Podcasts about Gwendolyn Brooks

How many statues of women exist in the city of Chicago; people have asked this question every year in March for the last decade at least! What I found most surprising is that we're still getting the same answer. Why are there only a handful of monuments?Send a textSupport the showAlso, catch Dario on the new season of Netflix's "High On the Hog" here!!If you have anything you'd like us to talk about on the podcast, food or history, please email us at ⁠admin@77flavors.org WATCH US ON YOUTUBE ⁠HERE⁠! Visit our *NEW* website ⁠https://www.77flavors.org Follow us on IG: 77 Flavors of Chicago ⁠@77flavorschi⁠ Dario ⁠dariodurhamphoto Sara @sarafaddah

Legacy Living with Dr. Gloria Burgess.Celebrating Black History Month. Dr. Gloria lifts up Poet Laureate and Pulitzer Prize-winning Gwendolyn Brooks. In part 2 of this tribute, she reads several of Ms. Brooks's poems. Dr. Gloria emphasizes that Brooks's legacy lives on in her words and in her service to others. You'll want to share this podcast with your friends and family!https://www.talknetworkradio.com/hosts/legacylivinghttps://www.talknetworkradio.com/hosts/legacyliving

Anna Davlantes, WGN Radio's investigative correspondent, joins Bob Sirott to share what happened this week in Chicago history. Stories include the E2 nightclub stampede, Marina City’s landmark status, Walter Jacobson’s final newscast, and more.

Legacy Living with Dr. Gloria Burgess.Continuing the celebration of Black History Month, we lift up Poet Laureate Gwendolyn Brooks--her life and her legacy. Dr. Gloria shares the heart-warming story about meeting this Pulitzer Prize-winning poet. Not once, but twice! You'll want to share this podcast with your friends and family!https://www.talknetworkradio.com/hosts/legacyliving

Between the 1930s and '50s, Chicago was a hub for Black writers, poets and creatives – an era known as the Chicago Black Renaissance. A number of great literary, music and art names came out of Chicago during this renaissance – including Gwendolyn Brooks, Richard Wright, Margaret Walker, Nat King Cole, Langston Hughes and many more. In the Loop dives into Chicago's poetry scene then and now, with Chicago Public Library's division chief of Archives and Special Collections Chianta Dorsey, Chicago's first Poet Laureate avery r. young and Sudanese-American poet and archivist Israa Abbas. For a full archive of In the Loop interviews, head over to wbez.org/intheloop.

Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. And BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books.NOTES:Gwendolyn Brooks published "The Bean Eaters" in Poetry Magazine in 1959. Check out the video of this interview with Gwendolyn Brooks. Here is Sylvia Plath's "Aftermath." Listen to this October 1962 interview with Plath by Peter Orr for the British Council. Read Gary Soto's "Avocado Lake." Linda Pastan published her poem "Waiting Room" in the October 1984 issue of Poetry. Here's Suji Kwok Kim's "Occupation" which appeared in the July 1994 Poetry. Here is a 2008 reading by Kim (~28 min).Watch Cher introduce her song "Just Like Jesse James" during her Farewell Tour.Read "The Speed of Darkness" by Muriel Rukeyser.

“Literature is pathetic.” So claims Eileen Myles in their provocative and robust introduction to Pathetic Literature (Grove Press, 2022), a breathtaking mishmash of pieces ranging from poems to theater scripts to prose to anything in between, all exploring the so-called “pathetic” or awkwardly-felt moments and revelations around which lives are both built and undone. An utterly unique collection composed by the award-winning poet and writer, a global anthology of pieces from lesser-known classics by luminaries like Franz Kafka, Samuel R. Delany, and Gwendolyn Brooks to up-and-coming writers that examine pathos and feeling, giving a well-timed rehab to the word “pathetic”. Hal Coase is a PhD candidate at La Sapienza, University of Rome. 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

