Podcasts about Guggenheim

Even before they were recognized as citizens of the United States, Black women understood that the fights for civil and human rights were inseparable. Over the course of two hundred years, they were at the forefront of national and international movements for social change, weaving connections between their own and others' freedom struggles around the world. Without Fear: Black Women and the Making of Human Rights (W.W. Norton, 2025) tells how, during American history, Black women made humans rights theirs: from worldwide travel and public advocacy in the global Black press to their work for the United Nations, they courageously and effectively moved human rights beyond an esoteric concept to an active, organizing principle. Acclaimed historian Keisha N. Blain tells the story of these women—from the well-known, like Ida B. Wells, Madam C. J. Walker, and Lena Horne, to those who are still less known, including Pearl Sherrod, Aretha McKinley, and Marguerite Cartwright. Blain captures human rights thinking and activism from the ground up with Black women at the center, working outside the traditional halls of power. By shouldering intersecting forms of oppression—including racism, sexism, and classism—Black women have long been in a unique position to fight for freedom and dignity. Without Fear is an account of their aspirations, strategies, and struggles to pioneer a human rights approach to combating systems of injustice. Dr. Keisha Blain is a professor of Africana studies and history at Brown University. She is a Guggenheim, Carnegie, and New America Fellow, and author—most recently of the National Book Critics Circle Award finalist Until I Am Free. You can find her on LinkedIn, Instagram, X, and Facebook. You can find host Sullivan Summer at her website, on Instagram, and on Substack. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Even before they were recognized as citizens of the United States, Black women understood that the fights for civil and human rights were inseparable. Over the course of two hundred years, they were at the forefront of national and international movements for social change, weaving connections between their own and others' freedom struggles around the world. Without Fear: Black Women and the Making of Human Rights (W.W. Norton, 2025) tells how, during American history, Black women made humans rights theirs: from worldwide travel and public advocacy in the global Black press to their work for the United Nations, they courageously and effectively moved human rights beyond an esoteric concept to an active, organizing principle. Acclaimed historian Keisha N. Blain tells the story of these women—from the well-known, like Ida B. Wells, Madam C. J. Walker, and Lena Horne, to those who are still less known, including Pearl Sherrod, Aretha McKinley, and Marguerite Cartwright. Blain captures human rights thinking and activism from the ground up with Black women at the center, working outside the traditional halls of power. By shouldering intersecting forms of oppression—including racism, sexism, and classism—Black women have long been in a unique position to fight for freedom and dignity. Without Fear is an account of their aspirations, strategies, and struggles to pioneer a human rights approach to combating systems of injustice. Dr. Keisha Blain is a professor of Africana studies and history at Brown University. She is a Guggenheim, Carnegie, and New America Fellow, and author—most recently of the National Book Critics Circle Award finalist Until I Am Free. You can find her on LinkedIn, Instagram, X, and Facebook. You can find host Sullivan Summer at her website, on Instagram, and on Substack. 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

Even before they were recognized as citizens of the United States, Black women understood that the fights for civil and human rights were inseparable. Over the course of two hundred years, they were at the forefront of national and international movements for social change, weaving connections between their own and others' freedom struggles around the world. Without Fear: Black Women and the Making of Human Rights (W.W. Norton, 2025) tells how, during American history, Black women made humans rights theirs: from worldwide travel and public advocacy in the global Black press to their work for the United Nations, they courageously and effectively moved human rights beyond an esoteric concept to an active, organizing principle. Acclaimed historian Keisha N. Blain tells the story of these women—from the well-known, like Ida B. Wells, Madam C. J. Walker, and Lena Horne, to those who are still less known, including Pearl Sherrod, Aretha McKinley, and Marguerite Cartwright. Blain captures human rights thinking and activism from the ground up with Black women at the center, working outside the traditional halls of power. By shouldering intersecting forms of oppression—including racism, sexism, and classism—Black women have long been in a unique position to fight for freedom and dignity. Without Fear is an account of their aspirations, strategies, and struggles to pioneer a human rights approach to combating systems of injustice. Dr. Keisha Blain is a professor of Africana studies and history at Brown University. She is a Guggenheim, Carnegie, and New America Fellow, and author—most recently of the National Book Critics Circle Award finalist Until I Am Free. You can find her on LinkedIn, Instagram, X, and Facebook. You can find host Sullivan Summer at her website, on Instagram, and on Substack. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

A listener asked about Anthony's dream scenario whenever Mark Walter fully takes over. Anthony again explained what Guggenheim did with the Dodgers and how that could look with the Lakers. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In this episode of Juxtaposition, we probe the Titanic's sinking through a darker lens: was it really an iceberg—or a switch, a scam, and an assassination rolled into one? From J.P. Morgan's last-minute absence to the convenient deaths of Federal Reserve opponents, we explore whether the world's most famous shipwreck was also the birth of modern financial power.

