Podcast appearances and mentions of gray wolf

According to Deborah Baker, author of Charlottesville: An American Story, America has become the Charlottesville of the Unite the Right Rally of August 12, 2017. Baker, who grew up in Charlottesville in the shadow of Jefferson's Monticello, watched in shock as neo-Nazis marched through her hometown in August 2017 with torches and flags. What began as her attempt to understand how such hatred could manifest in a progressive college town became a deeper reckoning with America's buried histories and recurring tragedies. The fascist ideologies that once seemed confined to internet forums and fringe rallies have now, she argues, been institutionalized at the highest levels of government. The warning signs were there in 2017—but too many people, from university administrators to progressive leaders, chose to look away. If we close our eyes, she warns, it won't go away. five key takeaways1. America Has Institutionalized ExtremismWhat began as fringe internet movements and basement trolling has now moved into the mainstream of American politics and government institutions. The ideologies that shocked people in Charlottesville 2017 are now, according to Baker, embedded at the highest levels of power.2. Progressive Institutions Failed to Take the Threat SeriouslyUniversity administrators, mayors, and police chiefs in liberal Charlottesville told citizens to "stay home" and ignore the approaching Unite the Right rally. This pattern of progressive leadership closing their eyes to fascist organizing represents a dangerous institutional failure that continues today.3. White Supremacy Has Always Married Anti-Semitism with Anti-Black RacismThe Nazi flags at Charlottesville weren't separate from the Confederate monuments debate. White supremacist ideology consistently portrays Jews as the puppet masters behind Black civil rights movements, combining European fascism with Southern white supremacy into a unified hateful worldview.4. America's "Buried Histories" Keep RepeatingBaker discovered that Charlottesville had experienced a similar white supremacist rally in the 1950s that had been completely forgotten. This pattern of burying ugly chapters allows the same mistakes to be repeated, as communities fail to learn from their past encounters with organized hate.5. Economic and Political Destabilization Creates Fertile Ground for FascismThe conditions that radicalized figures like Richard Spencer include the "forever wars," the 2008 financial crisis, and the broader betrayal of working-class Americans. These "self-inflicted wounds" by American institutions create the chaos that fascist movements exploit to gain followers.Deborah Baker was born in Charlottesville and grew up in Virginia, Puerto Rico and New England. She attended the University of Virginia and Cambridge University. Her first book, written in college, was Making a Farm: The Life of Robert Bly, published by Beacon Press in 1982. After working as a book editor and publisher, in 1990 she moved to Calcutta where she wrote In Extremis; The Life of Laura Riding. Published by Grove Press and Hamish Hamilton in the UK, it was shortlisted for the Pulitzer Prize in Biography in 1994. Her third book, A Blue Hand: The Beats in India was published by Penguin Press USA and Penguin India in 2008. In 2008–2009 she was a Fellow at the Dorothy and Lewis C. Cullman Center for Writers and Scholars at The New York Public Library. There she researched and wrote The Convert: A Tale of Exile and Extremism, a narrative account of the life of an American convert to Islam. Published by Graywolf and Penguin India, The Convert was a finalist for the 2011 National Book Award in Non-Fiction. The Last Englishmen: Love, War and the End of Empire was published in October 2018. For this book she received a Whiting Creative Non-fiction grant and a Guggenheim fellowship. Charlottesville is her sixth work of narrative non-fiction. She is married to the writer Amitav Ghosh and lives in Brooklyn and Charlottesville.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Nels and Vincent explain the ancestry and evolution of the extinct dire wolf. Hosts: Nels Elde and Vincent Racaniello Subscribe (free): Apple Podcasts, RSS, email Become a patron of TWiEVO Links for this episode Join the MicrobeTV Discord server Evolution and ancestry of dire wolf (bioRxiv) Timestamps by Jolene Science Picks Nels – Navigating to the forefront of innovation: A celebration of immigrant scientists Vincent – Exclusive: a Nature analysis signals the beginnings of a US science brain drain Music on TWiEVO is performed by Trampled by Turtles Send your evolution questions and comments to twievo@microbe.tv

Reps. Boebert and Tiffany Reintroduce Legislation to Delist the Gray Wolf

Red Riding Hood et Gray Wolf, un couple BDSM très inspiré par l'univers médiéval fantastique, qui témoigne de ses pratiques et de sa façon de pratiquer le BDSMVous pouvez retrouver l'article associé à ce podcast sur mon site, à l'adresse : https://stevehaldeman.com/couple-bdsm-roleplay/Vous pouvez également retrouver l'interview vidéo dont est issu ce podcast sur notre chaîne Youtube : https://www.youtube.com/@steveetrosehaldemanVous pouvez retrouver mon émission de podcast sur votre diffuseur préféré via le smartlink suivant : https://smartlink.ausha.co/le-podcast-de-steve-haldemanNotre site : https://stevehaldeman.com/Notre histoire : La série "Maître et soumise, leur histoire" est un double roman BDSM, raconté pour l'un du point de vue du maître, et pour l'autre du point de vue de la soumise. Elle se compose de 4 tomes.Par Steve HaldemanMa soumise, mon amour, Tome 1 (septembre 2022)- version e-book : https://www.amazon.fr/dp/B0BDMWCYR6/- version papier : https://www.amazon.fr/dp/2494242002/- livre audio : https://play.google.com/store/audiobooks/details/Steve_Haldeman_Ma_soumise_mon_amour?id=AQAAAEDSe2o7qM&pli=1Ma soumise, mon amour, Tome 2 (décembre 2023)- version e-book : https://www.amazon.fr/dp/B0CQ3YG9T7/- version papier : https://www.amazon.fr/dp/2494242029/- livre audio : https://play.google.com/store/audiobooks/details/Steve_Haldeman_Ma_soumise_mon_amour?id=AQAAAEAyL3hvWMPar Rose HaldemanMon Maître, mon amour, Tome 1 (juin 2023)- version e-book : https://www.amazon.fr/dp/B0C9H2GYK9/- version papier : https://www.amazon.fr/dp/2494243009/Mon Maître, mon amour, Tome 2 (décembre 2024)- version e-book : https://www.amazon.fr/dp/B0DPGJ8HZV/- version papier : https://www.amazon.fr/dp/2494243025/Ils sont également disponibles dans toutes les bonnes librairies (en ligne ou en magasin) avec des couvertures différentes, les originales ayant choqué la morale.ToonMe me permet d'utiliser gracieusement mon portrait modifié par leur application. Si vous voulez une version cartoonesque de vous-même, c'est par ici que ça se passe : https://toonme.com/Jingle : Track : WarsawMusic by https://www.fiftysounds.comHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Send us a textHello and Happy New Year! We're starting 2025 off strong with Max's tale of the worst boy, and Janey's tale of the best boy! That's right, it's a BOY episode! We hope you enjoy!Janey's Sources - The Maiden in the Castle of Rosy Clouds“An Illustrated Treasury of Swedish Folk and Fairy Tales” illustrated by John Bauer  Stop the Bleed Online Course (IMPORTANT)   Max's Sources - Ivan Tsarevich, The Fire-Bird  and the Gray Wolf“Russian Tales: Traditional Stories of Quests and Enchantments,” illustrated by Dinara Mirtalipova  Full free text of “Ivan Tsarevich, The Fire-Bird, and the Gray Wolf” by Alexander Afanasyev, translated by Jeremiah Curtin  Wikipedia article for Tsarevitch Ivan, the Firebird, and the Gray Wolf  Wikipedia article for Igor Stravinsky's ballet and opera, “The Firebird”  Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

Loneliness is what results when a person is cut off from the living world. Ecological loneliness, in particular, is reciprocal - what we mete out always comes back to trouble us. However, as Laura Marris demonstrates, loneliness can entail the shadow work for understanding how a society based on capital and on growth, can create profound isolation. She suggests that this work can look like ground truthing a place that has changed over time, that was once familiar to us, either as individuals or as collectives, but now appears alien. Laura Marris is an essayist, poet, and translator. Her writing has appeared or is forthcoming in The Believer, Harper's, The New York Times, The Paris Review Daily, The Yale Review, Words Without Borders and elsewhere. She has received fellowships from MacDowell, a Katharine Bakeless Fellowship from the Bread Loaf Writer's Conference, and a grant from the Robert B. Silvers Foundation. Her first solo-authored book, The Age of Loneliness, was published by Graywolf in August, 2024. She lives in Buffalo. Image: “The Monk by the Sea” by Caspar David Friedrich, now housed at the Alte Nationalgalerie in Berlin. The image is in the public domain. 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

Loneliness is what results when a person is cut off from the living world. Ecological loneliness, in particular, is reciprocal - what we mete out always comes back to trouble us. However, as Laura Marris demonstrates, loneliness can entail the shadow work for understanding how a society based on capital and on growth, can create profound isolation. She suggests that this work can look like ground truthing a place that has changed over time, that was once familiar to us, either as individuals or as collectives, but now appears alien. Laura Marris is an essayist, poet, and translator. Her writing has appeared or is forthcoming in The Believer, Harper's, The New York Times, The Paris Review Daily, The Yale Review, Words Without Borders and elsewhere. She has received fellowships from MacDowell, a Katharine Bakeless Fellowship from the Bread Loaf Writer's Conference, and a grant from the Robert B. Silvers Foundation. Her first solo-authored book, The Age of Loneliness, was published by Graywolf in August, 2024. She lives in Buffalo. Image: “The Monk by the Sea” by Caspar David Friedrich, now housed at the Alte Nationalgalerie in Berlin. The image is in the public domain. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Through October, there have been 44 confirmed livestock losses due to wolves in the state.

Medaya Ocher and Kate Wolf are joined by writer Kathryn Davis, the acclaimed author of many novels, including Labrador, The Girl Who Trod on a Loaf, Hell, The Walking Tour, The Thin Place, Versailles, Duplex, and Silk Road, and a memoir, Aurelia Aurélia. Davis discusses her novel Versailles, originally published in 2002, recently reissued by Graywolf. Versailles is the story of Marie Antoinette, beginning when she's a teenager traveling to France. The book is a lyrical meditation on personhood and girlhood, amidst the objects and structures of power, politics and history.  

Medaya Ocher and Kate Wolf are joined by writer Kathryn Davis, the acclaimed author of many novels, including Labrador, The Girl Who Trod on a Loaf, Hell, The Walking Tour, The Thin Place, Versailles, Duplex, and Silk Road, and a memoir, Aurelia Aurélia. Davis discusses her novel Versailles, originally published in 2002, recently reissued by Graywolf. Versailles is the story of Marie Antoinette, beginning when she's a teenager traveling to France. The book is a lyrical meditation on personhood and girlhood, amidst the objects and structures of power, politics and history.