“Literature is pathetic.” So claims Eileen Myles in their provocative and robust introduction to Pathetic Literature (Grove Press, 2022), a breathtaking mishmash of pieces ranging from poems to theater scripts to prose to anything in between, all exploring the so-called “pathetic” or awkwardly-felt moments and revelations around which lives are both built and undone. An utterly unique collection composed by the award-winning poet and writer, a global anthology of pieces from lesser-known classics by luminaries like Franz Kafka, Samuel R. Delany, and Gwendolyn Brooks to up-and-coming writers that examine pathos and feeling, giving a well-timed rehab to the word “pathetic”. Hal Coase is a PhD candidate at La Sapienza, University of Rome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Sandra Jackson-Opoku is the author of three award-winning novels. The River Where Blood is Born won the American Library Association Black Caucus Award. Hot Johnny and the Women Who Loved Him was an Essence Magazine Bestseller in Hardcover Fiction. Debut mystery novel, Savvy Summers and the Sweet Potato Crimes won the Malice Minotaur Award for First Mystery. Her fiction, nonfiction, poetry, and dramatic works are widely published and produced, appearing in Midnight & Indigo, Aunt Chloe, Another Chicago Magazine, New Daughters of Africa, Adi Magazine, Africa Risen: A New Era of Speculative Fiction, About Place Journal, the Chicago Humanities Festival, Lifeline Theatre, and others. She also coedited the anthology Revise the Psalm: Work Celebrating the Writing of Gwendolyn Brooks.Jackson-Opoku has scripted original and adapted works for stage and screen. Stage plays include the co-authored Indignant Women: A Conversation with Lorraine Hansberry and Gwendolyn Brooks, and the novel adaptation, Hungry Ghost Festival, a play with music. Her television screenplays have won the Circle of Confusion Writers Discovery Fellowship, and ranked in the quarterfinals of the Stage 32 Diversity Springboard, ScreenCraft Cinematic Prose, We Screenplay Diverse Voices, and M Lab Summer Shorts.Other professional recognition includes a National Endowment for the Arts Fellowship, an American Library Association Black Caucus Award, the Chicago Esteemed Artist Award, a Lifeline Theatre BIPOC Adaptation Showcase, the Globe Soup Story Award, a Plentitudes Journal Fiction Prize, a Circle of Confusion Writers Discovery Fellowship, the Iceland Writers Retreat Alumni Award, the Hearst Foundation James Baldwin Fellowship at MacDowell Arts, a Pushcart Prize nomination, the Casa África Purorrelato Prize, and the Chicago Sun-Times “Finding Chicago's Next Voices” Award, and the Travis Bogard Fellowship at the Eugene O'Neill Center at Tao.Sandra Jackson-Opoku taught literature and writing at the University of Miami, Columbia College Chicago, and Chicago State University. She presents workshops, readings, and literary events worldwide. Website: https://flowauthors.com/sandra-jackson-opokuhttps://us.macmillan.com/books/9781250351906/savvysummersandthesweetpotatocrimes/Facebook Page: https://www.facebook.com/sandra.jacksonopokuInstagram: https://www.instagram.com/sjacksonopoku/LinkedIn: https://www.linkedin.com/in/sandra-jackson-opoku-81625617/Mentioned in the PodcastResearch on Cozies: https://www.sistersincrime.org/page/ARG2021Report#Sandra%20Jackson-OpokuFrank London Brown, Trumbull ParkJewell Parker Rhodes, Free Within Ourselves: Fiction Lessons for Black AuthorsStoryknife Writers Retreat: https://storyknife.org/William F. Deeck Malice Domestic Grant: https://www.malicedomestic.net/grantCrime Writers of Color: https://www.crimewritersofcolor.com/Queer Crime Writers: https://www.queercrimewriters.com/Every Fifth Reading Challenge: https://www.sistersincrime.org/page/everyfifth*****************About SinCSisters in Crime (SinC) was founded in 1986 to promote the ongoing advancement, recognition and professional development of women crime writers. Through advocacy, programming and leadership, SinC empowers and supports all crime writers regardless of genre or place on their career trajectory.www.SistersinCrime.orgFacebook: https://www.facebook.com/sincworldwideInstagram: https://www.instagram.com/sincworldwide/Threads: https://www.threads.com/@sincworldwideBluesky: https://bsky.app/profile/sincworldwide.bsky.socialTikTok: https://www.tiktok.com/@sincworldwideeTikTok:: https://www.tiktok.com/@sincnationalLinkedIn: https://www.linkedin.com/company/sisters-in-crime/The SinC Writers' Podcast is produced by Julian Crocamo https://www.juliancrocamo.com/

In today's poem, better is a dinner of herbs where love and memory are, than great riches. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

After reading Water by John Boyne, Rhiannon and Alex get into the meat of this question, talking about Boyne's recent comments about trans people, despite loving his books. How can we find nuance within cancel culture and does cancel culture have a powerful and useful role to play in our society? Alex has been reading the potently poetic Maud Martha by the astonishing writer Gwendolyn Brooks, whilst Rhiannon has been watching and loving Season Four of The Bear. Alex has also been reading the heat-mad story of five eighteenth century sisters plagued by rumours in The Hounding. Show notesFriendsWater by John BoyneMy Brother's Name is Jessica by John Boynehttps://www.theguardian.com/books/2021/jul/17/john-boyne-people-were-criticising-my-book-when-they-hadnt-read-itWhat We Don't Talk About: Sex And the Mess of Life by JoAnn WypijewskiMaud Martha by Gwendolyn BrooksThe Bear, Season FourThe Hounding by Xenobe PurvisThe Lamb by Lucy Rose

Last month, celebrated poet and author Mark Turcotte was named the sixth Poet Laureate of Illinois, joining the ranks of literary icons like Carl Sandburg and Gwendolyn Brooks. Even early in his career, Turcotte's powerful voice was drawing attention, particularly through his books Road Noise (1998) and Exploding Chippewas (2002) – works he published during his decade living in Door County. In this conversation, Debra Fitzgerald speaks with Mark about his journey from the Turtle Mountain Chippewa Reservation in North Dakota to his current role as Poet Laureate. They also reminisce about his years in Door County.

In this episode, Craig and Olivia sit down with Eve L. Ewing—author, scholar, poet, comic book writer, and professor—to talk about her newest book, Original Sins: The (Mis)Education of Black and Native Children and the Construction of American Racism. Eve shares the inspirations behind the book, the emotional toll of writing it, and the active role imagination plays in justice and systemic transformation. Read the full transcript: Use promo code: SWITCH when signing up for a new Libro.fm membership to get two additional credits to use on any audiobooks—meaning you'll have three from the start. About Eve L. Ewing: Eve L. Ewing is a writer, scholar, and cultural organizer from Chicago. She is the award-winning author of four books: Electric Arches, 1919, Ghosts in the Schoolyard, and Maya and the Robot. She is the co-author (with Nate Marshall) of the play No Blue Memories: The Life of Gwendolyn Brooks and has written several projects for Marvel Comics. Photo credit: Jaclyn Rivas Get Eve's Book: Original Sins 1919 Maya and the Robot Ghosts in the Schoolyard Books discussed on today's episode: The Serviceberry by Robin Wall Kimmerer Fundamentally by Nussaibah Younis Sunrise on the Reaping by Suzanne Collins Codename: Pale Horse by Scott Payne

Send me a Text Message about the show!Nicole Graev Lipson is the author of Mothers and Other Fictional Characters, which is a memoir written in essay form.Each essay in the book provides insight into her experience inl the many roles that she, and other women often feel pressure to play.  With a goal of going beyond the ready made stories of womanhood, she has managed to provide a very revealing and affirming picture of the woman she has become today-as well as who she is still becoming.  I was particularly drawn to her essay about her IVF journey, "Very Nice Blastocysts," which is all about her struggle to determine what to do with her three frozen embryos left over from a successful round of IVF.  I invited Nicole on to have one of my favorite types of conversations, a both/and one.  To talk about her views on life, how her experience has impacted those views, and why it's important to have these conversations with each other.  Mentioned in this episode:Nicole Graev LipsonLidia Yuknavitch "Chronology of Water"Gwendolyn Brooks "the mother"Support the showKeep up with all things WeSTAT on any (or ALL) of the social feeds:Instagram: https://www.instagram.com/westatpod/Threads: https://www.threads.net/@westatpodFacebook: https://www.facebook.com/westatpod/LinkedIn: https://www.linkedin.com/company/westatpod/Twitter: https://x.com/WeSTATpodHave a topic or want to stay in touch via e-mail on all upcoming news?https://www.westatpod.com/Help monetarily support the podcast by subscribing to the show! This is an easy way to help keep the conversations going:https://www.buzzsprout.com/768062/supporters/new