Get off Apartments.com and grab an Erewhon smoothie, it's time to watch the hottest new real estate show in town, Leasing La Brea! If you think that Selling Sunset is dramatic, just wait for Leasing La Brea, the reality show for millennials who have no chance of buying a house and can only aspire to lease. This week we sat down with 5 cast members from the Oglethorpe agency to hear about their hottest listings, celebrity clientele, real time drama, and get a sneak peek into their own homes. You won't want to miss it!Our guest today is the incomparable Patty Gugenheim! She is an improv sniper and had us cackling with her jingles so go find her on Instagram @patriscuit, on Twisted Metal and Don't Tell Larry on tv, and literally everywhere else you can find her!This episode was filmed in the beautiful Dynasty Typewriter Theater, and tech-produced by Samuel Curtis. For live shows and events you can find more about them at dynastytypewriter.com. To learn more about the BTS of this episode and to find a world of challenges, games, inside scoop, and the Artists being themselves, subscribe to our Patreon! You won't be disappointed with what you find. Check out patreon.com/aoaoaoapod Artists on Artists on Artists on Artists is an improvised Hollywood roundtable podcast by Kylie Brakeman, Jeremy Culhane, Angela Giarratana, and Patrick McDonald. Produced by Laservision Productions. Music by Gabriel Ponton. Edited by Conner McCabe. Thumbnail art by Josh Fleury. Hollywood's talking. Make sure you're listening. Subscribe to us on Apple Podcasts, Spotify, and Youtube! Please rate us five stars!

La actualidad de Bizkaia en un minuto. ¿Qué ha ocurrido el lunes 1 de septiembre de 2025?

What does it mean to create movement that lasts a lifetime—work that outlives trends, resonates across genres, and moves audiences for generations? World-renowned choreographer Lar Lubovitch joined the studio for a mid-month episode to talk about his creative process and his upcoming projects!For more than six decades, Lar has shaped the landscape of dance with works that are both technically masterful and deeply human. His own company, Lar Lubovitch Dance Company, founded in 1968, has created more than 120 works performed in more than 40 countries.Lar says that from the moment he started dancing, he knew he would be a choreographer. But dance is a journey he began relatively late at 19. He spoke about the freedom his later start in dance gave him to experiment, mix styles, and create work that bridges the divide between ballet and modern dance. All of this propelled him into success as a groundbreaking choreographer. In this interview, he discusses the intersections of his background as a painter and sculptor with his choreography, which he views similarly in brushstrokes and shapes that illustrate the music. He shares that the initial spark of joy seeing dancers move on stage that inspired him to explore dance in the first place is still inspiring him to this day. And he talks about how, at 82, he sees himself as an adult dancer needing to stay engaged with dance even while his experience with the art form evolves as he ages.He also spoke about his work on Broadway, including staging the original Broadway production of Into the Woods, which earned him a Tony nomination, The Red Shoes, winning an Astaire Award, and the Tony-winning revival of The King and I. He has also made contributions to choreography in the field of ice-dancing, creating dances for Olympic skaters and choreographing two ice-dances for television: The Sleeping Beauty (PBS) and The Planets (A&E, nominated for an International Emmy Award, a Cable Ace Award, and a Grammy Award). Finally, he shares the vision behind his new program, Art of the Solo, in which his solo works are brought to life by a cast of dancers as part of The Guggenheim's Works & Process Series in New York. Check out the conversation!Follow Lar Lubovitch Dance Company on Instagram: @lubovitchLearn more about Lar Lubovitch Dance Company: www.lubovitch.orgPurchase tickets to Works & Process presents Lar Lubovitch: Art of the Solo: https://www.guggenheim.org/event/works-process-lar-lubovitch-art-of-the-soloSubscribe to The Adult Ballet Studio on YouTube: @adultballetstudioMusic in this episode:Waltz of the Flowers - TchaikovskyBarroom Ballet - Silent Film Light - Kevin MacLeodBarroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310Artist: http://incompetech.com/@eblosfield  | theadultballetstudio@gmail.comSupport this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link