How do you go on in life after losing a child who is still alive?Today, Chloé Caldwell returns to the podcast! But this time, we talk about the queer book that saved her life: Love Me Tender by Constance Debré.Chloé is the author of the national bestseller, Women (Harper Perennial, 2024). Chloé's next book, Trying, is forthcoming from Graywolf, on August 5th, 2025. She is also the author of the books I'll Tell You In Person (2016), The Red Zone (2022), and Legs Get Led Astray (2012).Love Me Tender is a novel of lesbian identity and motherhood, and the societal pressures that place them in opposition.The daughter of an illustrious French family whose members include a former Prime Minister, a model, and a journalist, Constance Debré abandoned her marriage and legal career in 2015 to write full-time and begin a relationship with a woman. In Love Me Tender, Debré goes on to further describe the consequences of that life-changing decision.Listen to our previous episode featuring Chloé, where guest Mia Arias Tsang discussed how Chloé's book Women saved her life: thisqueerbook.com/women/Connect with Chloéwebsite: chloesimonne.cominstagram: @chloeeeecaldwellwebsite: scrappyliterary.comOur BookshopVisit our Bookshop for  new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookBuy your own copy of Love Me Tender: https://bookshop.org/a/82376/9781635901740Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: J.P. Der BoghossianExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Bob Bush, Natalie Cruz, Jonathan Fried, Paul Kaefer, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Terry D., Stephen Flamm, Ida Göteburg, Thomas Michna, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1We've partnered with Once Upon a Crime Books on a holiday episodes of 7 Minutes in Book Heaven. Located in Minneapolis, Once Upon a Crime Books is an independent bookstore specializing in mystery fiction. Listen to these 4 new episodes of 7 Minutes in Book Heaven everywhere you stream your podcasts and visit Upon a Crime Books online at onceuponacrimebooks.com.Support the show

Hear that howl of joy? It's because gray wolves are coming home to California. Once extirpated from the state, with the last wolf killed in Lassen County in 1924, wolves have been making a quick recovery in the Golden State. Now, only 13 years since the first wolf came back to our state, the California Department of Fish & Wildlife (CDFW) reports that 5 out of the 7 gray wolf families in the state have reproduced this year.Gray wolves are recovering thanks to protections under the Endangered Species Act, but with constant threats to the law and to the listing of wolves under the Act, protections for gray wolves are iffy. Amaroq Weiss, Senior Wolf Advocate at the Center for Biological Diversity, joins the EcoNews Report to celebrate the good news and to talk about the long political history to secure protections for gray wolves. Support the show

Am I the only one who feels this crazy about what's happening to me right now?Today we meet Mia Arias Tsang and we're talking about the book that saved her life: Women by Chloé Caldwell. And Chloé joins us for the conversation!Mia is a writer, freelance editor, and former biologist based in Queens, NYC. She has conducted extensive research in evolutionary virology and epigenetics, and has studied with writers such as Chloé Caldwell, Sarah Stillman, Michael Cunningham, and Susan Choi.Chloé is the author of the national bestseller, Women (Harper Perennial, 2024). Chloé's next book, Trying, is forthcoming from Graywolf, on August 5th, 2025. She is also the author of the books I'll Tell You In Person (2016), The Red Zone (2022), and Legs Get Led Astray (2012).In Women, a young writer moves from the country to the city and falls in love with another woman for the very first time. With startling clarity and breathtaking tenderness, Chloé Caldwell writes the story of a love in reverse: of nights spent drunkenly hurling a phone against a brick wall; of early mornings hungover in bed, curled up together; of emails and poems exchanged at breakneck speed.Connect with Mia and ChloéMia's website: miatsang.cominstagram: @mia.arias.tsangChloé website: chloesimonne.cominstagram: @chloeeeecaldwellOur BookshopVisit our Bookshop for  new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookBecome an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: J.P. Der BoghossianExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Bob Bush, Natalie Cruz, Jonathan Fried, Paul Kaefer, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Terry D., Stephen Flamm, Ida Göteburg, Thomas Michna, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1Support the show

Poetry engages in conversation. Today, we explore a long, beautiful, narrative poem weaving together the work of fellow poets while looking carefully at a Caravaggio painting, all reflecting on illness, death, and friendship. For the poem, see here: https://www.nereview.com/vol-40-no-1-2019/the-conversion-of-paul/ For Grotz's incredible book, Still Falling, see Graywolf (https://www.graywolfpress.org/books/still-falling)Press here: https://www.graywolfpress.org/books/still-falling “Still Falling is an undeniably gorgeous book of love poems full of grief. In these pages, Jennifer Grotz writes line after line of direct statement in rhythms that would leave any reader breathless and wanting more. . . . I am in awe of Grotz's power to grow and transform book after book. I cannot read Still Falling without crying.”—Jericho Brown For the Caravaggio painting, The Conversion on the Way to Damascus (https://en.wikipedia.org/wiki/Conversion_on_the_Way_to_Damascus), see here: https://en.wikipedia.org/wiki/ConversionontheWayto_Damascus For more episodes on ekphrasis, please see our website and keywords here: https://poetryforallpod.com/episodes/ Thanks to Graywolf Press for permission to read this poem on the podcast. Jennifer Grotz's "The Conversation of Paul" was published in her collection titled Still Falling (Graywolf, 2023).

This remarkable sonnet dives into issues of poverty, poetry, and grief. We talk about the pedagogy of constraint, while exploring the achievements, including the hardbitten gratitude, embedded in this poem. Thank you to Graywolf Press for permission to read and discuss the poem. Diane Seuss's "[The sonnet, like poverty, teaches you what you can do]" was published in her collection titled frank: sonnets (Graywolf, 2021). See the work (and buy it!) here: https://www.graywolfpress.org/books/frank-sonnets For more on Diane Seuss, see here: https://www.poetryfoundation.org/poets/diane-seuss For more on the Sealey Challenge, see here: https://www.thesealeychallenge.com/

Today we talked with Subash from Gray Wold Overland. One thing we want to point out is our onversation about his Jeep Rubicon 4XE and the technogy it has. We discussed how you have to drive an electric vehicle different off road and what setitns to use on the Jeep 4XE. The discussion also inolved some technical 4xE and susension talk since Subash is an engineer. We started the convesation arond Subash growing up in India and falling in love with the vintage Jeep and Mahindra vehicles. Gray  Wolf OverlandYoutubeInstagram15% off Brightsource Lights with cod 4x4canada10% off TOC Supplies with code 4x4canada 10% off WildMedKits with code 4x4canada 10% off Afraid Knot Ropes with code 4x4canada23 10% off Miolle Gear with code 4x4 Make sure to check us out on Facebook and Instagram!

Two more episodes left in The Dead Tv Podcast Coverage of Werewolf the Series. Ep 27: Eric joins forces with a fellow werewolf to kill Nicholas Remy Ep 28: Eric looks after an elderly woman in a mental institution. This is a podcast where we talk about Horror/Fantasy/Sci-fi shows that have been cancelled. We hope […]

Congressman Cliff Bentz joins the show and discusses the push to delist the Gray Wolf from the ESA, the votes on FISA, Foreign Aid, will the speaker be kicked out of the position next week?

In this episode, go behind the scenes with CPW staff from the capture team in Oregon and the release team back in Colorado as 10 gray wolves were translocated to the state in December 2023.While the Colorado gray wolf reintroduction story could take up multiple podcasts, we narrowed our focus in this episode to take listeners behind the scenes and into the minds of our staff and give you their perspective on the capture process in Oregon and from the release sites in Colorado.The episode starts with audio from Oregon of one of Colorado's new gray wolves howling in her crate the night before being translocated to Colorado. Then, listen as we are joined by Wildlife Research Scientist Ellen Brandell, Wolf Monitoring and Data Coordinator Brenna Cassidy, Wildlife Veterinarian Pauline Nol and Public Information Officer Rachael Gonzales about their experience on the capture team in Oregon.Then, we pivot to Eric Odell, the Wolf Conservation Program Manager, and Reid DeWalt, the Assistant Director for Aquatic, Terrestrial and Natural Resources branch of CPW, as they take us through the releases in Colorado.

When the unnamed narrator of Marie Mutsuki Mockett's stirring second novel returns to Carmel, California, to care for her mother, she finds herself stranded at the outset of the disease. With her husband and children back in Hong Kong, and her Japanese mother steadily declining in a care facility two hours away, she becomes preoccupied with her mother's garden--convinced it contains a kind of visual puzzle--and the dormant cherry tree within it. Caught between tending to an unwell parent and the weight of obligation to her distant daughters and husband, she becomes isolated and unmoored. She soon starts a torrid affair with an arborist who is equally fascinated by her mother's garden, and together they embark on reviving it. Increasingly engrossed by the garden, and by the awakening of her own body, she comes to see her mother's illness as part of a natural order in which things are perpetually living and dying, consuming and being consumed. All the while, she struggles to teach (remotely) Lady Murasaki's eleventh-century novel, The Tale of Genji, which turns out to resonate eerily with the conditions of contemporary society in the grip of a pandemic. The Tree Doctor (Graywolf Press, 2024) is a powerful, beautifully written novel full of bodily pleasure, intense observation of nature, and a profound reckoning with the passage of time both within ourselves and in the world we inhabit. Marie Mutsuki Mockett is the author of a previous novel, Picking Bones from Ash, and two books of nonfiction, American Harvest, which won the Nebraska book award, and the northern California book award, and Where the Dead Pause, and the Japanese Say Goodbye, which was a finalist for the Pen Open Book Award. A graduate of Columbia University in East Asian studies she has been awarded NEA – JUSFC and Fulbright Fellowships, both for Japan. Recommended Books: Royall Tyler, The Disaster of the Third Princess: Essays on The Tale of Genji Emily Raboteau, Lessons for Survival: Mothering Against "The Apocalypse" Martin Puchner, Culture Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

When the unnamed narrator of Marie Mutsuki Mockett's stirring second novel returns to Carmel, California, to care for her mother, she finds herself stranded at the outset of the disease. With her husband and children back in Hong Kong, and her Japanese mother steadily declining in a care facility two hours away, she becomes preoccupied with her mother's garden--convinced it contains a kind of visual puzzle--and the dormant cherry tree within it. Caught between tending to an unwell parent and the weight of obligation to her distant daughters and husband, she becomes isolated and unmoored. She soon starts a torrid affair with an arborist who is equally fascinated by her mother's garden, and together they embark on reviving it. Increasingly engrossed by the garden, and by the awakening of her own body, she comes to see her mother's illness as part of a natural order in which things are perpetually living and dying, consuming and being consumed. All the while, she struggles to teach (remotely) Lady Murasaki's eleventh-century novel, The Tale of Genji, which turns out to resonate eerily with the conditions of contemporary society in the grip of a pandemic. The Tree Doctor (Graywolf Press, 2024) is a powerful, beautifully written novel full of bodily pleasure, intense observation of nature, and a profound reckoning with the passage of time both within ourselves and in the world we inhabit. Marie Mutsuki Mockett is the author of a previous novel, Picking Bones from Ash, and two books of nonfiction, American Harvest, which won the Nebraska book award, and the northern California book award, and Where the Dead Pause, and the Japanese Say Goodbye, which was a finalist for the Pen Open Book Award. A graduate of Columbia University in East Asian studies she has been awarded NEA – JUSFC and Fulbright Fellowships, both for Japan. Recommended Books: Royall Tyler, The Disaster of the Third Princess: Essays on The Tale of Genji Emily Raboteau, Lessons for Survival: Mothering Against "The Apocalypse" Martin Puchner, Culture Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. 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

When the unnamed narrator of Marie Mutsuki Mockett's stirring second novel returns to Carmel, California, to care for her mother, she finds herself stranded at the outset of the disease. With her husband and children back in Hong Kong, and her Japanese mother steadily declining in a care facility two hours away, she becomes preoccupied with her mother's garden--convinced it contains a kind of visual puzzle--and the dormant cherry tree within it. Caught between tending to an unwell parent and the weight of obligation to her distant daughters and husband, she becomes isolated and unmoored. She soon starts a torrid affair with an arborist who is equally fascinated by her mother's garden, and together they embark on reviving it. Increasingly engrossed by the garden, and by the awakening of her own body, she comes to see her mother's illness as part of a natural order in which things are perpetually living and dying, consuming and being consumed. All the while, she struggles to teach (remotely) Lady Murasaki's eleventh-century novel, The Tale of Genji, which turns out to resonate eerily with the conditions of contemporary society in the grip of a pandemic. The Tree Doctor (Graywolf Press, 2024) is a powerful, beautifully written novel full of bodily pleasure, intense observation of nature, and a profound reckoning with the passage of time both within ourselves and in the world we inhabit. Marie Mutsuki Mockett is the author of a previous novel, Picking Bones from Ash, and two books of nonfiction, American Harvest, which won the Nebraska book award, and the northern California book award, and Where the Dead Pause, and the Japanese Say Goodbye, which was a finalist for the Pen Open Book Award. A graduate of Columbia University in East Asian studies she has been awarded NEA – JUSFC and Fulbright Fellowships, both for Japan. Recommended Books: Royall Tyler, The Disaster of the Third Princess: Essays on The Tale of Genji Emily Raboteau, Lessons for Survival: Mothering Against "The Apocalypse" Martin Puchner, Culture Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Today is Wednesday, Feb. 14, 2024. The Brainerd Dispatch Minute is a product of Forum Communications Co. and is brought to you by reporters at the Brainerd Dispatch. Find more news throughout the day at BrainerdDispatch.com.