When Vivian Harsh became a Chicago librarian, she began what was called at the time the “Special Negro Collection” – an archive housing Black history and literature. Harsh knew writers like Langston Hughes, Gwendolyn Brooks, Richard Wright and Zora Neale Hurston personally. Their work is also housed in the Vivian Harsh Research Collection, at Chicago's Woodson Regional Library. Reset chats with the unit head of the collection, Raquel Flores-Clemons, to learn about Harsh's life and legacy. For a full archive of Reset interviews, head over to wbez.org/reset.

Today's poem is about politics (but this, too, shall pass). Happy reading. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. 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

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. 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

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's poem is Negro Hero (to Suggest Dorie Miller) by Gwendolyn Brooks. The Slowdown is your daily poetry ritual. It's fall, and that means “back-to-school”. We put together this week's episodes for the educators in our audience — especially those of you who may be looking for a little Slowdown treatment on those classroom classics, from Shakespeare to Frost. We hope you all enjoy these selections, as learners of any age. In this episode, Major writes… “When I last taught this poem, I asked a student to recite it. A Southeast Asian-American student could not mouth the once acceptable word “Negro.” Instead, without warning, she replaced the word with human, so that the title was “Human Hero,” and the black newspapers were “human weeklies.” It was heartbreaking. She simply could not say the word that, to her ear, sounded too close to the racial epithet with which we are all familiar. The class then discussed the nature of language and how context and time alter the meaning of words.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

Des chants d'amour aux chants contestataires, avec Kader Tarhanine (Mali/Algérie) et Three Days of Forest (France). #SessionLive Nos premiers invités sont les musiciens du groupe touareg Kader TarhanineKader Tarhanine, l'étoile montante de la musique moderne touarègue, captive un public de plus en plus large grâce à son talent inné et à sa fraîcheur artistique. En 2012, il a été propulsé sur la scène internationale avec sa chanson emblématique «Tarhanine Tegla : mon amour est parti», devenant ainsi une figure majeure pour la jeunesse touarègue dans le monde entier. Sa musique fusionne habilement les rythmes traditionnels touaregs avec des influences rock, créant un son unique et captivant. Les paroles poétiques de ses chansons, souvent en tamacheq ou en arabe, ajoutent une dimension profonde à sa musique, touchant les cœurs de ceux qui l'écoutent. En plus de son talent musical, Kader Tarhanine est également connu pour ses performances scéniques impressionnantes et sa maîtrise exceptionnelle de la guitare, ce qui lui a valu une réputation d'artiste incontournable de la scène touarègue moderne. Au fil des ans, il a collaboré avec de nombreuses icônes de la musique africaine, telles qu'Oumou Sangaré, Fatoumata Diawara, Sidiki Diabaté du Mali, Mouna Dendeny de la Mauritanie et même Carlou D du Sénégal. Ces collaborations ont non seulement enrichi sa musique, mais ont également fait de lui un artisan de la paix par la musique, utilisant son art pour promouvoir l'harmonie et la compréhension entre les peuples. En tant qu'ambassadeur symbolique, la musique de Kader Tarhanine transcende les frontières, prônant l'harmonie entre les régions sahélo-sahariennes jusqu'au Maghreb, souvent déchirées par des crises multiples. Son engagement en faveur de la paix et de l'unité, combiné à son talent musical indéniable, fait de lui une figure emblématique de la musique africaine contemporaine.Titres interprétés au grand studio- Kal Diabbas Live RFI- Imanine, titre Cd- Al Gamra Leila Live RFI voir le clip Line Up : Kader Tarhanine (Guitare lead et chant), Mohammed Zenani (Guitare et Chœur), Alhousseini Mohamed (Percussions, Batterie, Chœur), Drissa Kone (Guitare Basse) et le tour manager Ehamat Ag El Medy.Son : Mathias Taylor & Benoît Letirant.► Album Ikewane _Racines (Essakane Productions).- Site - Instagram- Chaîne YouTube - Deezer- Facebook - Afrika Festival Hollande 2023. #SessionLive Puis nous recevons le groupe Three Days of Forest pour la sortie de Four Trees. Et c'est en duo qu'Angela Flahault et Séverine Morfin présentent cet album. Une forme musicale atypique : Alto, batterie, claviers et voix augmentées d'effets électroniques. Un quartet à l'énergie rock qui rend hommage aux poétesses afro-américaines et anglophones engagées : Rita Dove, Gwendolyn Brooks, Charlotte Perkins Pilman, Charlotte Mew... Le groupe revisite ces poèmes sous forme de «protest songs» électriques et crée un folklore imaginaire, onirique et halluciné. Leur musique vole ainsi d'un possible chant de manifestants au free jazz, d'une chanson comptine à une frénésie de transe. Une Ode à la liberté́ ! Un duo de compositrices.  Depuis 2010, l'altiste Séverine Morfin et la chanteuse Angela Flahault collaborent autour de leur amour pour la poésie. En 2017, elles créent le Trio Three Days of Forest qui en 2023 devient un quartet. Three days of Forest est Lauréat Jazz Migration 2018.Séverine Morfin affectionne les dialogues féconds : écriture et improvisation, musique concrète et jazz, rock et exploration électro-acoustique, poésie contemporaine et chanson. Elle est actuellement en tournée avec plusieurs de ses projets : le quartet Mad Maple, le quartet Simone. Elle est en résidence au Théâtre de Vanves, au Comptoir à Fontenay. Éclectique, elle collabore avec des musiciens.nes d'horizons différents, de «Fred Pallem et Le Sacre du Tympan» au Wanderlust d'Ellinoa, de l'orchestre Danzas de Jean-Marie Machado au quintet de Piers Faccini... On l'a vue participer au Tubafest d'Andy Emler, aux Comédies musicales de Thomas de Pourquery, à l'ONJ Rituels,... Formée à l'alto classique et au Jazz à Paris, elle est titulaire d'une maîtrise d'Histoire contemporaine à La Sorbonne et d'un Master 2 de Musicologie. Elle collabore avec le poète Jacques Rebotier pour la création «Chansons Climatiques et Sentimentales», avec l'écrivaine Violaine Schwartz et compose la musique de deux spectacles chorégraphiques. Elle est directrice artistique de la compagnie Garden depuis 2017. Angela Flahault est une chanteuse tout terrain, elle aime s'emparer du rock, de la folk, de la chanson, de la pop, du jazz avec la liberté́ d'une voyageuse. Au conservatoire, elle se forme au chant lyrique, à la comédie musicale mais quitte cet enseignement quand elle découvre avec appétit la musique improvisée auprès de Phil Minton puis Joëlle Léandre. En 2004, parallèlement à ses études musicales, elle obtient un diplôme national d'arts plastiques aux Arts Décoratifs de Strasbourg. Depuis 2014, on la retrouve au chant lead auprès du grand orchestre du Tricollectif dans le Tribute à Lucienne Boyer. En 2017, elle se produit aussi dans Le serpent des mers et autres contes avec le flûtiste Joce Mienniel. On la retrouve au chant lead pour la création chorégraphique de Gregory Maqoma à l'Opéra de Lyon en 2021/22. En sept. 2022, elle part pour une expédition chantée sur le trajet de l'Odyssée d'Homère avec un équipage d'artistes internationaux avec Mission O. Angela Flahault trouve son équilibre dans le mélange des médiums artistiques. Qu'on ne lui demande pas de choisir entre la musique et les arts plastiques ! C'est précisément cela qui lui permet de proposer un univers fort et entier.Titres interprétés au grand studio- My Taste Live RFI- Great Trees, extrait de l'album- Crazy Woman Live RFI Line up : Angela Flahault - voix et effets et Séverine Morfin - alto et effets.Son : Benoît Letirant, Mathias Taylor, Mathieu Dubois.► Album Four Trees (Garden Rd 2024)- Site - Facebook - Instagram