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Paul Gottfried, editor of Chronicles Magazine, former professor at Elizabethtown College, and author of numerous books, joins Timon and Ben to talk about the history of the conservative movement, what "rights" are, what an American is, and where the New Right is going.    Notes: https://chroniclesmagazine.org/ https://passage.press/products/gottfried   Paul Gottfried is editor in chief of Chronicles: A Magazine of American Culture. He is also the Raffensperger Professor of Humanities Emeritus at Elizabethtown College, where he taught for 25 years, a Guggenheim recipient, and a Yale Ph.D. He is the author of 14 books, most recently Antifascism: The Course of a Crusade and Revisions and Dissents.   Learn more about Paul Gottfried's work: https://chroniclesmagazine.org/author/paulgottfried/   ––––––   Follow American Reformer across Social Media: X / Twitter – https://www.twitter.com/amreformer Facebook – https://www.facebook.com/AmericanReformer/ YouTube – https://www.youtube.com/@AmericanReformer Rumble – https://rumble.com/user/AmReformer Website – https://americanreformer.org/   Promote a vigorous Christian approach to the cultural challenges of our day, by donating to The American Reformer: https://americanreformer.org/donate/   Follow Us on Twitter: Josh Abbotoy – https://twitter.com/Byzness Timon Cline – https://twitter.com/tlloydcline   The American Reformer Podcast is  hosted by Josh Abbotoy and Timon Cline, recorded remotely in the United States, and edited by Jared Cummings.   Subscribe to our Podcast, "The American Reformer" Get our RSS Feed – https://americanreformerpodcast.podbean.com/ Apple Podcasts – https://podcasts.apple.com/us/podcast/the-american-reformer-podcast/id1677193347 Spotify – https://open.spotify.com/show/1V2dH5vhfogPIv0X8ux9Gm?si=a19db9dc271c4ce5

Grant Dekernion (@grantdekernion) and Patty Guggenheim (@patriscuit) of Twisted Metal join the 'boys to talk pod drivers, musical instruments, and old video games before a review of Pinkberry.Watch this episode at youtube.com/doughboysmediaGet ad-free episodes at patreon.com/doughboysGet Doughboys merch at kinshipgoods.com/doughboysAdvertise on Doughboys via Gumball.fmSources for this week's intro:https://www.latimes.com/archives/la-xpm-2006-aug-04-et-pinkberry-story.htmlhttps://www.tmz.com/2010/01/10/pinkberry-co-founders-marriage-loses-flavor/https://abcnews.go.com/US/pinkberry-founder-accused-beating-homeless-man/story?id=15378930https://www.latimes.com/local/la-me-pinkberry-sentenced-20140315-story.htmlEXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/doughboys Try it risk-free now with a 30-day money-back guarantee!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Eileen Guggenheim, a former aide to then-Prince Charles and now leading the New York Academy of Art, emphatically denied any role in facilitating an introduction between Charles and Jeffrey Epstein. Her statement came in response to recurring tabloid insinuations suggesting that she had served as the conduit linking the future king to the disgraced financier. Her denial was swift and pointed: simply put, she had no involvement in bringing the two into contact.Yet this sort of sweeping, “nothing to see here” denial has become almost a reflex among those who orbited Epstein — a well-rehearsed performance of indignation that sidesteps the deeper questions. Guggenheim can insist she never introduced Charles to Epstein, but the problem is that these denials are often delivered in a vacuum, without transparency, documentation, or a willingness to open the books. In the Epstein ecosystem, too many people have tried to firewall their reputations with carefully worded statements, betting that the press won't dig past the headline. Whether her claim is true or not, it lands in the same well-worn pattern: elite figures distancing themselves from Epstein only when their names surface, and offering little more than their own word as proof.To contact me:bobbycapucci@protonmail.comsource:https://www.dailymail.co.uk/news/article-8652923/Prince-Charles-former-aide-denies-introducing-student-Jeffrey-Epstein.html

