Podcasts about heilbrun

Today's episode features: Carolyn Gold Heilbrun, Academic and Novelist Sponsored by ⁠⁠⁠2 Complicated 4 History⁠⁠⁠ Produced by ⁠Primary Source Media

Braden talks about the Padres ahead of their series in Kansas City against the Royals with Bally Sports San Diego reporter, Annie Heilbrun 

Gwynn & Chris talk about the most recent Padres series, the upcoming series against the Guardians, Fernando Tatis Jr., and much more with Bally Sports San Diego reporter Annie Heilbrun.

Gwynn & Chris run through the Daily Gambit and talk with Bally Sports San Diego Padres reporter, Annie Heilbrun.

https://www.lukeford.net/Dennis/indexp2.html My Dennis Prager biography https://lukeford.net/blog/?page_id=31620 My Dennis Prager story Friends: Understanding the Power of our Most Important Relationships: "we tend to underestimate the significance of psychological wellbeing as the bedrock on which our success in life is founded. If our sense of wellbeing is significantly diminished for any length of time, we are likely to slide into depression, and that leads to a downward spiral into ill health. If our mood is positive and everything is upbeat, we are not only more willing to engage with others socially but we approach everything we do with optimism and enthusiasm. We'll work harder to get even the most boring tasks done. It isn't hard to see how happiness, a sense of positivity and a ‘can do' attitude can spread rapidly through a population…" https://lukeford.net/blog/?p=143111 https://www.nytimes.com/2022/05/10/arts/francis-fukuyama-history-liberalism.html Fame, he said, also made him “less reliant on the good opinion of a circle of friends.” In 2004, he broke with his fellow neoconservatives over what he saw as their delusionally sunny assessment of the Iraq war. In an article in The National Interest, he blasted people like the columnist Charles Krauthammer for promoting a reckless nation-building project untethered to reality, and betraying neoconservatism's traditional wariness of grand social experiments. Today, Fukuyama called the resulting schism “difficult” but liberating. “I could think on my own,” he said. He said he hasn't spoken since to Wolfowitz (at the time, the deputy secretary of defense), though Fukuyama — a strong critic of Donald Trump — recently patched it up with another old neoconservative friend, William Kristol, following Kristol's Never Trump turn. Jacob Heilbrunn, the author of “They Knew They Were Right: The Rise of the Neocons” and current editor of The National Interest, said Fukuyama had a more reality-based perspective than his ex-friends. “Intellectuals have a predilection for extremism,” Heilbrun said. “He came out of an extreme movement, but I think he managed to keep his bearings.” Join this channel to get access to perks: https://www.youtube.com/channel/UCSFVD7Xfhn7sJY8LAIQmH8Q/join https://odysee.com/@LukeFordLive, https://lbry.tv/@LukeFord, https://rumble.com/lukeford https://dlive.tv/lukefordlivestreams Listener Call In #: 1-310-997-4596 Superchat: https://entropystream.live/app/lukefordlive Bitchute: https://www.bitchute.com/channel/lukeford/ Soundcloud MP3s: https://soundcloud.com/luke-ford-666431593 Code of Conduct: https://lukeford.net/blog/?p=125692 https://www.patreon.com/lukeford http://lukeford.net Email me: lukeisback@gmail.com or DM me on Twitter.com/lukeford Support the show | https://www.streamlabs.com/lukeford, https://patreon.com/lukeford, https://PayPal.Me/lukeisback Facebook: http://facebook.com/lukecford Feel free to clip my videos. It's nice when you link back to the original.

Welcome to ONE. In each episode Robert interviews ONE Christian to hear their story. Join us in learning about the ONE body of Christ, ONE story at a time. Visit https://www.northpark.com/one for links to the audio-only PODCAST on your favorite podcast platform.   In Episode 15, we talk with Eric Heilbrun from NorthPark. Eric is married to Lauri and they have two adult daughters. Eric shares about his long journey to faith that Jesus is the Messiah. While Eric's family is Jewish, he did not grow up regularly attending synagogue. But after marrying, he began attending church with Lauri who is a Christian. Learn how God used many people and ministries of the church to bring Eric to faith in Jesus. Hear Eric reflect on what it means to live out his faith amongst those who don't know Jesus. Listen to the end and be encouraged to hear how God is still at work in Eric's life as retirement nears and he contemplates how he'll serve God in this next phase of life.

The CPG Guys, Sri & PVSB, are joined in this episode by  Russ Heilbrun, Director of eCommerce, Category Management & Business Insight at Johnson & Johnson supporting Target.Russ answers these questions posed to him:Your career has passed through retail including being a buyer for several categories at Target and now CPG. Decompose this for our audience and tell us how different it is.The pandemic has obviously changed shopper behavior for good it seems - do you agree. In the role you play how are you responding to this and preparing for the transformation?Taking you back to your retail days, was omnichannel a quest for target way back and if so how did ya’ll evolve at Target?eCommerce is a balance between short term and long term based on shopper analytics & insights. How do you balance both and what should a merchandiser focus on? How do your efforts in diversity & inclusion contribute to a better workplace at J&J?Let’s get into the word omni channel. Can you take us through what that word means to you and what are the drivers of it? Also, a prediction - is store traffic coming back?Is click & collect the future of shopper basket behavior. If so, how does one drive a basket with it?What is your advice for others on the omnichannel journey like you? CPG Guys Website: http://CPGGuys.comInstagram: http://instagram.com/pvsbondTwitter: http://twitter.com/cpgguysLinkedIn: http://www.linkedin.com/company/cpgpodcastMedia Kit: http://tinyurl.com/cpgguysmedia DISCLAIMER: The content in this podcast episode is provided for general informational purposes only. By listening to our episode, you understand that no information contained in this episode should be construed as advice from CPGGUYS, LLC or the individual author, hosts, or guests, nor is it intended to be a substitute for research on any subject matter. Reference to any specific product or entity does not constitute an endorsement or recommendation by CPGGUYS, LLC. The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent. The views expressed by the CPGGUYS, LLC do not represent the views of their employers or the entity they represent.CPGGUYS LLC expressly disclaims any and all liability or responsibility for any direct, indirect, incidental, special, consequential or other damages arising out of any individual’s use of, reference to, or inability to use this podcast or the information we presented in this podcast. 

5R154- Ethan and Chris break down conference championship Sunday that leaves us with the New England Patriots and the Los Angeles Rams playing for the Super Bowl. We look at all the big controversial refereeing decisions, how tired we are of the Patriots, how we felt Brian Flores did coordinating the defense, and everything else surrounding the football this weekend. Thanks to Brunt Insurance, The Law Office of Lloyd J. Heilbrun, and Berlitz Broward for sponsoring the show. 

The Coffee Break is the daily Christian talk and local events program on Hope Radio KCMI 97.1FM serving the Scottsbluff, NE area. Tune in for interviews with authors, musicians, pastors, and others in the Christian community and our local area! Visit our website: www.kcmifm.com Like us on Facebook: www.facebook.com/kcmifm   Theme Music: "Life of Riley" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Women’s history, if they had any, consisted in their being beautiful enough to become events in male lives,” the feminist academic Carolyn R. Heilbrun noted in a series of 1997 lectures, suggesting the need for new narratives and new ways of writing women’s lives. Brooke Hauser‘s Enter Helen: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman is an exciting new entry into group of books that have emerged in the last few years to offer provocative and innovative biographical readings of women’s lives (Kate Bolick’s Spinster, for example). In Enter Helen, Hauser contextualizes Helen Gurley Brown’s experience, demonstrating how the times in which she lived affected her and she, in turn, affected them. In many ways a misfit, Gurley Brown’s approach made many in the women’s movement uneasy. Rather than arguing for the overthrow of the patriarchy, she advocated that women use everything at their disposal to make it in a man’s world. Advice that might ring a little retro, it was nonetheless well intentioned. And, in a long career devoted to the advancement of women, Gurley Brown worked tirelessly to make visible narratives that might otherwise have remained unavailable to her readers. She did not think she was beautiful and her life was far more than an event in the life of a man. It was the main event, and it’s a life whose impact continues to be felt to this day- particularly in the magazine and advertising industries but also in the lives of single women discovering and re-discovering her classic book. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Women’s history, if they had any, consisted in their being beautiful enough to become events in male lives,” the feminist academic Carolyn R. Heilbrun noted in a series of 1997 lectures, suggesting the need for new narratives and new ways of writing women’s lives. Brooke Hauser‘s Enter Helen: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman is an exciting new entry into group of books that have emerged in the last few years to offer provocative and innovative biographical readings of women’s lives (Kate Bolick’s Spinster, for example). In Enter Helen, Hauser contextualizes Helen Gurley Brown’s experience, demonstrating how the times in which she lived affected her and she, in turn, affected them. In many ways a misfit, Gurley Brown’s approach made many in the women’s movement uneasy. Rather than arguing for the overthrow of the patriarchy, she advocated that women use everything at their disposal to make it in a man’s world. Advice that might ring a little retro, it was nonetheless well intentioned. And, in a long career devoted to the advancement of women, Gurley Brown worked tirelessly to make visible narratives that might otherwise have remained unavailable to her readers. She did not think she was beautiful and her life was far more than an event in the life of a man. It was the main event, and it’s a life whose impact continues to be felt to this day- particularly in the magazine and advertising industries but also in the lives of single women discovering and re-discovering her classic book. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Women’s history, if they had any, consisted in their being beautiful enough to become events in male lives,” the feminist academic Carolyn R. Heilbrun noted in a series of 1997 lectures, suggesting the need for new narratives and new ways of writing women’s lives. Brooke Hauser‘s Enter Helen: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman is an exciting new entry into group of books that have emerged in the last few years to offer provocative and innovative biographical readings of women’s lives (Kate Bolick’s Spinster, for example). In Enter Helen, Hauser contextualizes Helen Gurley Brown’s experience, demonstrating how the times in which she lived affected her and she, in turn, affected them. In many ways a misfit, Gurley Brown’s approach made many in the women’s movement uneasy. Rather than arguing for the overthrow of the patriarchy, she advocated that women use everything at their disposal to make it in a man’s world. Advice that might ring a little retro, it was nonetheless well intentioned. And, in a long career devoted to the advancement of women, Gurley Brown worked tirelessly to make visible narratives that might otherwise have remained unavailable to her readers. She did not think she was beautiful and her life was far more than an event in the life of a man. It was the main event, and it’s a life whose impact continues to be felt to this day- particularly in the magazine and advertising industries but also in the lives of single women discovering and re-discovering her classic book. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Women’s history, if they had any, consisted in their being beautiful enough to become events in male lives,” the feminist academic Carolyn R. Heilbrun noted in a series of 1997 lectures, suggesting the need for new narratives and new ways of writing women’s lives. Brooke Hauser‘s Enter Helen: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman is an exciting new entry into group of books that have emerged in the last few years to offer provocative and innovative biographical readings of women’s lives (Kate Bolick’s Spinster, for example). In Enter Helen, Hauser contextualizes Helen Gurley Brown’s experience, demonstrating how the times in which she lived affected her and she, in turn, affected them. In many ways a misfit, Gurley Brown’s approach made many in the women’s movement uneasy. Rather than arguing for the overthrow of the patriarchy, she advocated that women use everything at their disposal to make it in a man’s world. Advice that might ring a little retro, it was nonetheless well intentioned. And, in a long career devoted to the advancement of women, Gurley Brown worked tirelessly to make visible narratives that might otherwise have remained unavailable to her readers. She did not think she was beautiful and her life was far more than an event in the life of a man. It was the main event, and it’s a life whose impact continues to be felt to this day- particularly in the magazine and advertising industries but also in the lives of single women discovering and re-discovering her classic book. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Women’s history, if they had any, consisted in their being beautiful enough to become events in male lives,” the feminist academic Carolyn R. Heilbrun noted in a series of 1997 lectures, suggesting the need for new narratives and new ways of writing women’s lives. Brooke Hauser‘s Enter Helen: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman is an exciting new entry into group of books that have emerged in the last few years to offer provocative and innovative biographical readings of women’s lives (Kate Bolick’s Spinster, for example). In Enter Helen, Hauser contextualizes Helen Gurley Brown’s experience, demonstrating how the times in which she lived affected her and she, in turn, affected them. In many ways a misfit, Gurley Brown’s approach made many in the women’s movement uneasy. Rather than arguing for the overthrow of the patriarchy, she advocated that women use everything at their disposal to make it in a man’s world. Advice that might ring a little retro, it was nonetheless well intentioned. And, in a long career devoted to the advancement of women, Gurley Brown worked tirelessly to make visible narratives that might otherwise have remained unavailable to her readers. She did not think she was beautiful and her life was far more than an event in the life of a man. It was the main event, and it’s a life whose impact continues to be felt to this day- particularly in the magazine and advertising industries but also in the lives of single women discovering and re-discovering her classic book. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Women’s history, if they had any, consisted in their being beautiful enough to become events in male lives,” the feminist academic Carolyn R. Heilbrun noted in a series of 1997 lectures, suggesting the need for new narratives and new ways of writing women’s lives. Brooke Hauser‘s Enter Helen: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman is an exciting new entry into group of books that have emerged in the last few years to offer provocative and innovative biographical readings of women’s lives (Kate Bolick’s Spinster, for example). In Enter Helen, Hauser contextualizes Helen Gurley Brown’s experience, demonstrating how the times in which she lived affected her and she, in turn, affected them. In many ways a misfit, Gurley Brown’s approach made many in the women’s movement uneasy. Rather than arguing for the overthrow of the patriarchy, she advocated that women use everything at their disposal to make it in a man’s world. Advice that might ring a little retro, it was nonetheless well intentioned. And, in a long career devoted to the advancement of women, Gurley Brown worked tirelessly to make visible narratives that might otherwise have remained unavailable to her readers. She did not think she was beautiful and her life was far more than an event in the life of a man. It was the main event, and it’s a life whose impact continues to be felt to this day- particularly in the magazine and advertising industries but also in the lives of single women discovering and re-discovering her classic book. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman's biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman's Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she's read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren't my parents who opened portals to lives I couldn't have imagined until they showed me how.” This is a process of which we are often unconscious as it's happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people's lives to open possibilities within our own. It's a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King's College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman’s biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman’s Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she’s read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren’t my parents who opened portals to lives I couldn’t have imagined until they showed me how.” This is a process of which we are often unconscious as it’s happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people’s lives to open possibilities within our own. It’s a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King’s College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman’s biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman’s Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she’s read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren’t my parents who opened portals to lives I couldn’t have imagined until they showed me how.” This is a process of which we are often unconscious as it’s happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people’s lives to open possibilities within our own. It’s a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King’s College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman’s biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman’s Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she’s read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren’t my parents who opened portals to lives I couldn’t have imagined until they showed me how.” This is a process of which we are often unconscious as it’s happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people’s lives to open possibilities within our own. It’s a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King’s College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman’s biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman’s Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she’s read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren’t my parents who opened portals to lives I couldn’t have imagined until they showed me how.” This is a process of which we are often unconscious as it’s happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people’s lives to open possibilities within our own. It’s a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King’s College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman’s biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman’s Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she’s read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren’t my parents who opened portals to lives I couldn’t have imagined until they showed me how.” This is a process of which we are often unconscious as it’s happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people’s lives to open possibilities within our own. It’s a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King’s College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“There still exists little organized sense of what a woman’s biography or autobiography should look like,” Carolyn G. Heilbrun wrote in her 1988 classic, Writing A Woman’s Life, noting, “Even less has been told of the life of the unmarried woman.” One can only hope that Kate Bolick‘s Spinster is a sign that, nearly thirty years later, the circumstances Heilbrun described are, at long last, about to change. Bolick burst onto the national scene when her article in The Atlantic, entitled “All the Single Ladies,” went viral in November 2011. But Spinster is a departure from her reportage rather than a continuation or a sequel– a biographical/autobiographical/sociological mash-up that is engaging, observant, and fiercely critical. Examining the socio-historical phenomenon of the feme sole, Bolick mines her own experiences and the lives she’s read about to examine how, as Heilbrun suggested, we use the stories of other lives to navigate our own. “Taken together,” Bolick writes of the people whose lives interested her, “they were a dynasty of adopted uncles and aunts adults who weren’t my parents who opened portals to lives I couldn’t have imagined until they showed me how.” This is a process of which we are often unconscious as it’s happening, but which becomes visible in hindsight. It is also, I believe, one of the great values of reading biography: the ability of these stories of other people’s lives to open possibilities within our own. It’s a dynamic not limited to stories of the lives of women, but it does appear to hold particular resonance for female readers, perhaps due to the relative cultural scarcity of representations of unconventional female lives. In her quest to become a writer, Bolick notes, “Maeve Brennan served a psychological purpose for me. By climbing into her point of view and trying it on for size I was cobbling together a template for my own future.” Spinster provides compelling evidence of both the personal and collective power of stories and our use of them. It also reveals something of the life of the unmarried woman, elegantly illuminating an experience that has, up to now, been culturally undervalued and, often, biographically ignored. Oline Eaton is a doctoral researcher at King’s College London. She is writing a biography of Jackie Onassis and has written extensively on the subjects of biography, celebrity, and gossip, and the flow of stories through culture. Her work can be found at FindingJackie.com. Learn more about your ad choices. Visit megaphone.fm/adchoices