It's finally here, part 1 of our who-knows-how-many-episode series about WOLVES! Hang out with us while we chat about some wolf basics before we delve into the polarizing facts and myths about this canid in future episodes.Find us on all the things: http://linktr.ee/bearsandbrewspodcastLinks We Discussed:Wolves of Mt. McKinley, Adolph MurieDecade of the Wolf, Doug Smith and Gary FergusonIsle Royale Wolf ProjectThe Secret Lives of Fish-eating, Beaver-ambushing Wolves of MinnesotaIsland of the Sea WolvesWolf Books by Rick McIntyreSources Cited:“Gray Wolf.” National Parks Service, U.S. Department of the Interior, 25 Apr. 2023, www.nps.gov/yell/learn/nature/wolves.htm. Mech, L. David. “Longevity in Wild Wolves.” Journal of Mammalogy, vol. 69, no. 1, 25 Feb. 1988, pp. 197–198, https://doi.org/10.2307/1381776. Premo, Alyssa. “History and Distribution of the Gray Wolf in the Pacific Northwest.” Wolves in The State of Oregon, blogs.oregonstate.edu/wolves/history-and-distribution-of-the-gray-wolf-in-the-pacific-northwest/. “United States: International Wolf Center.” International Wolf Center | Teaching the World about Wolves., 17 Dec. 2021, wolf.org/wow/united-states/. Williams, Ted. “America's New War on Wolves and Why It Must Be Stopped.” Yale Environment360, Yale School of Environment, 17 Feb. 2022, e360.yale.edu/features/americas-new-war-on-wolves-and-why-it-must-be-stopped#:~:text=By%201926%20all%20wolves%20had,reintroduction%20from%20the%20get%2Dgo. Hosted on Acast. See acast.com/privacy for more information.

Whisper Camel-Means shares her expertise on the pressing need to protect US wildlife ecosystems, now imperiled at an alarming rate. She offers an Indigenous perspective on the human-induced threats to our living relatives, from habitat loss to climate change. Tune in to learn how we can restore habitats, ensure the survival of endangered species, and honor the profound connection between Indigenous peoples and nature. As of February 2023, the Center for Biological Diversity stated that 40% of U.S. wildlife and ecosystems are imperiled. A new report on the status of U.S. wildlife conservation revealed that 40% of animals, 34% of plants and 40% of ecosystems nationwide are at risk. Indigenous peoples have always understood our interdependence with Nature, with flora and fauna and our rightful place as a mere part of the whole, living ecosystem. Our discussion today is on Indigenous Stewardship with Whisper Camel-Means, wildlife biologist and enrolled member of the Confederated Salish and Kootenai Tribes of the Flathead Reservation [https://csktribes.org/] in Western Montana. In short order, Western society has decimated much of life on this planet. Conservation scientist David Wilcove estimates that there are 14,000 to 35,000 endangered species of flora and fauna in the United States alone; or roughly 7 to 18 percent of U.S. flora and fauna. Today wildlife on Turtle Island face multiple threats including: habitat loss, climate change, disease, pollution, invasive species and exploitation, the majority of which is human-induced. How might we change our behaviors to create healthy, balanced ecosystems in which all our living relatives can thrive and prosper in their sacred and unique ways? What do we owe to the Deer, the Elk, the Moose, the Black Bear, the Grizzly Bear, Otter, Wolverine, Bat, Turtle, Bison, Peregrine Falcon, Bighorn Sheep, Trumpeter Swan and the Gray Wolf to name only a precious few? How can we help restore the habitats and species who face extinction and ensure their presence for future generations? Join Indigenous wildlife biologist Whisper Camel-Means as she shares about her life as a wildlife biologist and how we might protect wildlife for generations to come. For an extended interview and other benefits, become an EcoJustice Radio patron at https://www.patreon.com/posts/96181630?pr=true Whisper Camel-Means is the Division Manager of the Division of Fish, Wildlife, Recreation and Conservation in the Natural Resources Department for the Confederated Salish and Kootenai Tribes on the Flathead Reservation [https://csktribes.org/] in Western Montana. She is a wildlife biologist by training and now an administrator over multiple disciplines including restoration of the Bison Range for the Tribes [https://bisonrange.org/about/]. She works on outreach projects and climate change planning. She is an enrolled tribal member of the Confederated Salish and Kootenai Tribes. Carry Kim, Co-Host of EcoJustice Radio. An advocate for ecosystem restoration, Indigenous lifeways, and a new humanity born of connection and compassion, she is a long-time volunteer for SoCal350, member of Ecosystem Restoration Camps, and a co-founder of the Soil Sponge Collective, a grassroots community organization dedicated to big and small scale regeneration of Mother Earth. Podcast Website: http://ecojusticeradio.org/ Podcast Blog: https://www.wilderutopia.com/category/ecojustice-radio/ Support the Podcast: Patreon https://www.patreon.com/ecojusticeradio PayPal https://www.paypal.com/donate/?hosted_button_id=LBGXTRM292TFC&source=url Executive Producer and Intro: Jack Eidt Hosted by Carry Kim Engineer and Original Music: Blake Quake Beats Episode 203 Photo credit: Whisper Camel-Means

The queens help you start your new year off right: with some fierce, unapologetic, fabulous queer writers!Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.      James's ROMANTIC COMEDY is available from Four Way Books.J Jennifer Espinoza's first full-length collection of poems, I Don't Want to Be Misunderstood, is available for pre-order at Alice James Books and will be released in 2024. You can read her poem "Birthday Suits" here.Read James L. White's "Making Love to Myself." The poem is included in White's book The Salt Ecstasies, published postmortem by Graywolf in 1982.You can follow Deon Robinson on Instagram: @djrthepoet and read more about him here. Check out Celeste Gainey (we read her incredible poem "In Our Nation's Capital" on the show) at her website: https://celestegainey.comElise D'Haene is Celeste's screenwriter, novelist, and professor partner, and you can read more about her here. Read Justin Chin's obit. And read his epic poem "Lick My Butt." Watch Chin read his poem "The Glitters" here (~2.5 min).Read Dennis Cooper's "After School, Street Football, Eighth Grade." You can watch Dennis Cooper interviewed on More Than a Mouthful: Queer Culture TV here.  

Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Lucy Corin & Deb Olin Unferth about their travels in the Sahara, ancient chickens, disappointments, true love, and why great books are so necessary. Our next episode will feature Melissa Febos & Donika Kelly, out December 22, 2023.   Links Libsyn Blog www.annieliontas.com www.litovelazquez.com https://www.lucycorin.com https://debolinunferth.com LitFriends LinkTree LitFriends Insta LitFriends Facebook   Transcript Annie Lito (00:00.118) Welcome to Lit Friends! Hey Lit Friends!   Lito: Welcome to the show.    Annie: Today we're speaking with Lucy Corin and Deb Olin Unferth, great writers, thinkers, and LitFriend besties.    Lito:  About chickens, the Sahara, and bad reviews.    Annie: So grab your bestie   Annie & Lito: And get ready to get lit!   Lito: You know those like stones that you can get when you're on like a trip to like Tennessee somewhere or something, they're like worry stones? Like people used to like worry them with their thumb or something whenever they had a problem and it would like supposedly calm you down. Well, it's not quite the same thing, but I love how Deb describes her and Lucy's relationship is like, “worry a problem with me.” Like let's, let's cut this gem from all the angles and really like rub it down to its essential context and meaning and understanding. And I think essentially that's what like writers, great writers, offer the world. They've worked through a problem and they have answers. There's not one answer, there's not a resolution to it, but the answers that lead to better, more better questions.    Annie: Yeah, and there's something so special about them because they're, worry tends to be something we do in isolation, almost kind of worrying ourselves into the ground.   Lito: Right. Annie: But they're doing it together in collaboration.    Lito: It's a collaborative worry. Yes, I love that.    Annie: A less lonely worrying.    Lito: It's a less lonely place to think through these things. And the intimacy between them is so special. The way I think they just weave in and out of their lives with each other, even though they're far away from each other.   I think there's a romantic notion that you're tuned into about Lucy and Deb's trip to the desert. Do you want to say something about that? There's a metaphor in it that you really love, right?    Annie: (1:52) Yeah. Well, so I remember when we first talked about doing this podcast and invited them, we were at a bar at AWP, the writer's conference. And they were like, oh, this is perfect. We just went to the Sahara together. And I was like, what? You writers just decided to take a trip together through the desert? And they said, yeah, it was perfect. And they have adorable photos, which we of course are going to share with the world. Um, but it felt like such a, I mean, the fact that they would go on that kind of adventure together and didn't really plan ahead, I think it was just Deb saying, I really want to go to the desert. And Lucy saying, sure, let's go. Which feels very much a kind of metonym of their friendship in some ways.    Lito: Absolutely.    Annie: (2:42) Yeah. That they wandered these spaces together. They come back to art, right? Art is a way for them to recreate themselves and recreate their friendship. And they're doing such different things on the page.    Lito:  Oh yeah, no, they're very different writers but they do share a curiosity that's unique I think in their friendship, then unique to them.    Annie: Yeah and a kind of rigorousness and a love for the word.    Lito: (3:10) Oh and a love for thinking and reading the world in every capacity.    Annie: Tell me about your friendship with Lucy because you're quite close.   Lito: I was at UC Davis before it was an MFA program. It was just a Master's. After undergrad, I went to the master's program because I wasn't sure if I wanted to be an academic or do the studio option and get an MFA. I loved how Lucy and the other professors there, Pam Houston, Yiyun Li, showed us the different ways to be a writer. They couldn't be more different, the three of them. And, I particularly was drawn to Lucy because of her sense of art and play and how those things interact.    Lito: (03:59) And here was someone that was extremely cerebral, extremely intelligent, thinking through every aspect of existence. And yet it was all done through the idea of play and experimentation, but not experimentation in that sort of like negative way that we think of experimentation, which is to say writing that doesn't work, but experimentation in the sense of innovation. And. Lucy brought out my sense of play. I got it right away, what she was going for, that there is an intellectual pleasure to the work of reading and writing that people in the world respond to, but don't often articulate. Lucy's able to articulate it, and I admire her forever for that.    Lito: (4:52) And perhaps I'm not speaking about our friendship, but it comes from a place of deep admiration for the work that she does and the way she approaches life. You have a special relationship with Deb. I would love to hear more about that.    Annie: (5:04) Yeah, I think I've been fangirling over Deb for years. Deb is such a special person. I mean, she's incredibly innovative and has this agility on the page, like almost no other writer I know. Also quite playful, but I love most her humanity. Deb is a vegan who, in Barn 8, brings such life to chickens in a way that we as humans rarely consider. There's an amazing scene which she's like with a chicken 2000 years into the future. Also, I know Deb through my work with Pen City, her writing workshop with incarcerated writers at the Connally Unit, a maximum security penitentiary in Southern Texas.   Lito: How does that work? Is it all by letter or do you go there?    Annie: (5:58) Well, the primary program, you know, the workshop that Deb teaches is on site, and it's certified. So students are getting, the incarcerated writers, are getting now college credit because it's an accredited program. So Deb will be on site and work with them directly. And those of us who volunteer as mentors, the program has evolved a little bit since then, (06:22) but it's kind of a pen pal situation. So I had a chance to work with a number of writers, some who had been there for years and years. And a lot of folks are writing auto-fiction or fiction that's deeply inspired by the places they've lived and their experiences. It's such a special program, it's such a special experience. And what I saw from Deb was just this absolute fierceness. You know, like Deb can appear to be fragile in some ways (06:53.216), and it's her humanity, but actually there's this solid steel core to Deb, and it's about fortitude and a kind of moral alignment that says, we need to do better.    Lito: We have this weird connotation with the word fragile that it's somehow bad, but actually, what it means is that someone's vulnerable. And to me, there is no greater superpower than vulnerability, especially with art, and especially in artwork that is like what she does at the penitentiary. But, can I ask a question?    Annie:  Sure.   Lito: Why is it so special working with incarcerated folks?    Annie: (7:27) Oh, that's a great question. I mean, we need its own podcast to answer it.   Lito: Of course, but just sort of the...    Annie:  I think my personal experience with it is that so many incarcerated writers have been disenfranchised on all levels of identity and experience. Voting rights, decent food, accommodations, mental health, physical, you know, physical well-being. And we can't solve all those problems necessarily, at least all at once, and it's an up, it's a constant battle. But nothing to me offers or recognizes a person's humanity like saying, "tell us your story. Tell us what's on your mind. We are here to hear you and listen."  And those stories and they do come out, you know, there have been other programs that have done this kind of work, they get out in the world and there's, we're bridging this gap of people we have almost entirely forgotten out of absolute choice.  (8:27) And Deb is doing that work, really, I mean she's been doing that work for a long time and finally got some recognition for it, but Deb does it because she's committed.   Lito: That is really powerful. Tell us your story. Tell us your story, Lit Fam. Tell us your story. Find us in all your social media @LitFriendsPodcast or email us at LitFriendsPodcast@gmail.com   Annie: We will read all your stories. We'll be right back with Lucy and   Deb.   Lito: (09:00) And now, our interview with Lucy Corrin and Deb. Lucy Corin is the author of two short story collections, 100 Apocalypses and Other Apocalypses and The Entire Predicament, and two novels, Everyday Psychokillers and The Swank Hotel. In addition to winning the Rome Prize, Lucy was awarded a fellowship in literature from the NEA. She is a 2023 Guggenheim Fellow and a professor of English in the MFA program at UC Davis.    Annie:  Deb Olin-Unferth is the author of six books, including Barn 8, and her memoir, Revolution: The Year I Fell in Love and Went to Join the War, which was a finalist for the National Book Critics Circle Award. Deb is an associate professor in creative writing at the University of Texas at Austin. She founded and runs Pen City Writers, a two-year creative writing certificate program at Connally, a maximum security prison in southern Texas. For this work, she was awarded the 2017 Texas Governor's Criminal Justice Service Award.   Lito: (09:58) Annie and I thought this up a year ago, and we were talking about what is special about literary friendships and how writing gets made, not as we all think, totally solitary in our rooms alone, but we have conversations, at least I think this way. They're part of long conversations with our friends, our literary friends and living and dead, and you know, all times, in all times of history.   But the idea here is that we get to talk to our literary friends and people we admire and writers who are close friends with each other and friendships in which literature plays a large role.   Annie: (10:37) Yeah, and I'll just add that when we first floated the idea of this podcast, you know, your names came up immediately. We're so in awe of you as people and practitioners and literary citizens, and we love your literary friendship. I mean, I really hold it dear as one of the best that I know of personally.    Lucy, I think of you as, you know, this craftsperson of invention who's always trying to undo what's been done and who's such an amazing mentor to emerging writers. And Deb, you know, I'm always returning to your work to see the world in a new way, to see something I might have missed. And I just, I'm so moved by your generosity in your work and in your life's work with Penn City and elsewhere, which I'm sure we'll have a chance to talk more about.   Annie: (11:30) But I think I recall the first day I realized how close the two of you were when Deb told me that you all were taking a trip to the Sahara. And I was like, oh, of course, like, of course, they're going to have desert adventures together. Like, this makes so much sense. So I hope we'll, you know, we'll talk more about that too.    Annie (11:53) But we're so grateful to have you here and to have you in our lives. And we're going to ask you some questions to get to know a little bit more about you.    Deb:  Sounds great.    Lucy: Thanks.    Deb: It's great to be here. It's really great to see everybody.    Lito: Thank you so much for being here. Deb, will you tell us about Lucy?   Deb: (12:16) I mean, Lucy's just one of my very favorite people. And I feel like our friendship just started really slowly and just kind of grew over a period of many years. And some of the things that I love about Lucy is she is, well, of course, she's a brilliant genius writer. Like, I mean, no one writes weird like Lucy writes weird and no one writes like more emotionally, and more inventively and some of her books are some of my favorite books that have ever been written. Especially her last two books I think have just been such just major literary accomplishments and I just hold them so dear.    (13:05) And as a friend some things that I really love about her is that she will worry a problem with me that's just bugging me about like literary culture or about writing or about, you know, just it could be anything about aesthetics at all. And then she'll literally talk to me about it for like five or six days straight without stopping. Like we'll just constantly, dinner after dinner, like, you know, if we're on a trip together, just like all day, like I'll wake up in the morning and I'll be like, here's another piece of that pie. And then she'll say, oh, and I was thinking, and then we'll like go off and work and then we'll come back at lunch and be like, "and furthermore," you know? And by the end, I remember at one point we were doing this and she said, this is a very interesting essay you're writing. And of course, like it wasn't an essay at all, but it was just like a way of thinking about the way that we were talking.   (14:06) And then she is hilarious and delightful and just like so warm. I don't know, I just love her to pieces. She's just one of my favorite people in the whole world. I could say more, but I'll stop right there for a minute.    Annie: Lucy, tell us about Deb.    Lucy: (14:24) Yeah, I mean, Deb, I mean, the first thing, I mean, the first thing you'll notice is that Deb is sort of effortlessly enthusiastic about the things that she cares about. And that's at the core of the way that she moves through the world and the way that she encounters people and the way that she encounters books.   (14:44) I'm more reserved, so I'll just preface what I'm going to say by saying that like, my tone might not betray my true enthusiasms, but I'll try to list some of the things that I think are special and extraordinary about my friend Deb.   One is that there's this conversation that never stops between the way that she's thinking about her own work and the way that she's thinking about the state of the world and the way that she's thinking about the very specific encounters that she's having in daily life. And so like moving through a conversation with Deb or moving through a period of time with Deb in the world, those things are always in flux and in conversation. So it's a really wonderful mind space to be in, to be in her presence.   (15:35) The other thing is that she's like the most truly ethical person that I am close to and in the sense that like she thinks really hard about every move she makes.   The comparison I would make is like you know Deb is like at the core like, the first thing you might notice about Deb's work is that she's a stylist, that she works sentence by sentence and that she always does. But then the other thing she does is that she's always thinking hard about the world and the work, that it never stays purely a love of the sentence. The love of the sentence is part of the love of trying to understand the relationship between words and the world.    (16:15) And, and they're both an ethics. I think it's an ethics of aesthetics and an ethics of trying to be alive in as decent way as you can manage. And so those things feed into the friendship where she's one of the people who I know will tell me what she really thinks about something because we can have a baseline of trust where then you can talk about things that are either dangerous or you might have different ideas about things or you may have conflict.    (16:47) But because of my sense of who she is as a person, and also who she is with me, we can have challenging conversations about what's right about how to behave and what's right about how to write. And that also means that when the other parts of friendship, which are just like outside of literature, but always connected, which, you know, about your own, you know, your other friendships, your, the rest of your life, your job, your family, things like that, that you wanna talk about with your friends. Yeah, I don't know anybody better to sort through those things than Deb.    And it's in part because we're writers, and you can't separate out the questions that you're having about the other parts of your life from who you're trying to be as a writer. And that's always built into the conversation.   Annie: (17:40) I knew we asked you here for a reason.   Lito: We'll be right back.    Lito (17:58) Back to the show.    Annie: I'm hearing you, you know, you're both, you're sort of really seeing one another, which is really lovely. You know, you're, Deb, you're talking about Lucy wearing a problem with you, which I think conveys a kind of strength and... Of course, like I'm quite familiar with Deb's like strong moral anchors. I think we all are and truly respect, but I'm just wondering, what do you most admire about your friend? What do you think they give to the world in light of this portrait that you've given us?   Deb: (18:28) Lucy is a very careful thinker, and she's incredibly fair. And I've just seen her act, just behave that way and write that way for so many years and it just the quality of it always surprises me.  Like I mean, there was a writer, most recently there was a writer who's been cancelled, who we have spent an enormous amount of time talking about and trying to figure out just exactly what was going on there. And I felt like Lucy had insights into what had happened and what it was like on his end and what about his culture could have influenced what happened. Just all of these things that were.   (19:36.202) It was so insightful and I felt like there's no way that I could have moved that moved forward that many steps in my understanding of what had happened. And in my own like how I was going to approach what had happened. Like there's no way I could have done that without that just constant just really careful thought and really fair thought. Just like trying to deeply understand. Like Lucy has an emotional intelligence that is just completely unparalleled. That's one thing I really love about her.    Another thing is that she's like up for anything. Like when I asked her to go to the Sahara with me, I mean, she said yes in like, it was like not even 12 seconds. It was like 3 seconds, I think, that she was like, yeah.   Annie: You need a friend who is just gonna go to the Sahara.    Lucy: Deb, I don't even know if you actually invited me. The way I remember it is that you said something like, Lucy, no one will go to the Sahara with me. And I said, I would go to the Sahara with you.   Lito: That is lovely.   Lucy: (20:53) It's in Africa, right?    Lito:  Was there something specific about the Sahara that you need to go over for?   Deb:  Yeah, I mean, there was. It's a book I'm still working on, hopefully finishing soon. But it's mostly it's like...I just always wanted to go to the Sahara. My whole life, I wanted to go to Morocco, I wanted to go to the Sahara, I wanted to be surrounded by just sand and one line. You look in 360 degrees and you just see one line. I just wanted to see what that was like so badly, stripping everything out, coming down to just that one element of blue and beige. I just wanted that so much. And I wanted to know that it just went on and on and on and on.   (21:48) Yeah, and you know, people talk a big talk, but most people would not go. And so at one point I was just kind of rallying, asking everyone. And then Lucy happened to be in town and I just mentioned to her that this is happening. And then she said, yeah, and then we went for like a long time. Like we went to Morocco for like over three weeks. Like we went for like a month.    Lucy:  A month.    Deb: Yeah, crazy. But she's always like that. Like whatever I want to do, she's just up for it. I mean, and she called me up and she's like, hey, we want to come to Austin and like, go to this place that's two hours from Austin where you can see five million bats, right? Five million bats? Or was it more? Was it like 20 million?    Lucy:  That's right.    Deb: It was like 20 million bats and a lot of them are baby bats. It's like mama bats and baby bats.     Lucy: Yeah, like it's more when there's the babies.   Deb: (22:46) And yeah, and you were like, I want to come with them as the babies. Yeah, we like went and she just like came and Andrea came, and it was just absolutely beautiful.    Lucy: Well, you were just right for that adventure. I knew you would want to see some bats.    Lucy: Well, I could I could say a couple of more things about what Deb gives the world.    Annie: Sure. Love it.    Lucy: So some of the things that Deb gives the world and though when I listen to you talking about me, I realized why these things are so important to me, is that you have a very steady sense of who you are and a kind of confidence in your instincts. That I know that some of the ways that I worry things through are really productive and some of them are just an ability to see why I could be wrong all the time, and that can stymie me.    (23:48) And one of the things that I love about you and the model that you provide for me in my life is an ability to understand what your truth is and not be afraid to hold onto it while you're thinking about other people's perspectives, that you're able to really tell the difference between the way that other people think about things and the way that you do.   And it doesn't mean that you don't rethink things, you constantly are, but when you have a conviction, you don't have a problem with having a conviction. And I admire it enormously. And I think it allows you to have a kind of openness to the world and an openness to people who are various and different and will challenge you and will show you new things because you have that sense that you're not gonna lose yourself in the wind.    Deb: Mmm. That's really nice.   Lito: I am in awe of everything you've said about each other. And it makes me think about how you first met each other. Can you tell us that story? And why did you keep coming back? What was the person like when you first met? And why did you keep coming back to each other? Do you want to tell Lucy?     Lucy: Yeah, I'll start and you can add what I'm missing and... (25:06) tell a different origin story if you want. But I think that what we might've come to for our origin story is that it was one of the, one of the early &Now Festivals. And the &Now Festival is really great.   Lito: Could you say what that is? Yeah, say a little bit about what that is.   Luch: Oh, it's a literary conference that was started to focus on small press and more innovative—is the term that they used at the time anyhow—innovative writing as a kind of response to the market-driven culture of AWP and to try to get people who are working more experimentally or more like on the edge of literary culture less mainstream and give them a place to come together and have conversations about writing and share their work.   So it was one of the early ones of those. But I think it was, I think we figured out that there were like, yeah, there were three women. It was me, you, and Shelley Jackson. But it was, there were not that many women at this conference at the time. And we were, and I think we were noting, noting our solidarity. Yeah. And that, that's what. That's like some of the first images.   But I knew we were like aware of each other because in some ways we have tended to be up for the same jobs—Deb gets them—up for the same prizes—Deb gets them first, I'll get them later. And so I see her as somebody who's traveling through the literary world in ways that are... I mean, we're very different writers, but as people... You know what I mean? But I still... We still actually...come from a lot of the same literary roots. And so it makes sense that there's something of each other in the work that makes us appeal to overlapping parts of the literary world.   Deb: Yeah, I definitely think that there was in our origins, not only do we come from the same sort of influences, and just things that we admired and stuff, but I also feel like (27:28.018) a lot of our early work would have appealed more easily to the exact same people. As we've gotten older, our work isn't quite as similar. We're a little more different than we used to be. But there's still enough there that, you know, you can see a lot of the same people admiring or liking it.   But I was remembering that first time that we met, you playing pool. And we were, so we were like at a bar and you were like, and you were playing pool, and you had like just had a book out with FSG, I think, or something. I don't know if I even had—   Lucy: FC2. Very different.   Deb: FC2. That's right. FC2. And the FC2 editor was there. And I don't think I even had a book out. I don't remember what year this was. But I don't think I had any kind of book out. All I had was I had nothing, you know. And I was just so in awe of FC2 and the editor there, and you there, and like you could play pool, and I can't play pool at all. And it was just, it was—   Annie: Lucy's so cool. Yeah, she was cool. She was cool. And Shelly Jackson was cool. And it was like all the cool people were there and I got to be there, and it was great.   And then, yeah, and then I think how it continued, I don't know how it continued, we just kind of kept running into each other and just slowly it built up into a really deep friendship. Like at some point you would come through town and stay with me.   (29:25.782) And we moved, we both moved around a lot. So for a while there, so we kind of kept running into each other in different places. We've never lived in the same place.   Lucy: No, never.   Lito: How have you managed that then? Is it always phone or is it texting, phone calls?   Lucy: Well, we'll go through a spate of  texting.   Deb: Yeah, we do both. I think I like to talk on the phone.   Lucy: Yeah, I will talk on the phone for Deb.   Annie: The mark of a true friendship.   Lito: (30:01) Time for a break.   Annie Lito (30:12.43) We're talking with Lucy Corin and Deb Olin Unferth.   Lito: How has literature shaped your friendship then? Despite being cool. What kind of books, movies, art do you love to discuss? You can name names. What do you love talking about?   Deb: Well, I remember the moment with Donald Barthelme.   Lucy: That was what I was gonna say.   Deb: No, you go ahead.   Lucy: Well, why don't?   Deb: Oh, okay, you can tell it.   Lucy: I mean, I'll tell part and then you can tell part. It's not that elaborate, but we were, one of the things that Deb and I do is find a pretty place, rent a space, and go work together. And one time we were doing that in Mendocino and Deb was in the late stages of drafting Barn 8 and really thinking about the ancient chickens and the chickens in an ancient space. And we went for a walk in one of those very ferny forests, and Deb was thinking about the chickens and among the giant ferns. And I don't know how it happened, but Deb said something with a rhythm. And we both said to each other the exact line from Donald Barthelme's "The School" that has that rhythm.   (31:34) Is that how you remember it though? You have to tell me if that's how you remember it.   Deb: That's exactly how I remember it. Yeah. And then we like said a few more lines. Like we knew even...    Lito: You remember the line now?   Lucy: I mean, I don't... You do. If you said it, I could do it. I'm just... I was thinking before this, I'm like, oh God, I should go look up the line because I'm not going to get it right, like under pressure. It was just in the moment. It came so naturally.   Deb: It was one of those lines that goes... (32:03) Da da da-da da, da da da-da-da. There's a little parenthetical, it's not really in parentheses in the story, but it might be a little dash mark. But it has, it's something like, "I told them that they should not be afraid, although I am often afraid." I think it was that one.   Deb: I am often afraid. Yeah. And then it was like, we just both remembered a whole bunch of lines like from the end, because the ending of that story is so amazing. And it's, so the fact that we had both unconsciously memorized it and could just like.   And it was something about just like walking under those giant trees and having this weekend together. And like we're like marching along, like calling out lines from Donald Barthelme. And it just felt really like pure and deep.   Annie: It's I mean, I can't imagine anything sounding more like true love than spontaneously reciting a line in unison from Barthelme. And, you know, you both are talking about how your work really converged at the start and that there are some new divergences and I think of you both as so distinct you know on and off the page. There's like the ferociousness of the pros and an eye towards cultural criticism and I always think of you as writing ahead of your time. So I'm just wondering how would you describe your lit friends work to someone, and is there something even after all this time that surprises you about their writing or their voice?   Lucy: I mean, what surprised me recently about Deb's voice is its elasticity. I came to love the work through the short stories and the micros. And those have such a distinct, wry kind of distance. They sort of float a little separate from the world, and they float a little separate from the page.   (34:10) And they have a kind of, they have a very distinct attitude and tone, even if the pieces are different from each other, like as a unit. And that's just really different than the voice that you get in a book like Barn 8 that moves through a lot of different narrators, but that also has just a softer relationship with the world. Like it's a little more blends with the world as you know, it doesn't stay as distant. And I didn't know that until later.   Vacation is also really stark and sort of like has that distinctiveness from the world. And so watching Deb move into, you know, in some ways like just more realistic, more realistic writing that's still voice-centered and that still is music centered was a recent surprising thing for me.   But I'm also really excited about what I've read in the book that in the new book because I think that new book is sort of the pieces that the bits that I've read from it are they're marking a territory that's sort of right down the middle of the aesthetic poles that Deb's work has already hit I mean the other thing is that you know Deb does all the genres. All of the prose genres. Every book sort of is taking on it is taking on a genre And the next one is doing that too, but with content in a way that others have been taking on new genres and form. And so...    Lito: I love that. And I like that it's related to the music of the pros and sound. I feel like musicians do that a lot, right? There's some musicians that every album is a new genre or totally different sound. And then there's artists who do the same thing over and over again. We love both those things. Sorry, so Deb...   Deb: So I love how complicated Lucy can get with just an image or an idea. I just feel like no one can do it the way that she can do it. And my like her last in her last book, which I love so much, we're just brought through all these different places and each one is sort of (36:31.29) dragging behind it, everything that came before, so that you can just feel all of this like, pressure of like the past and of the situations and like even like a word will resonate. Like you'll bring like, there's like a word on maybe page like 82 that you encountered on like page 20 that like the word meant so much on page 20 that it like really, you can really feel its power when it comes on page 80.   And you feel the constant like shifting of meaning and just like the way that the prose is bringing so much more and like it's like reinterpreting that word again and again and again, just like the deeper that you go, like whatever the word is be it you know house or home or stair or um you know sex, whatever it is, it's like constantly shifting. (37:40.952) And that's just part of like who Lucy is, is this like worrying of a problem or worrying of a word and like carrying it forward. And so yeah, so like in that last book, it just was such a big accomplishment. And I felt like it was like her best work yet.   Lucy: So I will say, try and say something a little bit more specific, then. (38:09) Like I guess in the sort of 10 stories that I teach as often as possible in part because I get bored so easily that I need to teach stories that I can return to that often and still feel like I'm reading something that is new to me is the title story from Wait Till You See Me Dance and that story is a really amazing combination of methodical in its execution, which sounds really dull.   But what it does is sort of toss one ball in the air and then toss another ball in the air and then toss another ball in the air. And then, you know, the balls move, but you know, the balls are brightly colored and they're handled by a master juggler. So it's methodical, but it's joyful and hilarious. And then, and then, and you don't   And the other thing is that Deb's narrators are wicked and like they're wicked in the way that like… They are, they're willing to do and say the things that you secretly wish somebody would do and say. That's the same way that like, you know, in the great existential novels, you love and also worry about the protagonists, right? They're troubled, but their trouble allows them to speak truthfully because they can't help it. Or they can't help it when they're in the space of the short story. It's that like, you know, the stories are able to access—a story like this one and like many of Deb's—are able to access that really special space of narrator, of narration, where you get to speak, you get to speak in a whisper.   Annie: You get to speak in a whisper. That's beautiful, Lucy. You get to speak in a whisper.   Lito: We'll be right back.   Lito: (40:15) Welcome back.   Annie: I'm wondering about what this means, you know, how this crosses over to your own personal lives, right? Because of course, literary friendships, we're thinking about the work all of the time. But we're also, you know, when I think of my literary friendship with Lito, I think of him as like a compatriot and somebody who's really carrying me through the world sometimes. I'm wondering if there was for either of you, a hard time that you went through personally, professionally, you know, whether it's about publishing or just getting words on the page or something, you know, um, you know, family related or whatever, where you, um, you know, what it meant to have a literary friend nearby at that time.   Lucy: I mean that's the heart of it.   Deb: Yeah, I mean for sure.   Lucy: One happened last week and I'm sort of still in the middle of it where you know my literary mentor is aging and struggling and so that's painful for me and who gets that? Deb gets that.   The other one, the other big one for me was that the release of my last novel was really complicated. And it brought up a lot of, it intersected with a lot of the things going on in my family that are challenging and a lot of things that are going on in the literary world that are challenging. There were parts of that release that were really satisfying and joyful, and there were parts of it that were just devastatingly painful for me.   And, you know, Deb really helped me find my way through that. And it was a lot, like it was a lot of emotional contact and a lot of thinking through things really hard and a lot of being like, "wait, why do we do this? But remember, why do we do this?" And Deb was the person who could say, "no, you're a novelist." Like things that like I was doubting, Deb could tell me. And the other thing is that I would come closer to being able to believe those things because she could tell them to me.   Annie: Lucy, can you talk a little more about that? Like what did that? (42:27.126) What did that look like, right? Like you talked about resistance to phone calls, and you're not in the same place.   Lucy: It was phone. Right, it would be phone or it would be Zoom or it would be texting. And then, you know, when we would see each other that would be, we would reflect on those times in person even though that wasn't those immediate moments of support and coaching and, you know, wisdom.   Annie:  And that requires a kind of vulnerability, I think, that is hard to do in this industry, right? And I'm just wondering if that was new for you or if that was special to this friendship, right? Or like what allowed for that kind of openness on your part to be able to connect with Deb in that way?   Lucy: I mean, I think I was just really lucky that we've had, like even though we have really, I think, only noticed that we were close since that Morocco trip. Like that was a little bit of a leap of faith. Like, "oh my gosh, how well do I know this person and we're gonna travel together in like circumstances, and do we really know each other this way?" But the combination of the years that we've known each other in more of a warm acquaintance, occasional, great conversation kind of way towards being somebody that you, that you trust and believe and that you have that stuff built in.   And, you know, that over the years you've seen the choices that they've made in the literary world, the choices they've made in their career, when they, you know, everything from, you know, supporting, you know, being a small, being small press identified and championing certain kinds of books over other kinds of books. And like those, just like watching a person make choices for art that you think are in line with the writer that, watching her make choices in art that are in line with the writer that I wanna be in the world makes it so that when you come to something that is frightening, that's the kind of person you wanna talk to because she's done that thinking.   Deb: Yeah, I mean, I feel like there are like so many things that I could say about that. Like one thing is that the kind of time that I spend with Lucy is really different from the kind of time that I spend with most people. Like most people, (44:51) they come to town and I have dinner with them. Or I go to like AWP or whatever and we go out for dinner. Or maybe I spend like one night at their house like with their partner and kid or something, you know. But Lucy and I, we get together and we spend like four days or something all alone, just the two of us, you know, or a month or whatever. And we don't spend a ton of time with other people. And so there's, but then we also do that, but just like not very much.   And so there is something that just creates, like that's a really good mode for me. It's a, that's like the way that I make really deep friendships that are kind of like forever-people in my life. And I've always been like that. And so, but not a lot of people are willing to sort of do that with me. Like, I have so many acquaintances, I've got like a million, I feel like I could have dinner with someone just about any night, as long as it's only like once every few months or something, you know, but I don't have people who are willing to be this close to me, like spend that kind of time with me one-on-one. And the fact is like, they're not that many people that I really feel like doing that with.   And you know, every time Lucy and I do one of these, I just come away feeling like I thought about some really important things and I talked about some really important things and I saw some beautiful things because Lucy always makes sure that we're somewhere where we can see a lot of beauty. And so that just means so much to me. And it's like, and so for me it creates like a space where, Yeah, I can be honest and vulnerable, and I can also tell her, if I can tell her things that I don't tell other people, or I can be really honest with her if I feel like, if I'm giving her advice about something, I can just be honest about it. And so it's really, really nice.   (47:07) I mean, the other thing is like, we're so similar. Like we've made so many similar life choices. And we've talked about that. Lucy and I have talked about that. Like, you know, we both chose not to have kids. We live pretty, like we're both like kind of loners, even though we have partners. Like I think our partners are more like, they just kind of would, they would prefer that we.   I don't know, I shouldn't probably say anything, but I know that Matt would prefer if I was not quite as much of a loner as I am. Yeah, so I look at Lucy and I see the kind of person that I am, the kind of person I wanna be, so if I have a question, I mean, it happens.   Lucy mentioned a couple of things. I have... You know, she's had some pretty major, major things. I have like little things that happen all the time, and they just like bring me to tears.   Like there was this one moment during the pandemic when I was like driving across the country by myself. I was like in Marfa, and I was trying to get to California and I had like a toilet in the back seat. Remember when we were all doing that kind of thing?   Lucy: It was really amazing.   Deb: It was so crazy.   Lucy: But Deb, not everybody had a toilet in their back seat.   Annie: I know. I need that now.   Deb: It still comes in handy.   Annie: I'm sure.   Deb: (48:43) And I was in, and yeah, Lucy is amazing. She'll talk to me on the phone, but Lucy will do because I love to talk on the phone and I love to Zoom. Lucy does not. So she'll tell me in advance, okay, I will talk to you, but it's gonna be for like 20 minutes or I'm gonna have to get off like pretty soon.   But she Zoomed with me and Marfa and I just didn't realize how upset I was about this one rejection that I'd gotten. And it was a really small rejection, I don't know why it bothered me so much, but I just like started crying and like I was like way out in like so many miles from any so many hours from anyone I knew and you know the world was going to shit, and I'd gotten this like tiny rejection from a magazine like a little like I had it was the page was it was like a piece that was like a page long or something, and Lucy just like knew exactly why I I was so upset, and just was able to talk to me about what that meant to me. And just refocus me to like, "look, you don't have to write those. You don't have to be that writer. You don't have to do that." And it was so freeing to know that I didn't always have to be, I don't even know how to describe it, but it was meant a lot. And things like that happen all the time.   Annie: (50:15.265) That's such a wonderful model of mutual support.   Lucy: We'll be right back.   Annie: Hi Lit Fam. We hope you're enjoying our conversation with Lucy Corin and Deb Olin Unferth, and their love for the word, the world, and each other. If you love what we're doing here at LitFriends, please take a moment now  to follow, subscribe, rate, and review our podcasts on Apple Podcasts, Spotify, or wherever you listen to podcasts. Just a few minutes of your time will help us so much to continue to bring you great conversations like this week after week.  Thank you for listening. Back to a conversation with Lucy Corin and Deb Olin Unferth.     Annie: I'm also aware that we're working in an industry that's a zero-sum construct. And, you know, Lucy, you were sort of joking earlier about... Deb winning all of the awards that you later got. But I am curious, like, what about competition between literary friends when we're living in a world with basically shrinking resources?   Lucy: I feel competition, but I don't really feel it with my literary friends. Does that make sense? Like, I'll feel it with my idea of somebody that I don't really know except for their literary profile, right? But when someone like Deb gets something, it makes the world seem right and true, right? And so that's not hard to bear, right? That's just a sign of a good thing in a world that you're afraid isn't so good.   Deb: I guess I feel like if Lucy gets something, then that raises the chances that I'm gonna get something. I'm gonna get the same thing. Because if we're kind of in the same, like we both published with Grey Wolf, we both have the same editor, so we've multiple times that we've been on these trips, we've both been working on books that were supposed to come out with Graywolf with Ethan. (52:16.3) You know, so I feel like if Lucy gets something, then the chances go up.   Like there was just, something just happened recently where Lucy was telling me that she had a little, like a column coming out with The Believer. And I was like, "oh my God, I didn't even know that they were back." I'm like, "man, I really wanna be in The Believer. Like, I can't believe like, you know, they're back and I'm not in them. I gotta be in it. I said that to Lucy on the phone. And then, like the very next day, Rita wrote me and said, "Hey, do you want to write something?"   And so I wrote to Lucy immediately. I was like, did you write to Rita? And she was like, "no, I really didn't." So it's like, we're in the same— Did you, Lucy?   Lucy: No, I didn't! Rita did that all by herself.   Lito: You put it out into the universe, Deb.   Annie: Lucy did it. Hot cut, Lucy did it!   Deb:  So we're like, we're like in the same, I feel a lot of the time like we're kind of in the same lane and so that really helps because like, I do have writer friends who are not in the same lane as me and maybe. Like I'm not as close, but maybe that would be, but if I was as close, maybe that would cause me more confusion. Like I would be like, you know, "geez, how can I get that too? Or it's hopeless, I'll never get that, you know? So I just don't do that thing," or something. So that's really comforting.   Lito: What are your obsessions?   Lucy: Well, I mean-   Lito: How do they show up on the page?   Lucy: I feel like it's so obvious with Deb that like, you know, Deb got obsessed with chickens, and there was a whole bunch of stuff about chickens. First there was a really smart, brilliant Harper's essay where she learned her stuff. And then there was the novel where she, you know, imagined out the chickens (54:19) to touch on everything, right?   Annie: Then there was a chicken a thousand years in advance.   Lucy: Right, and then there's a beautiful chicken art in the house, and there's, you know. And I'm sure that she's gotten way more chicken gifts than she knows what to do with. But then the Sahara, like, you know, she was obsessed with the Sahara and you'll see it in the next book. It's gonna be— It's not gonna be in a literal way, right? But it'll be like, you'll feel the sand, you'll feel that landscape.   So I don't know, like I feel like the obsessions show up in the books. I mean, are there, I mean, this is a question like, Deb, do you think you have obsessions that don't show up in your work? We both have really cute little black dogs.   Deb: (55:07) Oh, not really. I mean, but I do get obsessed. Like I just get so, so like obsessed in an unhealthy way. And then I just have to wait it out. I just have to like wait until I'm not obsessed anymore. And it's like an ongoing just I'm like, OK, here it comes. It's like sleeping over me. Like how many years of my life is going to be are going to be gone as a result of this?   So I'm always like so relieved when I'm not in that space. Like Lucy's obsession comes down to that, with her language, that she's like exploring one idea, like she'll take an idea and she like worries that over the course of a whole book and that she'll just it's like almost like a cubist approach. She'll be like approaching it from so many different standpoints. And that is like, I mean, Lucy is so smart and the way that she does that is just so genius. And so I feel like that's the thing that really keeps drawing me to her obsessions, that keeps bringing me back to that page to read her work again and again. And yeah, and that's how she is in person too.   Lito: Why do you write? What does it do for the world, if anything?   Lucy: (56:37) I know I had a little tiny throat clear, but I think it was because I'm still trying to figure it out because I feel like the answer is different in this world order than it was in earlier world orders. Like when I first answered those questions for myself when I was deciding to make these big life choices and say, "you know, fuck everything except for writing," like I was answering, I was answering that question a different way than I would now, but I don't quite have it to spit out right now, except that I do think it has something to do with a place where the world can be saved. Like, writing now is a place of respite from the rest of the world where you can still have all of these things that I always assumed were widely valued, that feel more and more narrowly valued. And so I write to be able to have that in my life and to be able to connect with the other people who share those kinds of values that are about careful thinking, that are about the glory of the imagination, that are about the sanctity of people having made things.   Annie: Lucy, I need that on my wall. I just need to hear that every day.   Deb: I mean, I feel like if I can think about it in terms of my reading life, that like art changes my mind all the time. Like that's the thing that teaches me. Like I remember when I was a kid, and I lived right near the Art Institute of Chicago, and I remember going in, and they had the Jacob Lawrence immigration panels, migration panels up there that was like a traveling exhibition. And I had none of that information. I did not know about the Great Migration. I just didn't know any of that. So I just remember walking from panel to panel and reading and studying it, (58:47.952) reading it and studying it and just like getting like just getting just it was like a It was such a revelation and I just learned so much and like changed my mind about so many things just in that moment that it was like I'll never forget that.   And I feel like I, I totally agree with Lucy that the reasons that I write now and the reasons that I read now are very different than they were like before, say 2015, or something. But that, that maybe it has its roots in that sort of Jacob Lawrence moment where, you know, just I read these things and it's, I like, I love sinking deep into books that are really changing my mind and like teaching me about the world in ways that I never could have imagined, and I love that so much and I… I don't know if I have that to offer, but I really try hard, you know. Like I tried that with the chicken book. I'm kind of trying that, I hope, in this book that I'm trying to finish and— ha finish!—that I'm trying to get through. And so I think that that's why I think that art is so important.   I don't know if that's truly why I write though. I feel like why I write is that I've always written, and it's like I love it so much. Like I just, sometimes I hate it, sometimes I hate it for like a whole year or whatever, but it's just, it's so much a core of who I am. (01:00:39) And I just, I can't imagine my life any other way. It's just it's just absolutely urgent to me.   Annie: Yeah, urgent. Yeah. I think we all feel that in some way.   Annie:(01:01:04.374) Thank you both for talking to us a little bit about your friendship and getting to know a little bit more about how you started and where you're at now. We're going to move into the lightning round.   Lito: Ooooo Lightning round.   Annie: (01:01:16) Deb, who were you in seventh grade? Who was I in seventh grade? In one sentence, oh my God, the pressure is on. I was unpopular and looked, my hair was exactly the same as it is now. And I wore very similar clothes.   Lucy: (01:01:44) I was a peer counselor, and so I was like the Don who held everybody's secrets.   Lito: Beautiful. Lucy.   Lucy: It saved me. Otherwise, I wouldn't have had a place in that world.   Annie: Makes so much sense.   Lito: Wow. Who or what broke your heart first, deepest?   Lucy: I mean, I would just say my mom.   Deb: I guess, then I have to say my dad.   Annie: Okay, which book is a good lit friend to you?   Deb: Can I say two? The Autobiography of Alice B. Toklas by Gertrude Stein and The Known World by Edward P. Jones.   Annie: Excellent.   Lucy: My go-to is White Noise. Still. Sorry.   Lito: No need to apologize.   Lucy: Yep.   Annie Lito (01:02:27) Who would you want to be lit friends with from any point in history?   Lucy: For me it's Jane Bowles.   Deb: Oh, whoa. Good one. She would be maybe a little difficult. I was gonna say Gertrude Stein, then I was like, actually, she'd be a little difficult.   Lucy: What a jerk!   Deb: I think Zora Neale Hurston would be fun.   Lucy: Well, yeah, of course. For sure.   Annie: We were gonna ask who your lit frenemy from any time might be, but maybe you've already said.   Lucy: Oh, right. I accidentally said my lit frenemy instead of my lit friend.   Annie: Yeah.   Lucy: Mm-hmm.   Deb: (01:03:08) A frenemy from any time?   Annie: Any time. Yeah, it doesn't have to be Jonathan Franzen. I feel like most people will just be like Jonathan Franzen. But it could be any time in history.   Deb: I mean, if you're gonna go that route, then it would probably be, um, like...   Lito: Kierkegaard.   Deb: I don't know, maybe Nietzsche? If you're gonna go that route, if you're gonna go like, like existential philosophers.   Annie: (01:03:34) That's great.   Lito: That could be a podcast too.   Annie: Just like epic frenemy. The most epic frenemy.   Lito: (01:03:35)  Well, that's our show.   Annie & Lito: Thanks for listening.   Annie: We'll be back next week with our guests Melissa Febos and Donika Kelly.    Lito: Find us on all your socials @LitFriendspodcasts   Annie: And tell us about an adventure you've had with your Lit bestie. I'm Annie Liontas.   Lito: And I'm Lito Velazquez.   Annie: Thanks to our production squad. Our show was edited by Justin Hamilton.   Lito: Our logo was designed by Sam Schlenker.   Annie: Lisette Saldaña is our Marketing Director.   Lito: Our theme song was written and produced by Roberto Moresca.   Annie: And special thanks to our show producer Toula Nuñez.   Lito: This was Lit Friends, Episode 2.

This week Wisconsin's Natural Resources Board approved a new wolf management. In the meantime the Great Lakes Indian Fish & Wildlife Commission is teaming up to learn whether wolves play a critical role in the ecosystem.

The queens hypothesize that erotic/love poems must always have one "f*ckstick." Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.      James's ROMANTIC COMEDY is available from Four Way Books.Please consider buying your books from Bluestockings Cooperative, a feminist and queer indie bookselling cooperative.We talk about the difficulty of language and words that “shouldn't” be in poems in Crimes Against Diction, episode 95. Read “Dick Pics” by Sarah Tsiang.Read Jack Gilbert's “Michiko Dead."Linda Gregg, “Kept Burning and Distant” from The Sacraments of Desire.Read H.D.'s “Sea Poppies."Read Sharon Olds's, “The Pope's Penis”Read Adrienne Rich's "The Floating Poem" in Twenty-One Love Poems. Kim Addonizio's poem “Penis Blues” can be read here.  Louise Glück's “The Encounter” can be found here and is from The Triumph of AchillesRead Emma Lazarus's “Assurance”We reference Russell Edson's poem “Conjugal” and Mark Strand's “Courtship”Read Jill Alexander Esbaum's awesomely funny “On Reading Poorly Transcribed Erotica” Wallace Stevens's first book of poems is Harmonium, published by Knopf in 1923. A Palm at the End of the Mind is a Selected Poems and a play.Lynn Melnick's third book of poetry is Refusenik. You can watch Lynn read from it and talk about it with David Ulin of the New York Public Library. Watch James Hoch talk about Miscreants and the backstory behind "Bobby" here (~17 min mark).  You can read the Publisher's Weekly review of Miscreants here. Donika Kelly's first book is called Bestiary. Her second book is called The Renunciations pub'd by Graywolf. Watch Lucas Mann read "Conversion" from Matthew Olzmann's book Constellations.Read Charles Olsen's essay “Projective Verse."