Eileen Guggenheim, a former aide to then-Prince Charles and now leading the New York Academy of Art, emphatically denied any role in facilitating an introduction between Charles and Jeffrey Epstein. Her statement came in response to recurring tabloid insinuations suggesting that she had served as the conduit linking the future king to the disgraced financier. Her denial was swift and pointed: simply put, she had no involvement in bringing the two into contact.Yet this sort of sweeping, “nothing to see here” denial has become almost a reflex among those who orbited Epstein — a well-rehearsed performance of indignation that sidesteps the deeper questions. Guggenheim can insist she never introduced Charles to Epstein, but the problem is that these denials are often delivered in a vacuum, without transparency, documentation, or a willingness to open the books. In the Epstein ecosystem, too many people have tried to firewall their reputations with carefully worded statements, betting that the press won't dig past the headline. Whether her claim is true or not, it lands in the same well-worn pattern: elite figures distancing themselves from Epstein only when their names surface, and offering little more than their own word as proof.To contact me:bobbycapucci@protonmail.comsource:https://www.dailymail.co.uk/news/article-8652923/Prince-Charles-former-aide-denies-introducing-student-Jeffrey-Epstein.htmlBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

 I was not actually as interested in the film, per se, as I was in the prospect of having a voice of independence, dissidence and critique of authority. - Patricia AufderheideDr. Patricia Aufderheide is a Professor in the School of Communication at American University. Her most recent book is Kartemquin Films: Documentaries on the Frontlines of Democracy.Aufderheide is a Guggenheim fellow (1994) and has served as a juror at the Sundance Film Festival. She has received numerous journalism and scholarly awards, including the George Stoney award for service to documentary from the University Film and Video Association.In this conversation Professor Aufderheide and I talk:* Her favorite member of The Beatles.* Writing film criticism at the University of Minnesota.* Being an acolyte of Pauline Kael.* Filmmaking as narrative transportation.* Gordon Quinn and Kartemquin Films.* How documentary can help people be more active in demanding democracy.* Cultural Marxism, Antonio Gramsci, and Thomas Dewey.* Barbara Kopple's documentary Dixie Chicks: Shut Up and Sing.* Steve James' film The Interrupters and his series America to Me.* How Kartemquin Films has a fundamental goal of showing how human agency functions in society.* How contemporary documentary reduces the role of society and highlights individual exceptionalism.* Her book Kartemquin Films: Documentaries on the Frontlines of Democracy.* “ Pessimism of the intellect, optimism of the will.”* Demand democracy.* Jacqueline Olive's documentary Always in Season.Please forward this newsletter to folks you think will be interested. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Welcome back, dear listener. I am so thrilled to share today's episode with someone who has had a really meaningful presence in my own journey—Liz Kimball.Liz and I met about ten years ago in a coaching certification program, and I really looked up to her. She had already been coaching for years and brought this grounded, wise, creative energy to everything she did. After the course ended, I got to work with her as a client, and it was a pretty magical experience for me. So, reconnecting with her for this conversation felt like a full-circle moment.Liz is a creativity catalyst and transformational coach for visionary creators. She's the founder of The Creative15 and The Expansion Project Creative Development Lab, and her work is all about helping women and girls free their voices and bring their brave creative work into the world—without burning themselves out in the process. Her work has been featured on TEDx, Oprah.com, The Guggenheim, and at universities and institutions throughout the country. She's also a mother and, as she says, a nonlinear duck—more on that in the episode.In our conversation, we talked about the importance of having a safe, de-pressurized space for the creative process to unfold—something Liz creates so beautifully for her clients. As she put it, she needed “a de-pressurized environment to hear the sound of me,” and I think so many of us can relate to that.We also talked about her nonlinear path to coaching—how she started long before coaching was a buzzword—and how she's followed the quiet tugs of her inner voice, often before she could see the full picture.This one's for anyone who's feeling the call to create something, even if it doesn't all make sense yet. I hope you love it as much as I did.You can find Liz at:lizkimball.comhttps://www.instagram.com/lizkimball/And you can find me at:Instagram: ⁠⁠⁠⁠⁠⁠@anna_holtzman⁠⁠⁠⁠⁠⁠Email: anna@annaholtzman.comWebsite: ⁠⁠⁠⁠⁠⁠www.annaholtzman.com⁠