Des chants d'amour aux chants contestataires, avec Kader Tarhanine (Mali/Algérie) et Three Days of Forest (France). #SessionLive Nos premiers invités sont les musiciens du groupe touareg Kader TarhanineKader Tarhanine, l'étoile montante de la musique moderne touarègue, captive un public de plus en plus large grâce à son talent inné et à sa fraîcheur artistique. En 2012, il a été propulsé sur la scène internationale avec sa chanson emblématique «Tarhanine Tegla : mon amour est parti», devenant ainsi une figure majeure pour la jeunesse touarègue dans le monde entier. Sa musique fusionne habilement les rythmes traditionnels touaregs avec des influences rock, créant un son unique et captivant. Les paroles poétiques de ses chansons, souvent en tamacheq ou en arabe, ajoutent une dimension profonde à sa musique, touchant les cœurs de ceux qui l'écoutent. En plus de son talent musical, Kader Tarhanine est également connu pour ses performances scéniques impressionnantes et sa maîtrise exceptionnelle de la guitare, ce qui lui a valu une réputation d'artiste incontournable de la scène touarègue moderne. Au fil des ans, il a collaboré avec de nombreuses icônes de la musique africaine, telles qu'Oumou Sangaré, Fatoumata Diawara, Sidiki Diabaté du Mali, Mouna Dendeny de la Mauritanie et même Carlou D du Sénégal. Ces collaborations ont non seulement enrichi sa musique, mais ont également fait de lui un artisan de la paix par la musique, utilisant son art pour promouvoir l'harmonie et la compréhension entre les peuples. En tant qu'ambassadeur symbolique, la musique de Kader Tarhanine transcende les frontières, prônant l'harmonie entre les régions sahélo-sahariennes jusqu'au Maghreb, souvent déchirées par des crises multiples. Son engagement en faveur de la paix et de l'unité, combiné à son talent musical indéniable, fait de lui une figure emblématique de la musique africaine contemporaine.Titres interprétés au grand studio- Kal Diabbas Live RFI- Imanine, titre Cd- Al Gamra Leila Live RFI voir le clip Line Up : Kader Tarhanine (Guitare lead et chant), Mohammed Zenani (Guitare et Chœur), Alhousseini Mohamed (Percussions, Batterie, Chœur), Drissa Kone (Guitare Basse) et le tour manager Ehamat Ag El Medy.Son : Mathias Taylor & Benoît Letirant.► Album Ikewane _Racines (Essakane Productions).- Site - Instagram- Chaîne YouTube - Deezer- Facebook - Afrika Festival Hollande 2023. #SessionLive Puis nous recevons le groupe Three Days of Forest pour la sortie de Four Trees. Et c'est en duo qu'Angela Flahault et Séverine Morfin présentent cet album. Une forme musicale atypique : Alto, batterie, claviers et voix augmentées d'effets électroniques. Un quartet à l'énergie rock qui rend hommage aux poétesses afro-américaines et anglophones engagées : Rita Dove, Gwendolyn Brooks, Charlotte Perkins Pilman, Charlotte Mew... Le groupe revisite ces poèmes sous forme de «protest songs» électriques et crée un folklore imaginaire, onirique et halluciné. Leur musique vole ainsi d'un possible chant de manifestants au free jazz, d'une chanson comptine à une frénésie de transe. Une Ode à la liberté́ ! Un duo de compositrices.  Depuis 2010, l'altiste Séverine Morfin et la chanteuse Angela Flahault collaborent autour de leur amour pour la poésie. En 2017, elles créent le Trio Three Days of Forest qui en 2023 devient un quartet. Three days of Forest est Lauréat Jazz Migration 2018.Séverine Morfin affectionne les dialogues féconds : écriture et improvisation, musique concrète et jazz, rock et exploration électro-acoustique, poésie contemporaine et chanson. Elle est actuellement en tournée avec plusieurs de ses projets : le quartet Mad Maple, le quartet Simone. Elle est en résidence au Théâtre de Vanves, au Comptoir à Fontenay. Éclectique, elle collabore avec des musiciens.nes d'horizons différents, de «Fred Pallem et Le Sacre du Tympan» au Wanderlust d'Ellinoa, de l'orchestre Danzas de Jean-Marie Machado au quintet de Piers Faccini... On l'a vue participer au Tubafest d'Andy Emler, aux Comédies musicales de Thomas de Pourquery, à l'ONJ Rituels,... Formée à l'alto classique et au Jazz à Paris, elle est titulaire d'une maîtrise d'Histoire contemporaine à La Sorbonne et d'un Master 2 de Musicologie. Elle collabore avec le poète Jacques Rebotier pour la création «Chansons Climatiques et Sentimentales», avec l'écrivaine Violaine Schwartz et compose la musique de deux spectacles chorégraphiques. Elle est directrice artistique de la compagnie Garden depuis 2017. Angela Flahault est une chanteuse tout terrain, elle aime s'emparer du rock, de la folk, de la chanson, de la pop, du jazz avec la liberté́ d'une voyageuse. Au conservatoire, elle se forme au chant lyrique, à la comédie musicale mais quitte cet enseignement quand elle découvre avec appétit la musique improvisée auprès de Phil Minton puis Joëlle Léandre. En 2004, parallèlement à ses études musicales, elle obtient un diplôme national d'arts plastiques aux Arts Décoratifs de Strasbourg. Depuis 2014, on la retrouve au chant lead auprès du grand orchestre du Tricollectif dans le Tribute à Lucienne Boyer. En 2017, elle se produit aussi dans Le serpent des mers et autres contes avec le flûtiste Joce Mienniel. On la retrouve au chant lead pour la création chorégraphique de Gregory Maqoma à l'Opéra de Lyon en 2021/22. En sept. 2022, elle part pour une expédition chantée sur le trajet de l'Odyssée d'Homère avec un équipage d'artistes internationaux avec Mission O. Angela Flahault trouve son équilibre dans le mélange des médiums artistiques. Qu'on ne lui demande pas de choisir entre la musique et les arts plastiques ! C'est précisément cela qui lui permet de proposer un univers fort et entier.Titres interprétés au grand studio- My Taste Live RFI- Great Trees, extrait de l'album- Crazy Woman Live RFI Line up : Angela Flahault - voix et effets et Séverine Morfin - alto et effets.Son : Benoît Letirant, Mathias Taylor, Mathieu Dubois.► Album Four Trees (Garden Rd 2024)- Site - Facebook - Instagram

Mike Stephen explores the impacts of the lack of homeschooling regulation in Illinois with Capitol News investigative reporters Beth Hundsdorfer and Molly Parker and then discusses the legacy of Gwendolyn Brooks with her daughter and president of Brooks Permissions: Nora Brooks Blakely.

BHMD Podcast presented by #NeemaBarnette returns for Season 4 with a special June Preview Episode for the season opener. From Curtis Mayfield, Gwendolyn Brooks, Paul Laurence Dunbar to Lena Horne and Kwame Ture, it's shaping up to be an exciting month.  Join host Reed or McCants as we dive into the exciting programs BHMD has in store for the month of June.Watch more videos at

Housing experts and activists have long described the foundational role race has played in the creation of mass homeownership. This book insistently tracks the inverse: the role of mass homeownership in changing the definition, perception, and value of race. In The Residential Is Racial: A Perceptual History of Mass Homeownership (Stanford University Press, 2024) Dr. Adrienne Brown reveals how mass homeownership remade the rubrics of race, from the early cases realtors made for homeownership's necessity to white survival through to the 1968 Fair Housing Act. Reading real estate archives and appraisal textbooks alongside literary works by F. Scott Fitzgerald, John Steinbeck, Lorraine Hansberry, Richard Wright, Gwendolyn Brooks, James Baldwin, Ralph Ellison, John Cheever, and Thomas Pynchon, Dr. Brown goes beyond merely identifying the discriminatory mechanisms that the real estate industry used to forestall black homeownership. Rather, she reveals that redlining and other forms of racial discrimination are perceptual modes, changing what it means to sense race and assign it value. Resituating residential discrimination as a key moment within the history of perception and aesthetics as well as of policy, demography, and democracy, we get an even more expansive picture of both its origins and its impacts. This book discovers that the racial honing of perception on the block—seeing race like a bureaucrat, an appraiser, and a homeowner—has become central to the functioning of the residential itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Housing experts and activists have long described the foundational role race has played in the creation of mass homeownership. This book insistently tracks the inverse: the role of mass homeownership in changing the definition, perception, and value of race. In The Residential Is Racial: A Perceptual History of Mass Homeownership (Stanford University Press, 2024) Dr. Adrienne Brown reveals how mass homeownership remade the rubrics of race, from the early cases realtors made for homeownership's necessity to white survival through to the 1968 Fair Housing Act. Reading real estate archives and appraisal textbooks alongside literary works by F. Scott Fitzgerald, John Steinbeck, Lorraine Hansberry, Richard Wright, Gwendolyn Brooks, James Baldwin, Ralph Ellison, John Cheever, and Thomas Pynchon, Dr. Brown goes beyond merely identifying the discriminatory mechanisms that the real estate industry used to forestall black homeownership. Rather, she reveals that redlining and other forms of racial discrimination are perceptual modes, changing what it means to sense race and assign it value. Resituating residential discrimination as a key moment within the history of perception and aesthetics as well as of policy, demography, and democracy, we get an even more expansive picture of both its origins and its impacts. This book discovers that the racial honing of perception on the block—seeing race like a bureaucrat, an appraiser, and a homeowner—has become central to the functioning of the residential itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Housing experts and activists have long described the foundational role race has played in the creation of mass homeownership. This book insistently tracks the inverse: the role of mass homeownership in changing the definition, perception, and value of race. In The Residential Is Racial: A Perceptual History of Mass Homeownership (Stanford University Press, 2024) Dr. Adrienne Brown reveals how mass homeownership remade the rubrics of race, from the early cases realtors made for homeownership's necessity to white survival through to the 1968 Fair Housing Act. Reading real estate archives and appraisal textbooks alongside literary works by F. Scott Fitzgerald, John Steinbeck, Lorraine Hansberry, Richard Wright, Gwendolyn Brooks, James Baldwin, Ralph Ellison, John Cheever, and Thomas Pynchon, Dr. Brown goes beyond merely identifying the discriminatory mechanisms that the real estate industry used to forestall black homeownership. Rather, she reveals that redlining and other forms of racial discrimination are perceptual modes, changing what it means to sense race and assign it value. Resituating residential discrimination as a key moment within the history of perception and aesthetics as well as of policy, demography, and democracy, we get an even more expansive picture of both its origins and its impacts. This book discovers that the racial honing of perception on the block—seeing race like a bureaucrat, an appraiser, and a homeowner—has become central to the functioning of the residential itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Housing experts and activists have long described the foundational role race has played in the creation of mass homeownership. This book insistently tracks the inverse: the role of mass homeownership in changing the definition, perception, and value of race. In The Residential Is Racial: A Perceptual History of Mass Homeownership (Stanford University Press, 2024) Dr. Adrienne Brown reveals how mass homeownership remade the rubrics of race, from the early cases realtors made for homeownership's necessity to white survival through to the 1968 Fair Housing Act. Reading real estate archives and appraisal textbooks alongside literary works by F. Scott Fitzgerald, John Steinbeck, Lorraine Hansberry, Richard Wright, Gwendolyn Brooks, James Baldwin, Ralph Ellison, John Cheever, and Thomas Pynchon, Dr. Brown goes beyond merely identifying the discriminatory mechanisms that the real estate industry used to forestall black homeownership. Rather, she reveals that redlining and other forms of racial discrimination are perceptual modes, changing what it means to sense race and assign it value. Resituating residential discrimination as a key moment within the history of perception and aesthetics as well as of policy, demography, and democracy, we get an even more expansive picture of both its origins and its impacts. This book discovers that the racial honing of perception on the block—seeing race like a bureaucrat, an appraiser, and a homeowner—has become central to the functioning of the residential itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Housing experts and activists have long described the foundational role race has played in the creation of mass homeownership. This book insistently tracks the inverse: the role of mass homeownership in changing the definition, perception, and value of race. In The Residential Is Racial: A Perceptual History of Mass Homeownership (Stanford University Press, 2024) Dr. Adrienne Brown reveals how mass homeownership remade the rubrics of race, from the early cases realtors made for homeownership's necessity to white survival through to the 1968 Fair Housing Act. Reading real estate archives and appraisal textbooks alongside literary works by F. Scott Fitzgerald, John Steinbeck, Lorraine Hansberry, Richard Wright, Gwendolyn Brooks, James Baldwin, Ralph Ellison, John Cheever, and Thomas Pynchon, Dr. Brown goes beyond merely identifying the discriminatory mechanisms that the real estate industry used to forestall black homeownership. Rather, she reveals that redlining and other forms of racial discrimination are perceptual modes, changing what it means to sense race and assign it value. Resituating residential discrimination as a key moment within the history of perception and aesthetics as well as of policy, demography, and democracy, we get an even more expansive picture of both its origins and its impacts. This book discovers that the racial honing of perception on the block—seeing race like a bureaucrat, an appraiser, and a homeowner—has become central to the functioning of the residential itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. 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

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. 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

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

***CONTENT WARNING*** This episode includes discussion of self-harm. Please feel free to not engage with the episode if this subject matter is not in alignment with where you are in your journey right now. It's ok to take care of yourself. On this episode of BMU, the guys discuss the mental health crisis we're facing in the United States and the particular challenges Black men face in dealing with mental health crises. Their discussion evaluates the limits of our strength and intelligence in dealing with our most difficult issues, when we learn we're not allowed to cry or emote, and the challenges associated with determining how much and when we can lean on each other. “It's so hard to forget pain, but it's even harder to remember sweetness. We have no scar to show for happiness.” – Chuck Palahniuk “we are each other's harvest:we are each other's business:we are each other'smagnitude and bond.” – Gwendolyn Brooks, an excerpt from “Paul Robeson”   Mental Health Resources: If you are considering suicide or are in emotional distress, consider using the National Suicide Lifeline: Dial 988 or 1-800-784-2433 talkspace.com: Talkspace users have access to licensed therapists through the website or mobile app on iOS and Android. betterhelp.com: BetterHelp is a mental health platform that provides direct online counseling and therapy services via web or phone text communication.

On May 1, 1901, professor, poet, and literary critic Sterling A. Brown was born in Washington, D.C. Brown is best known for his work in educating and inspiring young poets during his tenure at Howard University.  Before beginning his career as a professor, Brown earned his bachelor's degree from Williams College in 1922 and completed a master's degree from Harvard University. He then taught at Lincoln University and Fisk University before settling at Howard University in 1929. Brown taught at Howard for 40 years, during which he taught poets Amiri Baraka and Gwendolyn Brooks. Sterling A. Brown died in 1989 at 87 years old. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pauline Hopkins was a literary pioneer in the science fiction, fantasy, romance, and detective genres. She wrote plenty of short stories, essays, books, and plays. But as is the case with so many Black women writers from the 19th and early 20th centuries, Hopkins's work fell into relative obscurity. Thanks to the work of scholars like Dr. Claudia Tate, Dr. Mary Helen Washington, and Ann Allen Shockley, Hopkins is now getting recognition for being the literary pioneer that she was. There are many more pieces to Pauline's puzzle that have yet to be found. But the rediscovery of Pauline's legacy is an ongoing labor of love. In this episode, Yves and Katie honor the life and work of the legendary author and editor Pauline Hopkins.   Get show notes at ontheme.show Follow us on Instagram @onthemeshow Email us at hello@ontheme.showSee omnystudio.com/listener for privacy information.

The American Poet Laureate: A History of U.S. Poetry and the State (Columbia University Press, 2023) by Dr. Amy Paeth shows how the state has been the silent centre of poetic production in the United States since World War II. It is the first history of the national poetry office, the U.S. poet laureate, highlighting the careers of Elizabeth Bishop, Robert Frost, Gwendolyn Brooks, Robert Pinsky, Tracy K. Smith, Juan Felipe Herrera, and Joy Harjo at the nation's Capitol. It is also a history of how these state poets participated in national arts programming during the Cold War. Drawing on previously unexplored archival materials at the Library of Congress and materials at the John F. Kennedy Presidential Library, Dr. Paeth describes the interactions of federal bodies, including the Central Intelligence Agency, the State Department, and the National Endowment for the Arts, with literary organisations and with private patrons, including “Prozac heiress” Ruth Lilly. The consolidation of public and private interests is crucial to the development of state verse culture, recognizable at the first National Poetry Festival in 1962, which followed Robert Frost's “Mission to Moscow,” and which became dominant in the late 1990s and early 2000s. The American Poet Laureate contributes to a growing body of institutional and sociological approaches to U.S. literary production in the postwar era and demonstrates how poetry has played a uniquely important, and largely underacknowledged, role in the cultural front of the Cold War. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

The American Poet Laureate: A History of U.S. Poetry and the State (Columbia University Press, 2023) by Dr. Amy Paeth shows how the state has been the silent centre of poetic production in the United States since World War II. It is the first history of the national poetry office, the U.S. poet laureate, highlighting the careers of Elizabeth Bishop, Robert Frost, Gwendolyn Brooks, Robert Pinsky, Tracy K. Smith, Juan Felipe Herrera, and Joy Harjo at the nation's Capitol. It is also a history of how these state poets participated in national arts programming during the Cold War. Drawing on previously unexplored archival materials at the Library of Congress and materials at the John F. Kennedy Presidential Library, Dr. Paeth describes the interactions of federal bodies, including the Central Intelligence Agency, the State Department, and the National Endowment for the Arts, with literary organisations and with private patrons, including “Prozac heiress” Ruth Lilly. The consolidation of public and private interests is crucial to the development of state verse culture, recognizable at the first National Poetry Festival in 1962, which followed Robert Frost's “Mission to Moscow,” and which became dominant in the late 1990s and early 2000s. The American Poet Laureate contributes to a growing body of institutional and sociological approaches to U.S. literary production in the postwar era and demonstrates how poetry has played a uniquely important, and largely underacknowledged, role in the cultural front of the Cold War. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The American Poet Laureate: A History of U.S. Poetry and the State (Columbia University Press, 2023) by Dr. Amy Paeth shows how the state has been the silent centre of poetic production in the United States since World War II. It is the first history of the national poetry office, the U.S. poet laureate, highlighting the careers of Elizabeth Bishop, Robert Frost, Gwendolyn Brooks, Robert Pinsky, Tracy K. Smith, Juan Felipe Herrera, and Joy Harjo at the nation's Capitol. It is also a history of how these state poets participated in national arts programming during the Cold War. Drawing on previously unexplored archival materials at the Library of Congress and materials at the John F. Kennedy Presidential Library, Dr. Paeth describes the interactions of federal bodies, including the Central Intelligence Agency, the State Department, and the National Endowment for the Arts, with literary organisations and with private patrons, including “Prozac heiress” Ruth Lilly. The consolidation of public and private interests is crucial to the development of state verse culture, recognizable at the first National Poetry Festival in 1962, which followed Robert Frost's “Mission to Moscow,” and which became dominant in the late 1990s and early 2000s. The American Poet Laureate contributes to a growing body of institutional and sociological approaches to U.S. literary production in the postwar era and demonstrates how poetry has played a uniquely important, and largely underacknowledged, role in the cultural front of the Cold War. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Join your hosts Katherine and Shelbi as they reflect on solo time, why they embrace it, and where it stands in our individualistic, digitally connected, and increasingly lonely society.Expressing What We Want and Need from Alone TimeHuman Design helps in understanding when and how we need to be alone, whether it's to rest, think, or be inspired by what's around usThe importance of informing others that you can't be there when you're dipping into solo timeFinding Comfort in Being With Yourself Solo time can serve as an opportunity to make progress towards your goals, lean into contentment, and deeply learn about yourself“If you are lonely when you're alone you are in bad company.” - Jean-Paul SartreEmbracing the “delicious” nature of aloneness and knowing that “you are with you” (referencing Aloneness by Gwendolyn Brooks, in minutes 39:22-42:03 of her University of Iowa poetry reading on March 4, 1974)Examining Convenience's Cost Over ConnectionWhile time is a commodity for all, it's important to extend the invitation to connect if you're enjoying getting to know someoneSocial media voyeurism isn't a form of connecting, but engaging with someone's content to show interest and share commonalities is an easy way to reach outSeeking Community in an Increasingly Pay-to-Play SocietyThere's an opportunity to keep an eye out for loneliness in others and connect them to people whose company they may enjoy and benefit fromInstagram serves as a modern day calling card with public displays of activity increasing loneliness in others, demonstrating that “solitude is less solitary than ever” (referencing Derek Thompson's article, Why Americans Suddenly Stopped Hanging Out, in The Atlantic)We're seeing a decline in free/low cost community institutions and an increase in elite bubbles of privileged community, creating a messy middle phase in society as we unravel individualism, unpack capitalism, and learn soft skills to develop meaningful relationshipsWe'd love to hear your thoughts. You can email us at tablepancakespod@gmail.com. We'd also love if you'd rate, review and subscribe to the show!Join the Table Pancakes Community on IG: @tablepancakespodStay in touch with us: @shelbihq & @katherinehfoster Hosted on Acast. See acast.com/privacy for more information.

In every symptom is a seed of power, ladies! Diane Seuss joins to talk Adrienne Rich and Gwendolyn Brooks.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.      Diane's MODERN POETRY is available March 5, 2024 from Graywolf Press.Read Adrienne Rich's poem about Marie Curie: "Power." You can hear Cheryl Strayed read the poem and discuss it here. Or listen to Adrienne Rich read the poem here. Read Gwendolyn Brooks's "the mother." You can hear Brooks read "the mother" here.Women in Therapy is  Harriet G. Lerner's book published by Harper and Row.We reference Plath's poem "Edge" from our recent Galentine's episode (listen here!)Watch this 1986 interview with Gwendolyn Brooks conducted by Alan Jabbour, director of the Library of Congress' American Folklore division, and E. Ethelbert Miller, poet and director of the African American Resource Center at Howard University (~30min).

My book Midlife now exists. Buy it here!We've got new stickers! Free for Secret Show subscribers.For more SLEERICKETS, check out the SECRET SHOW and join the group chat!Wear SLEERICKETS t-shirts and hoodies. They look good!Some of the topics mentioned in this episode:– The E-Verse Equinox Reading in Philadelphia coming up on Wednesday, March 13 (Facebook event page)– Gwendolyn Brooks' Selected– Alcaeus 38a, trans. Christopher Childers– Horace iv.7, trans. A. E. Housman– Horace i.4, trans. Christopher Childers– Past Lives– The Before Trilogy– Dirty Pretty Things– Reality Bites– The Bridges of Madison County– The horrible wedding article– Poets in Their Youth by Eileen SimpsonFrequent topics:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Austin Allen– Jonathan Farmer– Zara Raab– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie HilbertAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander SmithMore Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal Motamed

Scientist, novelist, poet, philosopher, feminist, it's 400 years since the birth of Margaret Cavendish. An extraordinary character in many ways - she lived in a tumultuous time, when ideas around science, religion and the very nature of existence were being challenged and changed. And she had a view on them all. Margaret Cavendish's writings are vast and broad and yet detailed and thoughtful. However for most of the last 400 years she has languished in obscurity before being rediscovered in the last 40 years and elevated to the status of feminist icon. She was in her time very much the only, and often outspoken, female voice in circles dominated by men – and by and large they hated her for it.Nandini Das looks at the life, work and influence of Margaret Cavendish with:Dr Emma Wilkins who has followed the rise in interest in the work and life of Margaret Cavendish in recent times, and has a particular focus on her science.Professor Anne Thell, Vice President of the International Margaret Cavendish Society who is leading work on interpreting and presenting Margaret Cavendish's writing for wider audiences.Francesca Peacock, whose new biography of Margaret Cavendish ‘Pure Wit' sets her in a modern feminist context.And Emeritus Professor of Physics Athene Donald, who includes Margaret Cavendish in her book on women in science ‘ Not just for the boys' arguing that the treatment of Margaret Cavendish by the 17th century scientific establishment illustrates negative attitudes and issues which have still to be addressed for women in science today.In the Free Thinking programme archive you can find a collection of episodes exploring women in the world including programmes about Aphra Behn, Chaucer's the Wife of Bath, Julian of Norwich and Margery Kempe, Gwendolyn Brooks and Phillis Wheatley.Producer: Julian Siddle

Today we finish up our annual 6-week summer rebroadcast series. We'll return next week, September 12th with all new episodes for Season 13. A reminder that during this rebroadcast series, our friends of the show, Elly and T have been releasing a companion podcast called Trauma Bonded, where they discuss and dissect each episode of This Is Actually Happening. So check them out if you haven't already, as they will continue releasing new episodes alongside the show as the new season begins next week. Today's rebroadcast episode was one of the most powerful and personally impactful episodes for me and for the show itself. Titled “What if you entered the Void?” it follows the unbelievable journey of Dexter Booth and originally aired as episode 158 on July 28th, 2020.A man suffering the deep generational traumas of poverty, racism, abuse and mental illness finds transformative power in an ancient plant medicine.Producer: Whit MissildineToday's episode featured Dexter L. Booth. Dexter is the author of the poetry collection, Scratchingthe Ghost from Graywolf Press, which won the 2012 Cave Canem Poetry Prize, as well as the chapbook Rhapsody from Etchings Press. Booth's poems have been included in the anthologies The Best American Poetry 2015, The Burden of Light: Poems on Illness and Loss, The Golden Shovel Anthology honoring Gwendolyn Brooks, and Furious Flower: Seeding the Future of African American Poetry. He is a professor in the Ashland University MFA program and a residential faculty member at Paradise Valley Community College where he teaches poetry and English composition. You can find out more about Dexter, his writing and teaching by following him on Instagram@dexter_two_omelettes, or on Facebook or Twitter. You can find his books Scratching the Ghost and Rhapsody on Bookshop.org, Amazon, or wherever books are sold.Social Media: Instagram: @actuallyhappeningWebsite: www.thisisactuallyhappening.comSupport the Show: Support The Show on Patreon https://www.patreon.com/happeningEngage with the Community: Join the This Is Actually Happening Discussion Group on Facebook: https://www.facebook.com/groups/201783687561039/Shop at the Store: The This Is Actually Happening online store is now officially open. Follow this link: www.actuallyhappeningstore.com to access branded t-shirts, posters, stickers and more from the shop. Content/Trigger Warnings: domestic abuse, mental illness, suicide, explicit languageIntro Music: "Illabye" – TipperMusic Bed: “Union Flow” - SpunticOutro Music: "The Moon is Down" - El Diablo & Adam Schraft (Rojo y Negro) @eldiablosf @rojo-y-negro www.eldiablobass.com/ ServicesIf you or someone you know is struggling with the effects of trauma or mental illness, please refer to the following resources:National Suicide Prevention Lifeline: 1-800-273-8255 National Alliance on Mental Illness: 1-800-950-6264National Sexual Assault Hotline (RAINN): 1-800-656-HOPE (4673)Crisis Text Line: Within the US, text HOME to 741741See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.