In this inaugural episode, Graywolf's executive editor Yuka Igarashi explores the theme of time with an interdisciplinary group of artists. First, we hear from Kweku Abimbola —Graywolf published his debut poetry collection, Saltwater Demands a Psalm in April. Then Lisa Hsiao Chen, author of the 2022 novel Activities of Daily Living, followed by performance artist, theater artist, and educator Daniel Alexander Jones. Lastly we hear from Thao Nguyen, best known for her band Thao and the Get Down Stay Down. The podcast opens with an introduction by Graywolf Press publisher, Carmen Giménez. If you'd like to make a donation to Graywolf Press, please check out our website at graywolfpress.org, and click the “support Graywolf ” tab at the top.  

Prowling the plains of the high Tibetan Platue is the Himalayan Wolf. Though considered a subspecies of the Gray Wolf, recent genetic studies have suggested that the Himalayan Wolf, is in fact a seperate species altogether. In fact, alongside the Indian Plains Wolf, the Himalayan Wolf is thought to be one of the oldest wolf lineages in the world.Unfortunately, like the other large carnivores of the Himalayas, including the elusive snow leopard and critically endangered Himalayan Brown Bear, the wolf is facing countless threats. Not only is climtate change causing significant habitat loss in the Himalayas, overgrazing of nomadic livestock herds is putting immense pressure on local prey species. With grasslands and prey species dwindiling, human wolf conflict in unavoidable. Additionally, feral dog populations have surged across the range of the Himalayan wolf, increasing competition for resources, hybridization and the spread of diseases. There is one conservation biologists, however, who is working extensively to study these magnificent predators. Dr. Geraldine Werhahn is a Research Associate at University of Oxford's Wildlife Conservation Research Unit. During her PHD, she set up the Himalayan Wolf Project to study these rare canids in Nepal. In this interview we speak about her work and the conservation of Himalayan wolves. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit anishbanerjee.substack.com

In the years between 1980 and her death at age thirty-nine in an automobile accident in 1994, the late Lynda Hull composed a body of work that marks her as one of the great lyric poets of our generation, including two prize-winning collections, Ghost Money (1986) and Star Ledger (1991), and a posthumous third collection, The Only World (1995). In 2006, all three collections were brought together in a single volume, Lynda Hull: Collected, in Graywolf's RE/VIEW series edited by Mark Doty. During her life, Hull was teacher and mentor to many poets, one whose devotion to her students and to the art of poetry demonstrates, as Mark Doty has written of her, “how transformative the exchanges between teacher and student might be." In this Eleventh Hour, we'll remember Lynda Hull and celebrate her enduring legacy as both a brilliant poet and a generous and remarkable teacher.

The queens bust out their microscopes and examine poetic DNA. Support Breaking Form!Review the show on Apple Podcasts here.  Buy our books:Aaron's STOP LYING is available from the Pitt Poetry Series. Publisher's Weekly calls the book "visceral, tender, and compassionate."James's ROMANTIC COMEDY is available from Four Way Books. "Romantic Comedy," writes Diane Seuss in her judge's citation, "is a masterpiece of queer self-creation."Some of the writers discussed include:Terrance Hayes (who'll join us for the Breaking Form interview next week!), author of So to Speak, which will be out July 18 and is available for pre-order.Listen to Etheridge Knight read "Hard Rock Returns To Prison From The Hospital For The Criminal Insane" & "The Idea Of Ancestry" here (~6 min). Galway Kinnell reads his poem "After Making Love We Hear Footsteps" here (~2 min).Read more about Herbert Morris here, and read his fabulous poem "Thinking of Darwin" here.Read Thomas James's title poem "Letters to a Stranger." Then read this beautiful reconsideration of the poet by Lucie Brock-Broido, who used to photocopy James's poems and give them to her classes at Columbia, before Graywolf republished Letters to a Stranger in 2008.Watch Gary Jackson read Lynda Hull's poem "Magical Thinking" (~3 minutes).Stanley Kunitz reads his poem "The Portrait" here (~2 minutes).If you haven't read Anne Carson's "The Gender of Sound," it is worthwhile & contains a crazy-ass story about Hemingway deciding to dissolve his friendship with Gertrude Stein.Read Lynn Emmanuel's "Inside Gertrude Stein" here.Read Anna Akhmatova's "Lot's Wife" here. Read Osip Mandelstam's "I was washing at night out in the yard" here. Watch Lyrae Van Clief-Stefanon read her poem "Solace" and then discuss how her poem draws inspiration from science. Jennifer Michael Hecht's poem "Funny Strange" from her book Funny can be read from here. Manuel Muñoz is the author of  the short story collectionThe Consequences (Graywolf, 2022). He reads Gary Soto's poem "The Morning They Shot Tony Lopez, Barber and Pusher Who Went Too Far 1958" from Soto's 1977 volume The Elements of San Joaquin. You can read a tiny essay Muñoz published about Soto in West Branch, in a folio edited by poet Shara Lessley.

Ellen & special guest, podcaster and wildlife educator Danielle LaRock, review one of our world's most misunderstood, maligned, and magical creatures: gray wolves. We're not just talking teeth and claws and fluffy coats - we're also discussing alliances with crows, howls that rattle your very soul, the irreplaceable ecological role of wolves, their conflicts with humans, and how we can all make peace with our wild neighbors.Links:YouTube video: "How Wolves Change Rivers"YouTube video of Danielle & Kekoa the wolf at the Colorado Wolf & Wildlife CenterCheck out Danielle's podcast, National Park After Dark, and follow them on Instagram!Follow Just the Zoo of Us on Facebook, Twitter, Instagram & Discord!Follow Ellen on TikTok!

A fun flashback to the 89 ride we witnessed from the Andy Martinez on Graded Coconut draw in 2006 in Hemiston.Andy Martinez breaks the Farm City arena record with an 89 pt ride on Calgary Stampede's Grated Coconut in Hermiston, 2006. Grated Coconut won the PRCA Bareback Horse of the Year a record 6 times. He goes back to Tooke's Gray Wolf.https://www.feeksvision.comhttps://www.tookebuckinghorses.com

Main Fiction: "In a Structure Simulating an Owl" by Ander MonsonAnder Monson is the author of eight books, including the forthcoming I Will Take the Answer and The Gnome Stories from Graywolf. He edits the magazine DIAGRAM among other projects, and he directs the MFA program at the University of Arizona.“In a Structure Simulating an Owl” from The Gnome Stories. Copyright © 2020 by Ander Monson. Used with the permission of The Permissions Company, LLC on behalf of Graywolf Press.Narrated by: Lee DaturaLee Datura is an otherworldly creature that resides on the Olympic peninsula. She is a practitioner of somatic psychology with a focus on community liberation & a retired blueberry farmer.Support this show http://supporter.acast.com/starshipsofa. Hosted on Acast. See acast.com/privacy for more information.

Emily Renn is the Executive Director of the Grand Canyon Wolf Recovery Project, and Erin Hunt is the Managing Director for Lobos of the Southwest. Both were heavily involved in celebrating and promoting the 25th Anniversary of the Mexican Gray Wolf being reintroduced into the wild. Emily and Erin spoke in depth about the challenges this specific population of wolf encounters politically, socially and geographically, the background of both their organizations, and the ways they are promoting positive information distribution about Mexican Gray Wolves. Lobos Of the SouthwestGrand Canyon Wolf Recovery Project@gcwolfrecovery@lobosofthesouthwest

Get ready to spin the bottle! The queens cause some jeopardy in this trivia-filled episode.Support Breaking Form and buy James's and Aaron's new books:Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.And please consider supporting the poets we mention on today's show at your favorite independent bookseller. If you need a suggestion, we can recommend Loyalty Bookstores, a Black-owned indie in DC. Visit Brenda Hillman's website at http://www.brendahillman.net/index.htmlWatch this interview with Hillman conducted by Paul Nelson at the Cascadia Poetics Lab in December 2022. Tracy K. Smith's birthday is April 16, 1972. Life on Mars was published by Graywolf in 2011, and it was the 2012 winner of the Pulitzer Prize for Poetry. See this great compact interview with Smith on PBS NewsHour here. (~6 min) In June 2017, Smith was named U.S. poet laureate. She teaches  at Harvard University, where she is a professor of English and of African and African American Studies and the Susan S. and Kenneth L. Wallach Professor at the Harvard Radcliffe Institute.Watch Carl Dennis read at Georgia Tech (introduced by Tom Lux; ~25 min). The book of Dennis's craft essays which I mention in the episode is called Poetry as Persuasion. Watch this short film on Frank O'Hara, where he reads the following poems (~16 min):Mozart ChemisterFantasy Dedicated to the Health of Allen GinsbergThe Day Lady DiedSong (Is it dirty....)Having a Coke with You Listen to William Carlos Williams read "The Red Wheelbarrow" here (~16 seconds)Read W.B. Yeats's "The Fish" here. Visit Brian Teare at his website: https://www.brianteare.net.Simeon Berry lives in Somerville, Massachusetts. He has been an Associate Editor for Ploughshares and received a Massachusetts Cultural Council Individual Artist Grant. His first book, Ampersand Revisited (Fence Books), won the 2013 National Poetry Series, and his second book, Monograph (University of Georgia Press), won the 2014 National Poetry Series. Visit Simeon's website here. 

Welcome back fellow Culture Beasts to another deep dive into the vast swaft of culture. We stayed up very late watching Formula 1 so this episode is a bit wild... we welcome the beautiful taste of Z-Garz flagship cigar the Gray Wolf onto our pallets followed by *ok* coffee. Next time we'll be better in that department. The week we discuss Oscars, Formula 1 Australia, Hagerty's continued domination and much much more. Please, enjoy. https://zgarz.com

The queens get fictional with Manuel Muñoz, who joins us to talk about boundaries: between poetry and fiction, between land and desire. If you want to support Breaking Form, please consider buying James and Aaron's new books.Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.Manuel Muñoz is the author most recently of The Consequences, a short story collection published in 2022 by Graywolf. Buy the book here!And watch to Manuel give a short (~3 min) talk about The Consequences here.  Manuel reads from his story "Compromisos," which you can read in its entirety on Electric Lit here.See Manuel interviewed on 1 Week Critique about The Consequences here (~45 min).  

So far, 2023 has not brought good news when it comes to Arizona's water supply.Support the show: https://www.myheraldreview.com/site/forms/subscription_services/See omnystudio.com/listener for privacy information.

Jim Moore has been writing poetry for more than four decades. Before Prognosis from Graywolf in 2021, he wrote, Invisible Strings, published in 2011 by Graywolf Press. In 2012 he received a Guggenheim Fellowship for the work in that book. Underground: New & Selected Poems is available now from Graywolf Press. He has won the Minnesota Book Award for his poetry four times. Jim has received grants from the Bush Foundation, the Minnesota State Arts Boards, the Loft Mcknight and in 2012 from the Guggenheim Foundation. His poems have appeared three times in Pushcart Prize Editions as well as in many magazines, including The New Yorker, The Paris Review, The Nation, American Poetry Review, Harper's The Kenyon Review, The Threepenny Review, and Water-Stone Review. Jim lives in Minneapolis and Spoleto, Italy with his wife the photographer JoAnn Verburg. He teaches in the Hamline University MFA Program in St. Paul, Minnesota and is often a Visiting Professor at the Colorado College in Colorado Springs, Colorado. He works online individually with poets from around the country. Jim reads and discusses one of his favorite poems, "We must Praise the Mutilated World," BY ADAM ZAGAJEWSKI TRANSLATED BY CLARE CAVANAGH

Do you know that nature depends on various keystone species to survive and thrive? That's right, and the wolf is one of these critical keystone creatures. By regulating prey populations, wolves enable many other plants and animals to flourish. They initiate a domino effect and support natural levels of biodiversity. However, the wolf is in danger – at one time there were an estimated quarter of a million wolves in this country, and we now have fewer than 6,000 in the lower 48 states - so it's never been more urgent than right now to stand up and defend the mighty wolf.   Samantha Attwood, Co-Founding Member of the #RelistWolves Campaign, a coalition made up of dedicated conservationists, wildlife advocates, and scientists committed to raising public awareness about wolves and advocating to restore Gray wolves to the Endangered Species List, and Maggie Howell, Executive Director of the Wolf Conservation Center in South Salem, New York, join me to discuss wolves, what is happening to them, and why it is so important to help protect them.  See omnystudio.com/listener for privacy information.

Drift to sleep with the whimsical Slavic fairytale about a prince who goes on a quest to claim his kingdom. So, snuggle up in your blankets and have sweet dreams. The music in this episode is No War by Gavin Luke. Support the showOur sponsor, BetterHelp is an online counseling service offering licensed professional therapists without the inconvenience of a waiting room. Visit www.betterhelp.com/dreamful for 10% off your first month. Need more Dreamful? For more info about the show, episodes, and ways to support; check out our website, www.dreamfulstories.com If you love this podcast and want to help us make it even better; visit our Patreon page at www.patreon.com/dreamfulpodcast. Become a Patreon member to get access to bonus episodes, vote on future episodes, and more! Subscribe on Apple Podcasts for bonus episodes at apple.co/dreamful To get bonus episodes synced to your Spotify app, subscribe to dreamful.supercast.com You can also support us with ratings, kind words, & sharing this podcast with loved ones. Find us on Facebook at facebook.com/dreamfulpodcast & Instagram @dreamfulpodcast! Dreamful Podcast is produced and hosted by Jordan Blair. Edited by Katie Sokolovska. Theme song by Joshua Snodgrass. Cover art by Jordan Blair. ©️ Dreamful LLC

If God is a loving Father, why does He allow us to go through difficult trials? A lesson from Yellowstone National Park may provide an illustration that can help us understand.

Thirty years ago, David Treuer was a young writer, taking classes at Princeton University, far from his home on the Leech Lake Reservation in northern Minnesota. He was eager to polish his craft — and maybe a little brash. In 1995, a few months before he turned 25, Graywolf Press published his first novel. Now, decades later, Graywolf is rereleasing that book, “Little.” In the introduction, Treuer — now a widely respected, award-winning author — reflects on his writing roots and how both he and his work have changed over the years. This Friday, on Big Books and Bold Ideas, MPR News host Kerri Miller chatted with Treuer about what he's learned. What does he know now that he didn't know when “Little” was first released? What does he think about his younger self? And how does he view the burgeoning field of Native writers and books today? Guest: David Treuer is the award-winning author of seven books. His first novel, “Little” was rereleased this month by Graywolf Press. He is Ojibwe from the Leech Lake Reservation and teaches at the University of Southern California. To listen to the full conversation you can use the audio player above.  Subscribe to the MPR News with Kerri Miller podcast on Apple Podcasts, Google Podcasts or RSS. Subscribe to the Thread newsletter for the latest book and author news and must-read recommendations. 

Thirty years ago, David Treuer was a young writer, taking classes at Princeton University, far from his home on the Leech Lake Reservation in northern Minnesota. He was eager to polish his craft — and maybe a little brash. In 1995, a few months before he turned 25, Graywolf Press published his first novel. Now, decades later, Graywolf is rereleasing that book, “Little.” In the introduction, Treuer — now a widely respected, award-winning author — reflects on his writing roots and how both he and his work have changed over the years. This Friday, on Big Books and Bold Ideas, MPR News host Kerri Miller chatted with Treuer about what he's learned. What does he know now that he didn't know when “Little” was first released? What does he think about his younger self? And how does he view the burgeoning field of Native writers and books today? Guest: David Treuer is the award-winning author of seven books. His first novel, “Little” was rereleased this month by Graywolf Press. He is Ojibwe from the Leech Lake Reservation and teaches at the University of Southern California. To listen to the full conversation you can use the audio player above.  Subscribe to the MPR News with Kerri Miller podcast on Apple Podcasts, Google Podcasts or RSS. Subscribe to the Thread newsletter for the latest book and author news and must-read recommendations. 

Renowned biologist, and Wildlife Science Coordinator for the Arizona Game & Fish Department, Jim Hellelfinger, joins the podcast for a deep dive into the good science, bad science, politics, influencers, successes, and failures associated with Mexican gray wolf recovery. Jim's captivating story spans several decades and will leave you both appreciating and questioning science and the motives of people. It will also leave you with a better understanding of what it takes to recover carismatic and controversial species under the Endangered Species Act. Tune in--you won't regret it!  

Two interviews from the archives - with our old music! -  with Vermont author and editor Angela Palm and Vermont poet Malisa Garlieb. Angela Palm's collection Riverine: A Memoir from Anywhere but Here  won the Graywolf nonfiction award, was an Oprah.com pick for "Powerful Memoirs by Powerful Women," an Indie Next List pick, and A Kirkus Best Book in 2016. Poet Malisa Garlieb's work has appeared in Qu, RHINO Poetry, Rust + Moth, Rathalla Review, Tar River Poetry, Calyx, Painted Bride Quarterly, So to Speak, Gyroscope Review, Cold Lake Anthology and many many more. Her poetry collection, Handing Out Apples in Eden., was published in 2014 by Wind Ridge Books of Vermont.    This week's Write the Book Prompt, as we approach Banned Books Week is to buy, read, and write about a banned book and the effects of book banning. Good luck with your work in the coming week, and tune in next week for another prompt or suggestion. 745

An interview from the archives with novelist and story writer J. Robert Lennon. We discussed his story collection, See You in Paradise, published by Graywolf Press. Last year he published two more books with Graywolf, a novel called Subdivision and a story collection, Let Me Think.  This week's Write the Book Prompt is to write a paragraph about a moment that takes place in a park. Maybe a dog breaks free of her leash and runs away from her owner. Write about whatever moment you choose to present. Then write the paragraph again from two different perspectives. Perhaps that of the dog, or another dog, a person who feeds birds from a bench, a person who sleeps on that bench at night, a policeman, a young child in a stroller, that child's grandfather, who is taking her for a walk. See what happens to the moment you're creating when you let it be seen through these varied perspectives. Good luck with your work in the coming week, and tune in next week for another prompt or suggestion. Music Credit: Aaron Shapiro 739