Yascha Mounk and Thomas Chatterton Williams explore what the summer of 2020 showed about America. Thomas Chatterton Williams is a staff writer at The Atlantic and the author of Losing My Cool, Self-Portrait in Black and White, and Summer of Our Discontent. He is a visiting professor of humanities and senior fellow at the Hannah Arendt Center at Bard College, a 2022 Guggenheim fellow, and a visiting fellow at AEI.  In this week's conversation, Yascha Mounk and Thomas Chatterton Williams discuss why the summer of 2020 played out as it did, the subsequent backlash, and why ideas core to the 2020 protests have now been quietly abandoned. Podcast production by Jack Shields and Leonora Barclay. Connect with us! ⁠Spotify⁠ | ⁠Apple⁠ | ⁠Google⁠ X: ⁠@Yascha_Mounk⁠ & ⁠@JoinPersuasion⁠ YouTube: ⁠Yascha Mounk⁠, ⁠Persuasion⁠ LinkedIn: ⁠Persuasion Community Learn more about your ad choices. Visit megaphone.fm/adchoices

The Boys welcome PATTY GUGGENHEIM on the podcast and hear her funny story.Get a Hat Pack Hat here!Watch the video of today's episode at Patreon.com/HollywoodHandbook This is a Headgum podcast. Follow Headgum on Twitter, Instagram, and Tiktok. Advertise on Hollywood Handbook via Gumball.fm See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week Mike “Mitch” Mitchell joins Scott to discuss his time on “The Simpsons”, constantly embarrassing himself, and the new season of “Twisted Metal”. Then, spiritual advisor Yoda stops by to break off a ‘sclusie about the next “Star Wars” movie. Finally, energy reader Deb drops in to talk about how the economy has impacted her business. Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/cbb

Today, Ceri sits down with the brilliant Shezad Dawood, whose expansive practice spans painting, textile, sculpture, film and digital media. He weaves stories, realities and symbolism to create richly layered worlds, and exhibits at leading institutions worldwide, from MoMA and the ICA to the Venice Biennale, Guangzhou Triennial and Manifesta. His works are held in major collections including the Guggenheim, Tate, LACMA, the National Gallery of Canada, and the British Museum. Shezad unpacks the inspiration behind his work. He shares why he always proposes the most ambitious, even bonkers ideas, how he maximises every project and why he stays clear of social media. Whether you're early in your career or looking to push your work further, this conversation is packed with insight from playing the long game as an artist. KEY TAKEAWAYS Your artistic voice emerges from a willingness to play, to fail, and to continuously reimagine your practice. It's less about perfection, and more about persistent, passionate inquiry. The intersection of artistic vision and community engagement is where the real magic happens. Shezad's approach to public art is revolutionary: it's not about imposing a vision, but creating a generous, collaborative dialogue. Your intuition is what will lead you to the right place. BEST MOMENTS "He was a really tough critic and teacher who would question every brush mark. It just gave me this real sort of critical kind of eye and voice on my own work.” “Stay with your practice. Keep developing, keep working at it. Don't be easily dissuaded, deterred, distracted or pushed into an avenue you don't want to go down." “Engage with people. You might have a coffee with somebody, they say something, and you think “Oh, that´s the missing thing that I was sort of looking for.” EPISODE RESOURCES https://shezaddawood.com PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** The Artist Mastermind Circle: Ready to stop second-guessing and start building momentum in your art career? Applications are now open for the next Artist Mastermind Circle—a six-month coaching programme for mid-career artists who are serious about growing their confidence, income, and opportunities. Apply by September 15th 2025 at https://cerihand.com/artist-mastermind-circle/ and take the next bold step. Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

What inspires a movement and how does it grow into something bigger than an idea? Alexandra Harper founded Women of Culture nearly a decade ago, and since then has grown her art centered group to a bicoastal company that includes trips to Paris! After attending one of Alex's events at the Guggenheim and then meeting her completely randomly when she came to my exhibit at SPRING/BREAK art show in NYC, I had to have her on the podcast!Check out Women of Culture and attend one of their amazing events here: https://womenofculture.org/Sign up for my free upcoming masterclass, Manifesting for the Heroine Artist, here: https://mailchi.mp/b95c65c94acc/manifesting-for-artistsCheck out all of our courses and coaching: www.thecreativeheroines.comYou can explore my art here! www.jessicalibor.comThanks for listening!!

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Jill Ciment, author of The Body in Question, was born in Montreal, Canada. She is the author of Small Claims, a collection of short stories, novels, and novellas; The Law of Falling Bodies, Teeth of the Dog, The Tattoo Artist, Heroic Measures, and Act of God, and the memoirs, Half a Life and Consent. She has been the recipient of numerous grants and awards, including the National Endowment for the Arts fellowship, two New York Foundation for the Arts fellowships, the Janet Heidinger Kafka Prize, and a Guggenheim fellowship. Jill Ciment is a professor emeritus at the University of Florida. She lives in Gainesville, Florida, and New York City. Jill joins Barbara DeMarco-Barrett to talk the various aspects of writing, but in particular, Jill's book, The Body in Question. Warning: There will be spoilers. A couple of months ago Barbara let our Patreon supporters know there would be talk in depth about the book and if listeners hate spoilers, read the book first—it's a thin novel—and then listen to the show. “I recently spent two weeks in jury duty on a criminal case,” says Barbara, “and during the first week I reread this book in which a criminal case is the B story. The A story is the affair the narrator has with a fellow juror known only by his number until three-quarters of the way through when the case ends.” Jill was on the show when this book came out around 2020. Barbara says, “I loved the book so much and wanted to bring Jill back to talk about the ending.” For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds of past interviews on our website. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded on June 27, 2025) Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

This and all episodes at: https://aiandyou.net/ . It's more important than ever to define just what we mean by words like intelligence, consciousness, and thinking. Here to help us is Kate Hayles, Distinguished Research Professor at UCLA and the James B. Duke Professor Emerita from Duke University. Her research focuses on the relations of literature, science and technology, and her books include Postprint: Books and Becoming Computational, Unthought: The Power of the Cognitive Nonconscious, and How We Think: Digital Media and Contemporary Technogenesis. She has fellowships from the National Endowment for the Humanities, the Guggenheim, a Rockefeller Residential Fellowship at Bellagio, and two University of California Presidential Research Fellowships, and she is a member of the American Academy of Arts and Sciences. We are focusing on her new book, Bacteria to AI:  Human Futures with our Nonhuman Symbionts, where she lays out a new theory of mind—what she calls an integrated cognitive framework—that includes the meaning-making practices of lifeforms from bacteria to plants, animals, humans, and some forms of artificial intelligence. In part 2, we talk about where meaning resides, for instance in poetry and literature, and how students' attention span has changed and shortened as a result of multitasking or multiple information streams and how educational models need to change, how our cognitive symbiosis with AI might evolve, and markers of whether AI has consciousness, sentience, or deserves any individual rights. All this plus our usual look at today's AI headlines. Transcript and URLs referenced at HumanCusp Blog.        

In this new episode of Reflections from The Three Bells, Adrian Ellis, shares insights on capital project planning and the value of defining purpose and impact before building and design.External references: Manal Ataya: https://www.linkedin.com/in/mataya-uae/ Sharjah Museums Authority: https://www.sharjahmuseums.ae/ The International Museum Leadership Congress (IMCC): https://www.museum.construction/The Bilbao effect: how Frank Gehry's Guggenheim started a global craze: https://www.theguardian.com/artanddesign/2017/oct/01/bilbao-effect-frank-gehry-guggenheim-global-craze Daniel Libeskind: https://libeskind.com/ Zaha Hadid: https://www.zaha-hadid.com/ Tadao Ando: https://www.tadao-ando.com/youth_2025/ Rem Koolhaas / OMA: https://www.oma.com/About the contributor:Adrian Ellis is the founder of AEA Consulting (1990) and the Global Cultural Districts Network (2013). He has worked in senior management and as a board member in both museums and the performing arts and as a strategy consultant to leading clients in the cultural, public, and business sectors around the world. + 

So, this subject was supposed to be hit on earlier in the episode, but because we got so many great questions, we had to wait a little while. Still, it's something fans are really curious about, so Anthony gives his thoughts. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In this episode of PhotoWork with Sasha Wolf, photographer and educator Sage Sohier joins Sasha to discuss a lifetime of extraordinary work, including her recently published books Passing Time and Americans Seen (Nazraeli Press), featuring photographs made primarily in the 1980s. They also delve into Witness to Beauty (Kehrer Verlag), an intimate and moving portrait of Sohier's mother alongside her two daughters—a project that embraces aging and the passage of time. Throughout the conversation, Sage shares her enthusiasm and thoughtful insights on staying open to new ideas and equipment, as well as the value of revisiting older work with fresh eyes. https://sagesohier.com https://www.instagram.com/sagesohier/ Sage Sohier (b. 1954, Washington, D.C.) grew up in Virginia and received her BA from Harvard University in 1975. She is a Boston-based photographer who has published eight monographs, including “Americans Seen,” (Nazraeli Press 2017 and 2024), “Passing Time,” (2023), and “Witness to Beauty” (Kehrer 2017). She is the recipient of Guggenheim and National Endowment for the Arts fellowships. Sohier's work has been included in group shows at the Museum of Modern Art, NY, the International Center of Photography, the Art Institute of Chicago, and in solo shows at Joseph Bellows Gallery, Robert Klein Gallery, Foley Gallery, Blue Sky Gallery, and The Museum of Contemporary Photography in Chicago. Her work is in numerous collections including the Museum of Modern Art, NY, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, and the Nelson-Atkins Museum of Art. She has taught photography at Harvard University and Wellesley College, and has done commissioned work for the George Gund Foundation in Cleveland, the Robert Rauschenberg Residency program in Captiva, FL, as well as editorial work for numerous publications

RICH GUGGENHEIM IS TRYING TO SAVE KIDS And he's continuing his work against gender affirming care, which is why he shared a recent panel at the FTC. He's on today to talk about that and more.

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

The queens put the "arch" in "archive" and rediscover some favorite poetry blasts from the past.Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.Listen to a reading Scott Cohen gave with poet  Tom Weatherly at St. Mark's Poetry Project in 1968. Read his poem "Coke" from a 1971 issue of The Paris Review.  David Henderson was raised in Harlem and helped to found the Black Arts Movement. Henderson's books include Neo-California (North Atlantic Books, 1998) and De Mayor of Harlem (E. P. Dutton, 1970). His first poetry collection, Felix of the Silent Forest, was published by Diane di Prima for Poets Press in 1967 with an introduction by Amiri Baraka. Read 3 of his poems here, or check out his Poem-A-Day selection (from Dec. 19, 2024) here.Also, check out David Henderson reading his poems with comment in the Recording Laboratory, May 3, 1978Carter Ratcliff's books on art include examinations of John Singer Sargent, Robert Longo, Jackson Pollock, and Andy Warhol. He won a Guggenheim for his fine art scholarship, and his articles and criticism have appeared widely in such magazines as Art in America, ARTnews, and Artforum. Check out his novel, Tequila Mockingbird and this poem from The Baffler. Read more about Iris Rifkin-Gainer here and watch an interview with her regarding her work in dance therapy. Read a poem of hers here too.Read Edwin Denby's bio as well as three poems here.David Denby is indeed an American journalist and reviewed films until 2014 for The New Yorker.  

[REBROADCAST FROM April 18, 2025] Today is the opening of the Guggenheim's major survey of artist Rashid Johnson, who was born in Chicago in the late 1970s. "Rashid Johnson: A Poem for Deep Thinkers," displays almost 90 pieces, including paintings, films, sculptures, and a site-specific installation at the top of the museum's rotunda. Johnson discusses his practice alongside Naomi Beckwith, Guggenheim deputy director and chief curator.

The Buss Era is officially over. Jeanie Buss is selling the Lakers to Guggenheim's Mark Walter who also is part of the Dodgers ownership group as a new era begins. Dime Dropper reacts to the end of a legendary era and what it means for the Lakers.  ALSO AVAILABLE ON YOUTUBE! FOLLOW US ON SOCIAL MEDIA Twitter: https://x.com/DimeDropperPod Instagram & TikTok: @DimeDropperPod

Anthony got a fun question about the front office, which made him think long and hard about what kind of investment Guggenheim might eventually make into the organization, once they get a close, honest look at how Jeanie Buss and Rob Pelinka run things the next year or so. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Anthony noticed a consistent trend in the skepticism he saw about Guggenheim buying the Lakers from Jeanie Buss. He addresses the hole in their argument. He then officially kicks off the offseason with a couple notes, then answers a few questions to start your work week. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The Dodgers were once a team mired in mediocrity (or worse). Their owners were quite literally stealing money from the team and were considered some of the least popular people in their sport. Things were BAD. Then, Guggenheim bought the team. Anthony and Eric Stephen talk about the transformation they've watched and whether Lakers fans can expect the same with their team. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The Lakers are often bogged down by the math they're constantly doing with organizational wins. Anthony and Eric discuss how the Dodgers have handled this under Guggenheim ownership and whether it might extend to the Lakers. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Using Dodgers history, Anthony and Eric forecast how a transition of power might go down us Guggenheim now owns the Lakers. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We know how Jeanie Buss would prefer to continue on after selling the Lakers, but that just isn't how Guggenheim tends to run their businesses. How will things go, then eventually look when those two approaches come to a head? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices