. And she sort of, almost as a criticism, said, "Professor David Marks seems to have encountered an extraordinary number of people who've died." And I thought—almost as a sort of criticism—and I thought, "I'm sort of sorry, but that's the area we occupy, unfortunately." There's lots of success, but there is, you know, sometimes we don't succeed. So I found that—I found that hard to read. But when you open yourself up as a writer, when you talk about your personal things, you've got to develop a bit of a thick skin. And I really haven't ego about my writing. I sort of still feel it's very much in its formative stages, so I'm quite open to criticism. Dr. Mikkael Sekeres: And were there comments that you got that were—you were pleasantly surprised that people liked one aspect of the book, and you didn't know it would really hit with them that way? Professor David Marks: I think they particularly liked the patient stories. There's one thing in the book about a young woman who has this amazing experience of being rescued by CAR T-cell therapy. This young lady's still alive. And that very much sort of captured the imagination of the readers. They really identified her and wanted to sort of know about her and, you know, was she still okay and so on. Dr. Mikkael Sekeres: I remember there was a piece I wrote, and included a patient, and it was an entree to write about a medical topic, and my editor got back to me and said, "What happened to the patient?" Right? People get invested in this. We've done this our entire careers for, for decades for some people who've been in the field for that long, and you forget that it's still a diagnosis, a disease that most people don't encounter in their lives, and they get invested in the patients we describe and are rooting for them and hope that they do okay. Professor David Marks: Yeah, I found people got very involved with the patients, and I've had actually several sort of inquiries; they want to know if the patients are still okay. And I think that I can definitely understand that from a sort of human level. Dr. Mikkael Sekeres: So, you wrote a memoir. How long did it take you? Professor David Marks: I suppose from the time I really started writing properly, I'd say about two and a half years. So, quite a long time. Dr. Mikkael Sekeres: Two and a half years. That can be daunting to some people. What advice would you give them if they're thinking about going down this path? Professor David Marks: I think it's a very rewarding thing to do. It is hard work, as you and I know, and it's sort of extra work. The only way to find out if you can do it is to try to do it. And try and find some time to do it, but get help. You know, seek the company of other people who are more experienced writers and sort of find a mentor. Somehow, you've got to, I guess, believe in yourself, really, and trust yourself that what you're writing about is worthwhile. And yeah, I don't know that I have specific advice for people about that aspect of things. Dr. Mikkael Sekeres: Well, I think that's a great place actually to end: to tell people to believe in themselves and trust in themselves. And I want to encourage everyone listening to this podcast to please check out Professor David Marks' book, Lifeblood: Tales of Leukemia Patients and Their Doctor. It's a terrific read. David, thank you so much for joining us today. Professor David Marks: Thanks very much, Mikkael. It's been a pleasure. Dr. Mikkael Sekeres: It's been delightful from my perspective. Until next time, thank you for listening to JCO's Cancer Stories: The Art of Oncology. Don't forget to give us a rating or review, and be sure to subscribe so you never miss an episode. You can find all of ASCO's shows at asco.org/podcasts. Until next time, thank you, everyone.   The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement.   Show Notes: Like, share and subscribe so you never miss an episode and leave a rating or review. ADD URLhttps://ascopubs.org/journal/jco/cancer-stories-podcast Guest Bio: Professor David Marks is a consultant at University Hospitals Bristol NHS Foundation Trust in the UK.   Additional Reading: Life Blood: Stories of Leukaemia Patients and Their Doctor, by David Marks

War engages our fight or flight instincts. When immediate threats like conflict arise, they often overshadow slower-burning, long-term crises like climate change.In this episode, James and Daisy talk about war. How does climate change fuel conflict? How does war, in turn, hinder efforts to combat the climate crisis? How do we avoid trading one existential threat for another?SOME RECOMMENDATIONS: Conflict and Environment Observatory – CEOBS was launched in 2018 with the primary goal of increasing awareness and understanding of the environmental and derived humanitarian consequences of conflicts and military activities.The Military Emissions Gap – This site is dedicated to tracking, analysing and closing the military emissions gap, bringing together the data that governments report into one place.OTHER ADVOCATES, FACTS, AND RESOURCES:NATO (2023) – Here are some remarks by NATO Secretary General Jens Stoltenberg from the UN Climate Change Conference (COP28) in Dubai.ND-GAIN Country Index – Summarizes a country's vulnerability to climate change and other global challenges in combination with its readiness to improve resilience.United Nations – Today, of the 15 countries most vulnerable to climate change, 13 are struggling with violent conflicts.Sir Christopher John Greenwood - After being called to the Bar by Middle Temple, he became a Fellow of Magdalene in 1978 and later Professor of International Law at the London School of Economics, specialising in international humanitarian law. He was appointed Queen's Counsel in 1999 and elected by the United Nations as a Judge of the International Court of Justice in 2008. That same year, Magdalene named him an Honorary Fellow.The Third Man –A classic thriller written by Graham Greene and starring Orson Welles in which a writer sets about investigating the death of a friend in post-World War II Vienna.Stop Ecocide International – Ecocide law provides a route to justice for the worst harms inflicted upon the living world in times of both peace and conflict, whenever and wherever they are committed.CND (Campaign for Nuclear Disarmament) – CND campaigns to rid the world of nuclear weapons - the most powerful and toxic weapons ever created, threatening all forms of life.Stop the War Coalition – Stop the War was founded in September 2001 in the weeks following 9/11, when George W. Bush announced the “war on terror”. Stop the War has since been dedicated to preventing and ending the wars in Afghanistan, Iraq, Libya and elsewhere.UK Parliament (2024) – In the 2023/24 financial year, the UK spent £53.9 billion on defence.UK Parliament (2025) – The Prime Minister has committed to spend 2.5% of the UK's gross domestic product (GDP) on defence by 2027. UK Parliament (2025) - The Prime Minister said the government would “fully fund our increased investment in defence” by reducing aid spending from 0.5% of gross national income (GNI) to 0.3% in 2027.Ministry of Defence (2024) –  In 2022, total military expenditure of NATO members was $1,195bn and total worldwide military expenditure was $2,240bn, as estimated by SIPRI. The USA was the world's largest spender, accounting for 39% of the total global spending.The Week (2025) – Only 11% of people aged 18-27 say they would fight for the UK.Reuters (2025) - Poland wants to spend 5% of gross domestic product (GDP) on defence in 2026. Poland now spends a higher proportion of GDP on defence than any other NATO member, including the United States. It plans for this year's spending to hit 4.7% of GDP. Institute for Security Studies – The global military carbon footprint currently accounts for around 5.5% of global emissions – more than Africa's entire footprint.Listen to War by Edwin Starr here!Thank you for listening! Please follow us on social media to join the conversation: LinkedIn | Instagram | TikTokYou can also now watch us on YouTube.Music: “Just Because Some Bad Wind Blows” by Nick Nuttall, Reptiphon Records. Available at https://nicknuttallmusic.bandcamp.com/album/just-because-some-bad-wind-blows-3Producer: Podshop StudiosHuge thanks to Siobhán Foster, a vital member of the team offering design advice, critical review and organisation that we depend upon.Stay tuned for more insightful discussions on navigating the transition away from fossil fuels to a sustainable future.

Marco Ferrari"Il partigiano che divenne imperatore"Laterza Editoriwww.laterza.itUn fantasma si aggira per l'Europa e per l'Africa. È il fantasma di un uomo che guida le Brigate internazionali in Spagna e poi attraversa i deserti del Sudan. Un fantasma che diventa imperatore d'Etiopia per conto di Hailé Selassié e guida i partigiani abissini contro i fascisti italiani. Questofantasma ha un nome, Ilio Barontini, e questa è la sua storia.Questo libro racconta una storia vera e dimenticata. Una storia in cui si respira l'odore acre del Novecento e che potrebbe uscire dalle pagine di Graham Greene. Siamo nel 1938, Ilio Barontini, comunista livornese, ha combattuto nella guerra di Spagna tanto da diventare l'eroe della battaglia di Guadalajara.A Parigi viene scelto dai servizi segreti francesi e britannici per una missione rischiosissima: organizzare le forze partigiane abissine che devono resistere alla conquista fascista. Infatti, Mussolini aveva conquistato con l'uso dell'iprite i villaggi e le città più importanti, la ferrovia Addis Abeba-Gibuti e le principali vie di comunicazione, ma una parte considerevole del territorio era ancora in mano agli arbegnuoc, i patrioti etiopi. Barontini – assieme ad Anton Ukmar, ex ferroviere sloveno di Gorizia conosciuto in Spagna, e a Bruno Rolla, comunista spezzino –formò un esercito di oltre 250 mila uomini composto da piccole formazioni mobili e venne nominato dal Negus viceimperatore di Abissinia. Dotato dello scettro imperiale, il comunista di Livorno tenne a bada i vari ras, portò a termine missioni importanti e pubblicò un giornale bilingue, “La voce degli Abissini”, tanto da diventare una leggenda.La missione terminò nel giugno 1940, quando i tre antifascisti italiani intrapresero la via del ritorno tra malattie e assalti di predoni. Si ritrovarono miracolosamente vivi a Khartum dove scattarono l'unica fotografia che li ritrae insieme.Marco Ferrari, giornalista e scrittore spezzino, ha esordito nella narrativa nel 1988 con il romanzo Tirreno (Editori Riuniti), a cui hanno fatto seguito: I sogni di Tristan,Grand Hotel Oceano eTi ricordi Glauber per Sellerio; La vera storia del mitico undici per Ponte alle Grazie; Cuore Atlantico e Morire a Clipperton per Mursia; Le nuvole di Timor per Cavallo di Ferro; Sirenate per Il Melangolo; Un tango per il duceper Voland; Rosalia Montmasson. L'angelo dei Mille per Mondadori.Con Arrigo Petacco ha firmato Ho sparato a Garibaldi e Caporetto per Mondadori e con Marino Magliani Sporca faccenda, mezzala Morettini per Atlantide. Per Laterza è autore di: Mare verticale. Dalle Cinque Terre a Bocca di Magra; L'incredibile storia di António Salazar, il dittatore che morì due volte; Ahi, Sudamerica! Oriundi, tango e fútbol; Alla rivoluzione sulla Due Cavalli. con Ritorno a Lisbona 50 anni dopo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:03:33 - Le Regard culturel - par : François Angelier - L'éditeur Flammarion présente, avec de nouvelles traductions, les 27 romans de Graham Greene. Une nouvelle édition qui permet de redécouvrir notamment "Deux hommes en un" ou encore "Le ministère de la peur".

El novelista británico Graham Greene escribió que “en el fondo de nosotros mismos siempre tenemos la misma edad”. Algo así pasa con nuestras ciudades.

Val Kilmer passed away recently, so we wanted to talk about one of his movies. We chose 1992's Thunderheart, and we discuss it in this RETRO episode.

This week we dive into folk horror from around the globe as we watch the criminally underseen Clearcut starring Graham Greene. This film is from 1981 and really brings the folk horror energy we need to get April started. Join us as we travel to 1991 Canada for this folk horror film. Did we like it? Was Cyndi grossed out at a human being being skinned? Did it scare Cyndi to death? Join us to find out. 

Muchos guardan en su memoria Historias del Kronen, la película de Montxo Armendáriz, con Juan Diego Botto, Jordi Mollà o Cayetana Guillén Cuervo. Pero antes fue una novela que nos produjo un fuerte impacto. Y que, sobre todo, le cambió la vida a su autor, José Ángel Mañas. Ahora, el autor ha revisado aquellos años de profundas transformaciones en un libro lleno de curiosidades, muy honesto, titulado Una historia del Kronen. Antiguos libros del Arte Sagrado o Alquimia, colecciones misteriosas, bibliotecas ocultas. Manuscrito legendarios. Libros capitales de las grandes religiones que parecen ocultar no solo el pasado, sino también el presente y el futuro. Libros malditos es un texto de Óscar Herradón donde se nota, como nunca, la fuerza que tiene un libro. Y a veces, una sola página capaz de cambiar el mundo.En la sección de Audiolibros, Intermezzo, una de las novelas de este último año, publicado por Sally Rooney.Y nos acercamos a la figura de Graham Greene, el escritor que siempre vivió al filo de la navaja.

As the long, exhausting march toward summer begins for many students, the wise and compassionate David Wagoner takes us to the intersection of love and weakness. Happy reading.David Wagoner was recognized as the leading poet of the Pacific Northwest, often compared to his early mentor Theodore Roethke, and highly praised for his skillful, insightful and serious body of work. He won numerous prestigious literary awards including the Ruth Lilly Poetry Prize, two Pushcart Prizes, and the Academy of Arts and Letters Award, and was nominated twice for the National Book Award. The author of ten acclaimed novels, Wagoner's fiction has been awarded the Sherwood Anderson Foundation Award. Professor emeritus at the University of Washington, Wagoner enjoyed an excellent reputation as both a writer and a teacher of writing. He was selected to serve as chancellor of the Academy of American Poets in 1978, replacing Robert Lowell, and was the editor of Poetry Northwest until 2002.Born in Ohio and raised in Indiana, Midwesterner Wagoner was initially influenced by family ties, ethnic neighborhoods, industrial production and pollution, and the urban environment. His move to the Pacific Northwest in 1954, at Roethke's urging, changed both his outlook and his poetry. Writing in the Contemporary Authors Autobiography Series, Wagoner recalls: “when I drove down out of the Cascades and saw the region that was to become my home territory for the next thirty years, my extreme uneasiness turned into awe. I had never seen or imagined such greenness, such a promise of healing growth. Everything I saw appeared to be living ancestral forms of the dead earth where I'd tried to grow up.” Wagoner's poetry often mourns the loss of a natural, fertile wilderness, though David K. Robinson, writing in Contemporary Poetry, described the themes of “survival, anger at those who violate the natural world” and “a Chaucerian delight in human oddity” at work in the poems as well. Critics have also praised Wagoner's poetry for its crisp descriptive detail and metaphorical bent. However, Paul Breslin in the New York Times Book Review pronounced David Wagoner to be “predominantly a nature poet…as Frost and Roethke were nature poets.”Wagoner's first books, including Dry Sun, Dry Wind (1953), A Place to Stand (1958), and Poems (1959), demonstrate an early mastery of his chosen subject matter and form. Often comprised of observations of nature, Wagoner links his speakers' predicaments and estrangement to the larger imperfection of the world. In Wagoner's second book, A Place to Stand,Roethke's influence is clear, and the book uses journey poems to represent the poet's own quest back to his beginnings. Wagoner's fourth book, The Nesting Ground (1963), reflects his relocation physically, aesthetically and emotionally; the Midwest is abandoned for the lush abundance of the Pacific Northwest, and Wagoner's style is less concerned with lamentation or complaint and more with cataloguing the bounty around him. James K. Robinson called the title poem from Staying Alive (1966) “one of the best American poems since World War II.” In poems like “The Words,” Wagoner discovers harmony with nature by learning to be open to all it has to offer: “I take what is: / The light beats on the stones, / the wind over water shines / Like long grass through the trees, / As I set loose, like birds / in a landscape, the old words.” Robert Cording, who called Staying Alive “the volume where Wagoner comes into his own as a poet,” believed that for Wagoner, taking what is involves “an acceptance of our fragmented selves, which through love we are always trying to patch together; an acceptance of our own darkness; and an acceptance of the world around us with which we must reacquaint ourselves.”Collected Poems 1956-1976 (1976) was nominated for the National Book Award and praised by X. J. Kennedy in Parnassus for offering poems which are “beautifully clear; not merely comprehensible, but clear in the sense that their contents are quickly visible.” Yet it was Who Shall Be the Sun? (1978),based upon Native American myth and legend, which gained critical attention. Hayden Carruth, writing in Harper's Magazine, called the book “a remarkable achievement,” not only for its presentation of “the literalness of shamanistic mysticism” but also for “its true feeling.” Hudson Review's James Finn Cotter also noted how Wagoner “has not written translations but condensed versions that avoid stereotyped language….The voice is Wagoner's own, personal, familiar, concerned. He has achieved a remarkable fusion of nature, legend and psyche in these poems.”In Broken Country (1979), also nominated for the National Book Award, shows Wagoner honing the instructional backpacking poems he had first used in Staying Alive. Leonard Neufeldt, writing in New England Review,called “the love lyrics” of the first section “among the finest since Williams' ‘Asphodel.'” Wagoner has been accused of using staid pastoral conventions in book after book, as well as writing less well about human subjects. However, his books have continued to receive critical attention, often recognized for the ways in which they use encounters with nature as metaphors for encounters with the self. First Light (1983), Wagoner's “most intense” collection, according to James K. Robinson, reflects Wagoner's third marriage to poet Robin Seyfried. And Publishers Weekly celebrated Walt Whitman Bathing (1996) for its use of “plainspoken formal virtuosity” which allows for “a pragmatic clarity of perception.” A volume of new and collected poems, Traveling Light, was released in 1999. Sampling Wagoner's work through the years, many reviewers found the strongest poems to also be the newest. Rochelle Ratner in Library Journal noted “since many of the best are in the ‘New Poems' section, it might make sense to wait for his next volume.” That next volume, The House of Song (2002) won high praise for its variety of subject matter and pitch-perfect craft. Christina Pugh in Poetry declared “The House of Song boasts a superb architecture, and each one of its rooms (or in Italian, stanzas) affords a pleasure that enhances the last.” In 2008 Wagoner published his twenty-third collection of verse, A Map of the Night. Reviewing the book for the Seattle Times, Sheila Farr found many poems shot through with nostalgia, adding “the book feels like a summing-up.” Conceding that “not all the work reaches the high plane of Wagoner's reputation,” Farr described its “finest moments” as those which “resonate with the title, venturing into darkness and helping us recognize its familiar places.”In addition to his numerous books of poetry, David Wagoner was also a successful novelist, writing both mainstream fiction and regional Western fiction. Offering a steady mix of drama seasoned with occasional comedy, Wagoner's tales often involve a naive central character's encounter with and acceptance of human failing and social corruption. In the Contemporary Authors Autobiography Series, Wagoner described his first novel, The Man in the Middle (1954), as “a thriller with some Graham Greene overtones about a railroad crossing watchmen in violent political trouble in Chicago,” his second novel, Money, Money, Money (1955), as a story about “a young tree surgeon who can't touch, look at, or even think about money, though he has a lot of it,” his third novel, Rock (1958) as a tale of “teenage Chicago delinquents,” and his fifth novel, Baby, Come On Inside (1968) as a story “about an aging popular singer who'd lost his voice.” As a popular novelist, however, Wagoner is best known for The Escape Artist (1965), the story of an amateur magician and the unscrupulous adults who attempt to exploit him, which was adapted as a film in 1981. Wagoner produced four successful novels as a Western “regional” writer. Structurally and thematically, they bear similarities to his other novels. David W. Madden noted in Twentieth-Century Western Writers: “Central to each of these [Western] works is a young protagonist's movement from innocence to experience as he journeys across the American frontier encountering an often debased and corrupted world. However, unlike those he meets, the hero retains his fundamental optimism and incorruptibility.”Although Wagoner wrote numerous novels, his reputation rests on his numerous, exquisitely crafted poetry collections, and his dedication as a teacher. Harold Bloom said of Wagoner: “His study of American nostalgias is as eloquent as that of James Wright, and like Wright's poetry carries on some of the deepest currents in American verse.” And Leonard Neufeldt called Wagoner “simply, one of the most accomplished poets currently at work in and with America…His range and mastery of subjects, voices, and modes, his ability to work with ease in any of the modes (narrative, descriptive, dramatic, lyric, anecdotal) and with any number of species (elegy, satirical portraiture, verse editorial, apostrophe, jeremiad, and childlike song, to name a few) and his frequent combinations of a number of these into astonishingly compelling orchestrations provide us with an intelligent and convincing definition of genius.”Wagoner died in late 2021 at age 95.-bio via Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Former Eastenders and present-day Archers actor Lucy Speed, and comedian Sarah Mills talk about books set in wartime London, a 1990s underground train, and Graham Greene's MI6. Lucy's choice is Everyone Brave is Forgiven by Chris Cleave, Which tells the tale of Mary, a woman who becomes a teacher at the beginning of the war, only for her life to take some unexpected turns during the Blitz. Sarah has selected 253 by Geoff Ryman, the novel originally published on the Internet which tells the stories of 253 passengers on a London Underground train. Harriett proposes a lesser known a Graham Greene novel, The Human Factor, which takes in apartheid South Africa and communism as well as espionage.Producer for BBC Audio Bristol: Sally Heaven Join the conversation on Instagram: agoodreadbbc

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Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es The Third Man, es una película de film noir de 1949 dirigida por Carol Reed, escrita por Graham Greene y protagonizada por Joseph Cotten, Alida Valli, Orson Welles y Trevor Howard. Ambientada en la Viena ocupada por los Aliados después de la Segunda Guerra Mundial. Plot: El Novelista Holly Martins viaja a Viena de la posguerra, solo para encontrarse investigando la misteriosa muerte de un viejo amigo, Harry Lime. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl

The fugitive priest faces a moment of reckoning as he is cornered by the relentless lieutenant in a desolate Mexican landscape. Torn between his flawed humanity and his unshakable faith, he makes a final, sacrificial choice that reverberates with both despair and redemption. Join us in this episode of the #BecomeFire Podcast as we conclude our journey through "The Power and the Glory" by Graham Greene.

Welcome to a delayed Film Club and it's The Third Man, Carol Reed's 1949 masterpiece starring Joseph Cotton, Alida Valli, Trevor Howard and of course, Orson Welles from a script by Graham Greene. Joining Ollie we have director Tim Hewitt and historian Roger Moorhouse. There are plenty of links in the show notes including Tim's film based on the Greene short story A Little Place on the Edgware Road which you can watch for free. Links A Little Place Off the Edgware Road, directed by Tim Hewitt The Third Man Special Collector's Edition The Third Man Touch of Evil Journey Into Fear The Criterion Collection Ollie on X Tim on X Roger on X Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

A troubled priest navigates the oppressive anti-Catholic regime in 1930s Mexico, where religion has been outlawed. Despite his personal failings, he faithfully performs his duties in secret, wrestling with guilt, fear, and the weight of his calling as he evades capture by a communist regime. Join us in this in this episode of the #BecomeFire Podcast as we dive into part one of Graham Greene's "The Power and the Glory."

Three-piece bands, sometimes called power trios, in the third part of our Graham Greene inspired trilogy of episodes.

The End of the Affair was released on Dec 3, 1999 in just 7 theaters so that it could bait some Oscars and then going wide on January 21. It would ultimately bring in just shy of 11 million dollars on 23 million dollar budget, though it did open with an astonishing $28,000 per screen average, so maybe a wider initial release would have been wise. The End of the Affair was the second 1999 film in 11 months (after January's psychological thriller In Dream) from auteur Neil Jordan, best known for 1992's Oscar winning film The Crying Game as well as 1994's Interview with the Vampire. It was also the second sweeping period romance in just a couple years for star Ralph Fiennes after The English Patient, leading to many critics and audiences drawing comparisons between the two films. It was also the one film for which 1999's busiest woman, Julianne Moore, was nominated for an Oscar, despite her equal performances in A Map of the World, An Ideal Husband, and Magnolia. Joining John and Julia to talk about this second (incredibly horny) adaptation of Graham Greene's The End of the Affair is film critic, writer, and podcaster Kristin Battestella (I Think Therefore I Review) Kristin is on Bluesky @thereforereview

Deze week niet alleen een mini-college over het spionage verhaal, maar ook een spionnenweetje van Wiek.En je hoort een echt muziekdetectiveverhaal uit de beginperiode van Man met de microfoon.De boeken die ik las voor het mini-college:Casino Royale, van Ian FlemingThe spy who came in from the cold, van John le CarréOur man in Havana, van Graham Greene.Deze aflevering wordt gesponsord door Cinema Delicatessen. Kijk waar de geweldige documentaire 'Favoriten' draait bij jou in de buurt op: www.cinedeli.nlWil je een gesigneerd exemplaar van 'De Mosterdmoorden' vooruitbestellen dan kan dat hier, of, als je op Spotify zit (ik snap overigens niet wie dat een fijne app voor podcasts vindt, maar goed, dit terzijde) dan kopieer je deze webpagina: www.boekenwereld.com/mosterdmoordenDit is het Instagram-account van Man met de microfoon.Wil je lid worden of een eenmalige donatie doen via petjeaf.com dan kan dat: hierEenmalig overmaken kan ook naar: NL37 INGB 0006 8785 94 van Stichting Man met de microfoon te Amsterdam.Reacties: manmetdemicrofoon@gmail.comWil je adverteren, dan kun je een mailtje sturen naar: adverteren@dagennacht.nlZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

OK, "Romance" was a stretch, but we loved this book.• Free Bonus Episodes on our Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/wheelofgenre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• Watch Video Episodes on⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠• Email us at genrepodcast@gmail.com

This week, make a plan for some special writing time. Tips and thoughts about building your own writing retreat.Reading recommendation: THE COMEDIANS, by Graham Greene.

Brighton Rock was a novel by Graham Greene. But there's also plenty of great (alternative) Brighton rock music (and post-punk and other genres) - as this episode demonstrates.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comJohn Gray is a political philosopher. He retired from academia in 2007 as Professor of European Thought at the London School of Economics, and is now a regular contributor and lead reviewer at the New Statesman. He's the author of two dozen books, and his latest is The New Leviathans: Thoughts After Liberalism. I'd say he's one of the most brilliant minds of our time — and my first podcast with him was a huge hit. I asked him to come on this week to get a broader and deeper perspective on where we are now in the world. He didn't disappoint.For two clips of our convo — on the ways Trump represents peace, and how heterosexuals have become more like gays — pop over to our YouTube page.Other topics: this week's inauguration; the peaceful transfer of power; the panic of the left intelligentsia; the contradictions in the new Trump administration; Bannon vs Musk; Vivek's quick exit; the techno-futurist oligarchs; Vance as the GOP's future; tariffs and inflation; the federal debt; McKinley and the Gilded Age; Manifest Destiny; Greenland; isolationism; the neocon project to convert the world; Hobbes and “commodious living”; Malthus and today's declining birthrates; post-industrial alienation; deaths of despair; Fukuyama's “End of History”; Latinx; AI and knowledge workers; Plato; Pascal; Dante; CS Lewis' Abolition of Man; pre-Christian paganism; Puritans and the woke; Žižek; Rod Dreher; Houellebecq; how submission can be liberating; Graham Greene; religion as an anchor; why converts are often so dangerous; Freudian repression; Orwell and goose-stepping; the revolution of consciousness after Christ; Star Wars as neo-Christian; Dune as neo-pagan; Foucault; Oakeshott's lovers; Montaigne; Judith Shklar; Ross Douthat; the UK's rape-gangs; Starmer and liberal legalism; the Thomist view of nature; the medieval view of abortion; late-term abortions; and assisted dying.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Sebastian Junger on near-death experiences, Jon Rauch on “Christianity's Broken Bargain with Democracy,” Evan Wolfson on the history of marriage equality, Yoni Appelbaum on how America stopped building things, Nick Denton on the evolution of new media, and Ross Douthat on how everyone should be religious. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Vorbesc cu Andrei Gorzo despre cartea Ce am învățat de la Graham Greene: O istorie de familie, publicată pe final de 2024 la Editura Polirom. În cadrul podcastului, Andrei vorbește despre ce a însemnat să scrie o biografie dedicată vieții tatălui său, despre cum și-a trăit doliul în urma morții acestuia în 2019.

We kick off 2025 with a trip to the Asylum, as we watch the 2013 mockbuster, Atlantic Rim. Join us as we discuss one of the host's bad attitude regarding this movie, the unlikable main characters, and a sleepwalking Graham Greene. Find us on Bluesky, Instagram, and Threads @TCTAMPod and on TikTok @theycalledthisamovie.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.

318 - ". . . he opened his eyes and Mrs. Baines was there, her gray untidy hair in threads over his face . . . 'Where are they?' she whispered. 'Where are they?' " Tuck in for the acclaimed Graham Greene's dramatic thriller.

Let's discovered the frontier once more as the hosts embark a spiritual journey to bring you their final review for the season with the award winning film, Dances with Wolves, starring Kevin Costner, Graham Greene, Mary McDonnell, Rodney A. Grant. Costner's feature directorial debut won seven Academy Awards, including Best Picture and has been hailed one of the greatest epic westerns movies of all time. The hosts pair the film with the Buffalo Cocktail. Join the hosts as they celebrate their final episode of the season with one of the all time classics.Come listen and follow us on Instagram and YouTube @the.gentlemenpodcast and our website thegentlemenpodcast.com

Matthew and Riki dive deep into Indigenous representation in media, using the 2022 film Prey as a launching point for a broader discussion about the evolution of Native American portrayals in Hollywood. The conversation explores how this Predator franchise entry breaks new ground while honoring both the source material and Indigenous culture.How does Prey set a new standard for Indigenous representation? The hosts discuss the film's groundbreaking achievements, including its predominantly Native cast led by Amber Midthunder, authentic cultural consultation, and the historic creation of a Comanche language dub – a first in movie history. The discussion highlights how producer Jane Myers' involvement as a Comanche and Blackfoot consultant helped ensure cultural authenticity throughout production.What can we learn from revisiting Dances With Wolves (1990)? Riki presents a compelling case for reexamining the film's legacy, arguing that while imperfect, it represented a significant step forward in Native American representation. The hosts explore how the film launched the careers of prominent Native actors like Graham Greene and Wes Studi, while setting new standards for language authenticity and cultural portrayal in mainstream Hollywood.How do these films compare to other attempts at cultural representation? The conversation expands to examine other films like The Last Samurai and Avatar, discussing the complex dynamics of white savior narratives and the importance of authentic cultural consultation in historical dramas.Other topics covered:The evolution of the Predator franchise and how Prey reinvents itThe role of French trappers in the film and their thematic significanceThe importance of authentic language use in Indigenous filmsThe impact of Dances With Wolves on subsequent Native American representation in HollywoodThe complexities of casting Native actors across different tribal affiliationsThe problematic aspects of The Last Samurai and its historical inaccuraciesThe representation of Indigenous peoples in modern media and tourist cultureThe episode concludes by emphasizing the ongoing journey toward better Indigenous representation in media, highlighting both the progress made and the work still needed. While Prey represents a significant step forward, the hosts acknowledge that authentic representation requires continued commitment from the entertainment industry to elevate Indigenous voices both in front of and behind the camera.Use these links to get some of the books and movies we mention on the podcast, while helping us keep the lights on!Comanche Marker Trees of Texas by Jimmy Arterberry, one of the authenticity consultants on PreyPreyDances with WolvesThe Last SamuraiAvatar**************************************************************************This episode is a production of Superhero Ethics, a The Ethical Panda Podcast and part of the TruStory FM Entertainment Podcast Network. Check our our website to find out more about this and our sister podcast Star Wars Generations.We want to hear from you! You can keep up with our latest news, and send us feedback, questions, or comments via social media or email.Email: Matthew@TheEthicalPanda.comFacebook: TheEthicalPandaInstagram: TheEthicalPandaPodcastsTwitter: EthicalPanda77Or you can join jump into the Star Wars Generations and Superhero Ethics channels on the TruStory FM Discord.Want to get access to even more content while supporting the podcast? Become a member! For $5 a month, or $55 a year you get access to bonus episodes and bonus content at the end of most episodes. Sign up on the podcast's main page. You can even give membership as a gift!You can also support our podcasts through our sponsors:Purchase a lightsaber from Level Up Sabers run by friend of the podcast Neighborhood Master AlanUse Audible for audiobooks. Sign up for a one year membership or gift one through this link.Purchase any media discussed this week through our sponsored links.

The Shop is bursting at the seams here at Christmas-time, but Hannah and Sam haven't stopped reading! With their favorites of the year behind them, they look to the past and future for new things to consume (such as "Minority Report" and "The Dream Hotel"). But you'll have to wait for the full discussion on that. On the full agenda this episode is: - "Age of Innocence," by Edith Wharton - "The Quiet American," by Graham Greene (from 1955, NOT the 1970s, Sam) - "Rental House," by Weike Wang - "The Ladies of Grace Adieu," by Susanna Clarke - "What the Chicken Knows," by Sy Montgomery (much giggling ensues) - "Persepolis," by Marjane Satrapi - "What Happened to the McCrays," by Tracey Lange (with much middle school hockey discussion) - "The Last Dragon on Mars," by Scott Reintgen

Book Vs. Movie: Travels with My AuntThe 1969 Graham Greene Novel Vs. the 1972 Maggie Smith FilmThe Margos pack their suitcases for Graham Greene's Travels with My Aunt and its 1972 film adaptation. The story of Henry Pulling, a reserved Englishman, whose life changes when his eccentric Aunt Augusta leads him on an adventurous journey across Europe. Greene explores the novel's themes of self-discovery, rebellion, and unconventional relationships with his signature dark humor. Augusta's vibrant, morally ambiguous character makes Henry question his life choices. The film, directed by George Cukor and starring Maggie Smith as Augusta, takes a lighter, comedic approach. Henry's character becomes more of a comedic foil to Augusta, and the adaptation focuses less on Augusta's complex past. While the movie brings energy and charm, fans of the book often feel it lacks Greene's depth.So, which did the Margos prefer? Listen to find out! In this ep, the Margos discuss:The work of Graham GreeneMaggie Smith!!!!! The differences between the novel and the film. The Movie Cast: Maggie Smith (Augusta Bertram,) Alec McGowen (Henry Pulling,) Louis Gosset Jr. (Zachary Wordsworth,) Robert Stephens (Ercole Visconti,) Cindy Williams (Tooley,) Robert Flemyng (Achille Dambreuse,) Corinne Marchand (Louise) and Valerie White as Mme. Dambreuse.  Clips used:“Aunt August at the Funeral”Travels with My Aunt (original 1972 trailer)1973 Academy Awards Best Costume Design“Aunt Augusta and Henry fly to Paris.”Travels with My Aunt soundtrack by Tony Hatch.Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: Travels with My AuntThe 1969 Graham Greene Novel Vs. the 1972 Maggie Smith FilmThe Margos pack their suitcases for Graham Greene's Travels with My Aunt and its 1972 film adaptation. The story of Henry Pulling, a reserved Englishman, whose life changes when his eccentric Aunt Augusta leads him on an adventurous journey across Europe. Greene explores the novel's themes of self-discovery, rebellion, and unconventional relationships with his signature dark humor. Augusta's vibrant, morally ambiguous character makes Henry question his life choices. The film, directed by George Cukor and starring Maggie Smith as Augusta, takes a lighter, comedic approach. Henry's character becomes more of a comedic foil to Augusta, and the adaptation focuses less on Augusta's complex past. While the movie brings energy and charm, fans of the book often feel it lacks Greene's depth.So, which did the Margos prefer? Listen to find out! In this ep, the Margos discuss:The work of Graham GreeneMaggie Smith!!!!! The differences between the novel and the film. The Movie Cast: Maggie Smith (Augusta Bertram,) Alec McGowen (Henry Pulling,) Louis Gosset Jr. (Zachary Wordsworth,) Robert Stephens (Ercole Visconti,) Cindy Williams (Tooley,) Robert Flemyng (Achille Dambreuse,) Corinne Marchand (Louise) and Valerie White as Mme. Dambreuse.  Clips used:“Aunt August at the Funeral”Travels with My Aunt (original 1972 trailer)1973 Academy Awards Best Costume Design“Aunt Augusta and Henry fly to Paris.”Travels with My Aunt soundtrack by Tony Hatch.Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Herbert Marshall returns to the podcast in two old time radio thrillers - a pair of shows where he plays a coward and a man unafraid of death who find their worldviews challenged in critical moments. He stars in an adaptation of Graham Greene's "The Man Within" (originally aired on CBS on April 27, 1953) and in "Action" (originally aired on CBS on October 5, 1953). Plus, we'll hear him as globe-trotting secret agent Ken Thurston, aka The Man Called X (originally aired on NBC on May 4, 1951).

‘David at his worst was a liar but John le Carré at his best was a truth teller.' These were the intriguing words with which his biographer Adam Sisman concluded the conversation when he joined the Slightly Foxed Podcast team at the kitchen table to discuss the life and work of the writer who was born David Cornwell but who is better known to the world as John le Carré. Graham Greene, whom le Carré greatly admired, once said that ‘an unhappy childhood is an asset for a writer', and this young David had in spades. He was only 5 when he and his older brother were abandoned by their mother, to be brought up by their father, a domineering, larger-than-life conman, wife-beater and sexual tyrant, whose overwhelming personality would haunt David for the rest of his life and was the inspiration for his novel A Perfect Spy. These ‘hugless' childhood years, as David called them, were ones of stark contrasts. At one moment the family would be living like princes, the next bailiffs were in the house and their father might even be in jail. The boys were taught early on to lie convincingly in order to bail their father out, so the scene was set for the kind of double life that David would later lead when he worked for the secret service, and for the shadowy worlds of violence and betrayal that he created in his novels. It also produced a man who sought out danger, both in doing his meticulous research, and in his multiple affairs with women, a subject Adam explored in a second biography, The Secret Life of John Le Carré, published after le Carré's death. Adam speaks fascinatingly about his often tense relationship with this complex, brilliant and seductively charming man whose great Cold War novels such as The Spy Who Came in from the Cold and Tinker Tailor Soldier Spy, with their brilliant dialogue and scene-setting and their unforgettable central character George Smiley, are felt by many to far transcend the genre of spy fiction. To finish, there's the usual round-up of reading recommendations including a personal and passionate account of Putin's Russia through the eyes of a BBC journalist, Goodbye to Russia by Sarah Rainsford, and A Voyage around the Queen by Craig Brown, an exceptionally researched and hilarious biography of sorts of our late Queen Elizabeth II. For episode show notes, please see the Slightly Foxed website. Opening music: Preludio from Violin Partita No. 3 in E Major by Bach Hosted by Rosie Goldsmith Produced by Philippa Goodrich

This week we kick off a new book with some conversation about Sean's obsession with Graham Greene, why books about spiritual struggle are so compelling, whether this book has an unreliable narrator, and the difference between a novelist who is Catholic and a Catholic who is a novelist. Happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe