Podcasts about Henry Miller

Brassai & Henry Miller: Paris at Night. 1931. Bringing It All Back Home returns with a look back at two artists working in Paris in the early 30s: Brassai & Henry MIller. Topics: Night photography, Voigtlander Bergheil 6X9, Miller's Letters To Emil, Luis Buñuel, Un Chien Andalou, The Eye of Paris.links:https://en.wikipedia.org/wiki/Un_Chien_Andalouhttps://en.wikipedia.org/wiki/Brassaïhttps://www.amazon.com/dp/0300192517?ref=ppx_yo2ov_dt_b_fed_asin_title

Elyrea sells a kind of tour no traveler would think to search for, and Jean-Vladimir Deniau built the whole company around that fact.Jean-Vladimir Deniau is the founder of Elyrea, a French company that builds character-based immersive performances for the tourism market. The format is specific: a professional actor embodies a historical figure, Coco Chanel near Place Vendôme, Hemingway around Montparnasse, a GI on Omaha Beach, and walks a small group through that figure's neighborhood telling the story of their life. Deniau does not call himself a tour operator. He calls Elyrea a "Lego brick" that DMCs and tour operators build into the experiences they sell. The company has 15 of these performances running, almost all in France, and there is a structural problem at the center of it: nobody knows to ask for a tour with Coco Chanel, so the business cannot wait for B2C search demand. That one fact shapes how Elyrea picks its characters, how it sells, and how it funds itself.Mitch and Deniau cover the business behind the tours. Why Elyrea sells to the trade first and keeps its strongest tours off OTAs entirely. The capital-light model that built 15 tours with no outside investor. The four design rules behind a 90-minute performance, starting with the claim that you win or lose the audience in the first minute. And the recruitment problem of training an actor who learns the whole show, performs twice, and quits because the street is not the theater. Deniau also names the advice he would give any operator building an emotional experience: stay true to the place, do not overplay it, and keep the technology out of the way.Resources:Elyrea: elyrea.comLive actor booking for trade partners: elyrea.com/booking"The Colossus of Marousi" by Henry Miller, the travel book Deniau cites as the original spark

Dr. Henry Miller criticizes the anti-vaccine stances of cabinet officials, calling it "statistical murder." He argues for maintaining mandates to ensure herd immunity and protect vulnerable populations against diseases like COVID. (13/16)1918

Henry Miller describes a "tour de force" at MIT where AI is used to discover new molecules to fight antibiotic resistance. This technology identifies structures that kill pathogens like staphylococcus and gonorrhea. (14/16)1750

SCHEDULE OF THE JOHN BATCHELOR SHOW, 5-19-2026.DECEMBER 1931.Elizabeth Peek discusses the confirmation of Kevin Warsh as Federal Reserve Chairman during a time of economic strength and high energy prices. Warsh, an inflation hawk, is expected to maintain current interest rates. (1/16)Elizabeth Peek analyzes the Trump-Xi summit, noting China's economic "shambles" and demographic crisis. She argues that the U.S. remains the dominant global power in energy, AI, and overall economic strength. (2/16)Jack Burnham assesses the Beijing summit's stalemate on trade and technology. He details Taiwan's $25 billion appropriation for U.S. weapons, highlighting delivery delays within the U.S. defense industrial base for legacy systems. (3/16)Jack Burnham focuses on China's history of unfulfilled trade promises regarding agricultural and energy products. Despite U.S. export controls, Chinese firms continue to acquire advanced Nvidia chips through illicit smuggling routes. (4/16)Andrea Stricker examines the NPT review amidst Middle East conflict. She details friction between nuclear-armed states and those seeking peaceful enrichment, noting the lack of arms control dialogue between the U.S., Russia, and China. (5/16)Andrea Stricker reviews the role of military force, specifically by the U.S. and Israel, in enforcing the NPT against defiant states like Iran. The UN chair seeks a concise consensus document by avoiding contentious issues. (6/16)David Daoud and Bill Roggio discuss how Hezbollah's drone use has hampered IDF operations in South Lebanon. The conflict has entered a predictable phase, complicating efforts for a permanent, genuine peace. (7/16)Bill Roggio and David Daoud explore the profound impact of low-cost FPV "silent killer" drones on the battlefield. These weapons challenge traditional military mobility and require new countermeasures at the squad level. (8/16)Gregory Copley assesses the Trump-Xi summit, characterizing China as a declining power that showed extreme respect to Trump. He argues the visit was a strategic move aimed at fracturing the Sino-Russian alliance. (9/16)Gregory Copley describes the "double blockade" in the Strait of Hormuz and Iran's untenable demands. He argues the U.S. must decide whether to target Iranian infrastructure or leadership to resolve the regional security crisis. (10/16)Gregory Copley analyzes the unpopularity of Prime Minister Keir Starmer and internal challenges from rivals like Andy Burnham. The UK faces high taxes, labor unrest, and a socialist agenda that angers the public. (11/16)Gregory Copley discusses King Charles III's delivery of the government's legislative agenda. While the King serves as the guardian of the constitution, the government's socialist policies face significant public and parliamentary resistance. (12/16)Dr. Henry Miller criticizes the anti-vaccine stances of cabinet officials, calling it "statistical murder." He argues for maintaining mandates to ensure herd immunity and protect vulnerable populations against diseases like COVID. (13/16)Henry Miller describes a "tour de force" at MIT where AI is used to discover new molecules to fight antibiotic resistance. This technology identifies structures that kill pathogens like staphylococcus and gonorrhea. (14/16)Kevin Frazier explains the shift from "doomer" vs. "accelerationist" labels to more nuanced AI policy. He highlights the cybersecurity risks posed by advanced models like Mythos and the vulnerability of national infrastructure. (15/16)Kevin Frazier argues that any mandatory AI vetting must originate from Congress, as the President lacks the constitutional authority. He suggests deepening technical expertise and maintaining voluntary cooperation with AI labs. (16/16)Note: corrected "Kevin Fraser" → Kevin Frazier (matching prior thread usage).

We have experienced Paris through the words of Hemingway and Balzac, the colors of Chagall and Delaunay, the wild adventures of Henry Miller, the recipes of Julia Child, the stars of Michelin, and the curated lists of Fodor's, Frommer's, and Lonely Planet. Yet, few have explored Paris through the unique perspective of the “Exposition Universelle”—the World's Fair, or World Expo.Paris is a living archive of seven Universal Expositions held between 1855 and 1937. These grand events left an indelible mark on the city, creating an urban diary of monumental achievements: the Eiffel Tower, of course, but also the Musée d'Orsay, the Grand Palais, and the Petit Palais.“Nobody Sits Like the French” uncovers these stories and many more. Blending travel guide and history, the book reveals a Paris invisible to most—a city where every glass of Burgundy, every sip from Baccarat crystal, every Monet or Gauguin admired, and even the modern marvel of a working sewer system, can be traced back to the legacy of a World Expo. https://www.charlespappas.world/buy-the-world-expo-bookhttp://www.yourlotandparcel.org

Marmion's Henry Miller ran for 355 yards and 5 touchdowns before suffering a season-ending groin injury in 2025. Miller will return to the Cadets this fall and he'll be joined by wide receiver Colin McEniry, the CCL/ESCC's Offensive Player of the Year in the Red Division.Become a supporter of this podcast: https://www.spreaker.com/podcast/friday-night-drive--3534096/support.

Sermon by Henry Miller Touching The Hem of His Garment www.ihconvention.com

DescriptionA deep dive into a strange and luminous literary encounter: Henry Miller on Arthur Rimbaud.In this conversation, we explore Miller's short but intense meditation on Rimbaud—the teenage visionary who burned through language, identity, and the limits of experience itself. A confrontation with genius, madness, exile, and the cost of mystical vision.Links

This week the MotoXpod features Partzilla PRMX Kawasaki's Kyle Chisholm who made his Supercross return in Philadelphia to talk about testing for Factory Kawi, being back at the races, and what's next. Then MX6 Racing's Henry Miller will join to talk about his season. Yamaha Star Racing mechanic for Max Anstie will be on the phone to talk about his career from Rocky Mtn. KTM to Star, winning a WSX title, and his friend Cooper Webb. You can also email Motoxpodshow@Gmail.com if you want to get in on the Grill Your Ass Off 'Bring the Heat', T-Bolt USA Top 5, FXR Picks, and the X Brand Emails. Watch live on the MotoXpod YouTube channel starting at 4:30 Pacific/7:30 Eastern.

In this series, we highlight the privateers — the riders grinding it out without factory backing. They're building their own programs, growing their brands, and working their way into the sport's top ranks. In Episode 14, host Brent Bowser sits down with MX 6 Kawasaki Racing Team Rider Henry Miller about his 2026 season, his time as a pro over the years, looking forward to outdoors on a 250, and more!

Magnus Toren has been Executive Director of the Henry Miller Memorial Library in Big Sur, California, since 1993. A native of Sweden, he circumnavigated the globe delivering yachts across five oceans before settling in Big Sur. Under his leadership, the Library has evolved into a vibrant cultural hub for literature, music, and community, dedicated to preserving and celebrating Henry Miller's legacy. In addition to hosting A Big Sur Podcast, Toren writes and speaks widely on Big Sur's cultural history, Henry Miller, and the arts. He lives in Big Sur with his wife Mary Lu.

Send us Fan Mail"At intervals the condor passed, huge as an ocean liner.” Henry Miller in Big Sur and the OrangesBesides marveling at the exceptional beauty and almost mysterious power of these amazing birds Joe Burnett and I discuss work in Big Sur and Monterey. We talk about the rebuilding of the Ventana Wildlife Sanctuary after the 2020 Dolan Fire, how the sanctuary supports releasing, feeding, monitoring and recapturing condors to test for lead poisoning—the leading mortality threat—using radio and GPS transmitters to track a flock of 113 birds, including wild-born untagged chicks. VWS outreach now centers on getting ranchers and hunters to switch to non-lead ammunition, which the program helps by providing free ammo, though non-lead .22 availability is a major hurdle. Joe describes vaccinating about 90% of the population against highly pathogenic avian influenza, ongoing disease and blood-lead testing, wildfire impacts, public engagement while tracking birds, and resources and documentaries available through the organization's website.Thanks for listening!Magnus Ventana Wildlife SocietyThe beautiful documentary Condor CanyonSupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL! 

How do we know what we think we know? Are our opinions our own, or are they conditioned by external influences? What helps to balance opposing views? How important are such questions to yoga – both philosophically and practically?This podcast explores some of the voices in my head. It was inspired by a recent conversation about the Yoga Sūtra on my year-long course, The Path of Knowledge. There are also ingredients from Gavin Flood, a colleague at the Oxford Centre for Hindu Studies, plus an essay on tensions between scholars and practitioners.That article cites writing by C. W. Huntington, Jr. – particularly Māyā, a novel he describes as “a first person narrative rooted in the literary tradition of Henry Miller, Thomas Merton, Jack Kerouac, and Carlos Castaneda”, and his last book, What I Don't Know About Death. It also draws on Robert M. Pirsig's Zen and the Art of Motorcycle Maintenance (about which more here, in a BBC broadcast).

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

Join Pastor Jack King and his old friend, Pastor Henry Miller, as they discuss the relentless pace of ministry, singing, and mission work. Brother Henry, who Pastor King has affectionately designated as a "Kentucky hillbilly" due to his mission work in the Appalachian Mountains, is a man with much going on. They talk about the importance of being active in serving God, whether through feeding people in the cold on Veterans Day or nurturing a new mission field from the ground up. Henry Miller shares his calling to open the Panacea Mission, an eight-year journey built on "baby steps" to teach people who are new to the Bible, proving that when God is in it, He provides everything—from the building to the chairs and the sound system. Key Discussion Points: -- The continuing work of the Appalachian Mountain Ministries in Kentucky, providing food, clothes, hygiene items, and the Gospel. -- The extensive local mission efforts run by Pastor Miller in Hossford, Southside, East Point, and Panacea. -- The testimony of starting the Panacea Mission after receiving a direct, life-changing word from the Lord: "You missed me one time. Don't miss me again." -- The critical need for mentorship and training up younger leaders, like the young lady Dawn, to help carry the burden of ministry as time moves on. -- The collaborative and selfless spirit of gospel music, highlighting the ministry of songwriter Joyce Igoe and the importance of working together in God's kingdom. This is episode 1250. ******* This is the radio program with the music removed. By the way, I have written a new book, and you can find it here: https://www.amazon.com/Dreams-Visions-Stories-Faith-Pastor/dp/161493536X

En este episodio de VinoPod tenemos como invitadaNatalia López. Originaria de Ciudad de México, es enólogaespecializada en la elaboración de vinos de baja intervención,viticultura orgánica, estudio del terruño, desarrollo de maridajes a nivel molecular y percepción olfativa. Estudió Química en Alimentos con especialidad en Microbiología y Análisis Sensorial en la UNAM, y cursó una Maestría en Ciencias en Enología, Viticultura y Terroir en Francia, Italia, Portugal y España. Actualmente profundiza su enfoque sensorial integrando metodologías provenientes de la Educación Somática.Es propietaria y enóloga de Cava Garambullo, y directora de Vinograd, academia que fundó como plataforma de especialización para profesionales del mundo del vino.En el episodio Natalia y yo tenemos una charla espontánea sobre lo complicado que fueron las vendimias 2025 en la región del Bajío en México así como hablar de Vinograd, un proyecto de Natalia cuyo propósito es aprender de enología y viticultura de una forma completamente nueva y diferente. Si quieres ver este episodio sin editar y en video, ve a nuestro canal www.youtube.com/@vinopod_podcast.Me despido con esta frase de Henry Miller:"El vino es la única cosa en la que no me importa gastar dinero."Bruno Stump (@vinopod_podcast) www.youtube.com/@vinopod_podcastDiseño gráfico y logo: Artista Léa Chauré. @leachaure_is_paintingMúsica de inicio “Funkalicious” y efectos de sonido especiales: www.Zapsplat.com Música final “Chappy” Autor: Gabo Morfín. (@gabbage.patch)Contacto Vinograd: www.vinograd.mxContacto Natalia López: www.instagram.com/vinograd_mx

Juan Manuel de Prada ofrece su mirada 'depradada' y retrata a artistas e intelectuales. Historias de vida y obra de los grandes nombres de todas las Artes.

Preview: Dr. Henry Miller celebrates vaccines for dramatically increasing longevity and eradicating diseases like polio. He notes the success of COVID-19 shots and criticizes the NIH for defunding promising mRNA cancer research. 1919

CBS EYE ON THE WORLD WITH JOHN BATCHELOR 194O LAS VEGAS THE SHOW BEGINS IN THE DOUBTS ABOUT LAS VEGAS...... 9-26-25 FIRST HOUR 9-915 Jeff Bliss reports while Las Vegas is struggling, two planned communities, Cadence and Summerlin, are prospering due to master-planned amenities, strong schools, and feeding Vegas with upper management. 915-930 Jeff Bliss reports while Las Vegas is struggling, two planned communities, Cadence and Summerlin, are prospering due to master-planned amenities, strong schools, and feeding Vegas with upper management. 930-945 Richard Epstein analyzes James Comey's indictment as presidential vengeance using a potentially strong legal case. He argues Trump acts illegally in Venezuela to be feared, benefiting from lack of legal resistance. 945-1000 Richard Epstein analyzes James Comey's indictment as presidential vengeance using a potentially strong legal case. He argues Trump acts illegally in Venezuela to be feared, benefiting from lack of legal resistance. SECOND HOUR 10-1015 Gene Marks reports that massive spending by tech giants on data centers is driving demand for aluminum, steel, and copper, offsetting the softening commercial construction market. 1015-1030 Gene Marks reports that massive spending by tech giants on data centers is driving demand for aluminum, steel, and copper, offsetting the softening commercial construction market. 1030-1045 Bob Zimmerman discusses a brilliant concept by European engineers: "tumbleweed" rovers. These swarm vehicles would roll across Mars, blown by the wind, acting as weather stations. 1045-1100 Bob Zimmerman discusses a brilliant concept by European engineers: "tumbleweed" rovers. These swarm vehicles would roll across Mars, blown by the wind, acting as weather stations. THIRD HOUR 1100-1115 Henry Sokolski discusses the scope of the "Golden Dome" for America, questioning if it should protect space access, LEO, or cis-lunar space. Its potential reorientation to counter Chinese/Russian threats is necessary. 1115-1130 Henry Sokolski discusses the scope of the "Golden Dome" for America, questioning if it should protect space access, LEO, or cis-lunar space. Its potential reorientation to counter Chinese/Russian threats is necessary. 1130-1145 Brandon Weichert discusses AI growth driven by massive data centers, facing bottlenecks in land, energy, and fresh water access. The Chips Act struggles; the economic boom risks are significant if high-end chip access is lost. 1145-1200 Preview: Dr. Henry Miller celebrates vaccines for dramatically increasing longevity and eradicating diseases like polio. He notes the success of COVID-19 shots and criticizes the NIH for defunding promising mRNA cancer research. FOURTH HOUR 12-1215 Preview: Conrad Black endorses Tony Blair for leading the Gaza International Transitional Authority under a proposed Trump peace plan. Blair is viewed as fair and capable of removing Hamas influence. 1215-1230 Preview: Lorenzo Fiori reports that Milan, the current center of worldwide fashion, shows no recession signs. High-end spending, luxury shopping, and vibrant nightlife suggest people have money to spend. 1230-1245 Preview: Juliana Geran Pilon discusses how Founding Fathers viewed the Hebrew nation as an ideal for America, rooted in a divine creator. She warns that moral relativism and secularism now assault this core foundation. 1245-100 AM Preview: Juliana Geran Pilon discusses how Founding Fathers viewed the Hebrew nation as an ideal for America, rooted in a divine creator. She warns that moral relativism and secularism now assault this core foundation.

James Frey is the author of "A Million Little Pieces," a book that spoke to the deepest, darkest parts of countless readers in early recovery. This conversation explores his journey to become literature's bad boy, his heroes like Baudelaire and Henry Miller, and his philosophy of "prowling with the panther." We discuss the intersection of creativity and the Tao, where inspiration comes from, and his unique approach to capturing vitality on the page. Along the way, James recounts a few things he's never shared publicly. This is a manifesto on the importance of muscular books written by authors with courage. Buckle up. Enjoy! Show notes + MORE Watch on YouTube Newsletter Sign-Up   Today's Sponsors: Go Brewing: Use the code Rich Roll for 15% OFF

Send us a textA clown stands alone… somewhere between Henry Miller and Samuel Beckett… somewhere between laughter and the cosmic void.Henry Miller once said, “A clown is a poet in action.” Today, that poet is Kangalee—the one-man actor and director—returning to the stage with a new mono-drama that refuses to stay in one world. Silent film. Revolutionary vaudeville. Delirious mime. Poetry. Nirvana.This is the modern holy fool—not Keaton, but Kangalee—struggling, leaping, breaking through to offer us something sacred.And for the first time in America, Henry Miller's most mysterious story comes alive on stage in Smile: A Clown's Ascension — based on The Smile at the Foot of the Ladder.This episode is a conversation with Kangalee! Please visit:Kangalee Arts EnsembleHM 21 SymposiumWith support form the Arts Council of Monterey CountySupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL!

In this episode of Historical Happy Hour, bestselling author Serena Burdick joins host Jane Healey to discuss her latest novel, A Promise to Arlette. Inspired by the bohemian life of Burdick's grandmother—who was a muse to Man Ray and lived with Henry Miller in Big Sur—the novel blends art-world mystique, postwar trauma, and a rich exploration of female friendship and love. Set in both conservative 1950s Massachusetts and pre-WWII France, the story unfolds through a mysterious photograph and a buried past. Burdick and Healey delve into the research, historical figures, narrative structure, and the emotional weight of returning from war, offering listeners a deep look into the creative process behind this sweeping dual-timeline historical fiction.

“Realizing that you will die greatly clarifies your vision of life, and stimulates opportunities for making the vision real.”  –Ed Buryn In this episode of Deviate, Rolf and Ed discuss the impetus behind Ed’s first travels to Europe by van in the 1960s, and his early forays into self-printed and self-promoted books about the experience (3:00); how travel to Europe was different 50 years ago, and the joy and freedom that comes with not knowing what happens next (14:30); Ed’s philosophies and influences, including living in “the now” (21:00); how travel allows you to reinvent yourself, and how meeting people is the best gift of travel (36:00); and Ed’s ambitions for poetry and travel, and his advice to travelers in today's world (44:30). Ed Buryn is an author and photographer who was one of the first to popularize the term “vagabonding” through the publication of his books Vagabonding In Europe and North America and Vagabonding in America. For more about Ed, check out https://edburyn.com. Notable Links: Kevin Kelly (writer, editor, and publisher) Tony Wheeler (founder of Lonely Planet travel guides) Bill Dalton (founder of Moon travel guides) Charles Plymell on the Beat Generation (Deviate episode) The Drifters, by James Michener (book) Zorba the Greek, by Nikos Kazantzakis (book) Henry Miller (author) CouchSurfing ((homestay and social networking service) Richard Halliburton (traveler and author) Tarot (playing cards used for divination) Nevada City (community in northern California) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

“Realizing that you will die greatly clarifies your vision of life, and stimulates opportunities for making the vision real.”  –Ed Buryn In this episode of Deviate, Rolf and Ed discuss the impetus behind Ed’s first travels to Europe by van in the 1960s, and his early forays into self-printed and self-promoted books about the experience (3:00); how travel to Europe was different 50 years ago, and the joy and freedom that comes with not knowing what happens next (14:30); Ed’s philosophies and influences, including living in “the now” (21:00); how travel allows you to reinvent yourself, and how meeting people is the best gift of travel (36:00); and Ed’s ambitions for poetry and travel, and his advice to travelers in today's world (44:30). Ed Buryn is an author and photographer who was one of the first to popularize the term “vagabonding” through the publication of his books Vagabonding In Europe and North America and Vagabonding in America. For more about Ed, check out https://edburyn.com. Notable Links: Kevin Kelly (writer, editor, and publisher) Tony Wheeler (founder of Lonely Planet travel guides) Bill Dalton (founder of Moon travel guides) Charles Plymell on the Beat Generation (Deviate episode) The Drifters, by James Michener (book) Zorba the Greek, by Nikos Kazantzakis (book) Henry Miller (author) CouchSurfing ((homestay and social networking service) Richard Halliburton (traveler and author) Tarot (playing cards used for divination) Nevada City (community in northern California) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

Superman recovers after his first fight against the Atom Man while Henry Miller finds a new ally in his quest to kill the Man of Steel and rule the world! The epic adventure continues in these episodes that originally aired on Mutual from November 5 to November 16, 1945.

The Atom Man is in Metropolis! The Nazi agent with kryptonite in his veins gets a job at the Daily Planet as reporter "Henry Miller," and the Man of Steel is about to meet his greatest and deadliest enemy. Superman and the Atom Man have their first titanic battle as this epic story continues in these chapters that originally aired on Mutual between October 22 and November 2, 1945.

Cuando coja vacaciones, leeré. No me deis mas el coñazo, y leeré. En la casa de la playa, Ocupando tu toalla, Saramago, Némirovsky, leeré. En la hora de la siesta, leeré. Madrugando con la fresca, leeré. ‘Verbolario', recomiendo. Y un best seller de aeropuerto, Freddie Forsyth y Vallejo, leeré. Leeré, leeré, porque soy un cultureta. Leeré, leeré, algo breve de Skármeta. UUHHHH UHHHHHH, Luis Landero, Siri Hustvedt, leeré. Ha sacado un libro nuevo, HouellebecqYo me bebo un poemita Bertol Brecht VargasLLos, Clarín, Marías, Martin Gaite, Manuel Vilas. Qué bien Kafka y sus manías, leeré. Leeré, leeré, Seré guay y estimulante.Leeré, leeré, GafaChoflas Influencer.UUUUHHHH UUUUHHHHH, Anhelado tiempo libre, leeré. Me entra un mail desde el trabajo, pasaré.Es urgente, y un carajo, mire usted. Estoy con Camilla Läckberg,que Fjällbacka está que arde. No me hables, qué pesados, leeré. Leeré, leeré, Ishiguro, Salman Rushdie. Leeré, leeré,Henry Miller, Patri Highsmith Cuando llegue el tiempo libre, leeré. 

Cuando coja vacaciones, leeré. No me deis mas el coñazo, y leeré. En la casa de la playa, Ocupando tu toalla, Saramago, Némirovsky, leeré. En la hora de la siesta, leeré. Madrugando con la fresca, leeré. ‘Verbolario', recomiendo. Y un best seller de aeropuerto, Freddie Forsyth y Vallejo, leeré. Leeré, leeré, porque soy un cultureta. Leeré, leeré, algo breve de Skármeta. UUHHHH UHHHHHH, Luis Landero, Siri Hustvedt, leeré. Ha sacado un libro nuevo, HouellebecqYo me bebo un poemita Bertol Brecht VargasLLos, Clarín, Marías, Martin Gaite, Manuel Vilas. Qué bien Kafka y sus manías, leeré. Leeré, leeré, Seré guay y estimulante.Leeré, leeré, GafaChoflas Influencer.UUUUHHHH UUUUHHHHH, Anhelado tiempo libre, leeré. Me entra un mail desde el trabajo, pasaré.Es urgente, y un carajo, mire usted. Estoy con Camilla Läckberg,que Fjällbacka está que arde. No me hables, qué pesados, leeré. Leeré, leeré, Ishiguro, Salman Rushdie. Leeré, leeré,Henry Miller, Patri Highsmith Cuando llegue el tiempo libre, leeré. 

Anaïs Nin was a literary pioneer who wrote boldly about the inner lives of women long before it was culturally accepted. Her work, including Delta of Venus, Little Birds, The House of Incest, and her 16-volume diary, continues to influence generations of writers. Nin's life was as unconventional as her prose. She trained in psychoanalysis with Otto Rank, conducted passionate affairs with both Henry Miller and his wife June, and for a time maintained two simultaneous marriages on opposite coasts. Her diaries chronicle these transgressions with brutal honesty and no small amount of poetic insight. She also had a deep connection to Big Sur and to Esalen. She once described this coastline as “a curving hand cupped around a secret." In many ways, she was a secret, too: mysterious, erotic, intuitive and ahead of her time. This is Anaïs Nin in her own voice, in 1972, with the original Q and A/ audience interaction.

Welcome to our new series, “The Beat Goes On,” where we will celebrate the work and enduring influence of Jack Kerouac, Allen Ginsberg, William Burroughs, and the other writers whom we identify as “The Beats.” - that crop of artists who worked to expand our consciousness, exploring the hidden possibilities of post WW2 America in the 1950s - Other significant names to be explored: Diane Di Prima, Tuli Kupferberg, Ed Sanders, Delmore Schwarz, Anne Waldman, Carolyn Cassidy, and many others.We will also include jazz musicians like Miles Davis, John Coltrane and Dizzy Gillespie, whose sinuous Bebop lines influenced the expansive prose of Kerouac and poetry of Ginsberg, and comedians like Lenny Bruce, Lord Buckley, Brother Theodore and Dick Gregory with their scathing critique and unmasking of our nation's hypocrisy beneath the self-deceptive rhetoric of American exceptionalism.  And, then there are their artistic children like Hunter S. Thompson, Charles Bukowski, Tom Waits and Lou Reed…. The list goes on.First off: we need to define that confusing term “beat”… Once the satirists were able to pin them down, the Beats and their devotees were labelled “Beatniks” (a cold war epithet) and put into a farcical box. This is where I, as a child, first became aware of them through the character of Maynard G. Krebs on the Dobie Gillis show. The child-like, pre-hippie with the dirty sweatshirt and goatee, indelibly played by Bob Denver, later of Gilligan fame. He was a gentle figure of fun, not to be taken seriously. But, the truth goes so much deeper. Kerouac defined Beat as short for “beatitude” - a state of grace, a codex for the maturing “peace and love” Baby Boom generation coming up - those in search of existence's deeper meaning beyond the consumerist and war-like American culture being offered as our only option.Well, boy, do we need them now! HENRY MILLER INTERVIEWOur inaugural offering is a 1964 interview with the writer Henry Miller, of TROPIC OF CANCER, TROPIC OF CAPRICORN, and THE ROSY CRUCIFIXION TRILOGY fame, among many others. This is an insightful, in depth look at a artist of gargantuan influence. Miller was interviewed by Audrey June Wood  in Minneapolis during a speaking tour; he considered this interview to be one of his best. Miller discourses on some of his favorite books and authors and the struggle of writing well. It was released on Smithsonian/ Folkways Records.Strictly speaking, Miller was not a Beat - he preceded them, and out lived many of them, making it to 88 in 1980, but he was their spiritual and artistic pathfinder.Living hand to mouth, on the edge, abroad in Paris, writing free form in a raw, explicit, semi-autobiographical manner, telling the truth about sex, love, art, and struggle - he set the artistic compass for the Beats - as Dostoevsky and Walt Whitman had done before him. They are all part of a chain - a chain of searchers, and we are fortunate to have these lights to guide us on our own personal journeys to self realization. Please enjoy…THE BEAT GOES ON. 

When Mary Dearborn finished her doctorate at Columbia University she knew she wanted to write biography. She went on to a forty-plus year career in writing biographies whose subjects including Peggy Guggenheim, Norman Mailer, Henry Miller, Ernest Hemingway, Anzia Yezierska, and most recently Carson McCullers. We talk about the challenges of writing biography for trade press publications; writing the trade press book proposal; changes in the publishing industry; reaching a broader readership; struggling with self-promotion and changing social media norms; and why it's invigorating to remember that presses actually need good writers. Don't forget to rate and review our show and follow us on all social media platforms here: https://linktr.ee/writingitpodcast Contact us with questions, possible future topics/guests, or comments here: https://writingit.fireside.fm/contact

REVIEW: Colleague Dr. Henry Miller explains the success of a new remedy for a parasite that damages the honeybee hives -- and what can mitigate the protection. More later.

L'autrice et musicienne trentenaire vient de sortir « La Faille », aux éditions Stock, son quatrième livre, « qui s'intéresse aux vies instables, aux vies qui vacillent ou qui vont vaciller, ou aux vies qui composent avec la crise », glisse-t-elle dans cet épisode du « Goût de M ». Fille unique, originaire de Rezé, commune voisine de Nantes, Blandine Rinkel nous reçoit dans le 18ᵉ arrondissement de Paris, dans son petit appartement avec un piano et une bibliothèque contenant « beaucoup de livres qui parlent de livres ». Mais pour écrire, elle préfère à la capitale les bords des mers.C'est d'ailleurs dans les vagues de l'océan Atlantique qu'elle a appris à nager avec son père, ancien militaire. Sa mère, professeure d'anglais au collège, issue d'une famille paysanne, l'a encouragée à lire. Elle évoque longuement son rapport très fort et intime à la lecture (« Comme je n'avais pas une grande famille, ça m'a donné envie d'en trouver une ailleurs »), qu'elle pratique assidûment depuis l'enfance, se souvenant notamment de « Quatre Filles et un jean », un roman à succès pour jeunes adultes publié par Ann Brashares en 2001.A 18 ans, après le bac, elle part vivre à Paris, où elle essaie de s'insérer culturellement et « gobe des pages Wikipedia toutes les nuits à n'en plus finir ». Puis elle s'installe quelque temps à Londres. Dans cet épisode, elle raconte son admiration pour l'écrivain Henry Miller, son plaisir à faire des ateliers en prison, l'affiche évoquant la Révolution française devant laquelle elle aimait se réveiller.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Happy 69th episode! To celebrate, we learn about author Henry Miller popularized the term "boobs" and also...how he got sued a lot for his disgusting books. See omnystudio.com/listener for privacy information.

With NAPLES 1925: Adorno, Benjamin, and the Summer That Made Critical Theory (Yale University Press, tr. Shelley Frisch), Martin Mittelmeier traces the roots of the Frankfurt School in southern Italy. We talk about the epiphany on the lip of a volcano in Lanzerote that brought this book to life, the years he spent poring over Theodor Adorno's writing (and the temptation to mimic Adorno's style), how Walter Benjamin's principle of porosity arose from both the tuff stone & the way of living of Naples, and the challenge of evoking the Naples of a century ago and how it led to a theory of society. We get into Critical Theory's attempts at understanding populism and oligarchic takeovers and why Adorno is having A Moment in Germany, the fun of speculating about meetings among great thinkers — yeah, I get into George Orwell, Henry Miller, and Inside the Whale —, the utopian aspect of local life in Naples and Capri, the complexities of reputation and destiny, and whether Critical Theory can hold up during the hyper-internet era. We also discuss the difficulties of translation with critical theory's associative language, why I need to read Hernán Diaz' Trust, his new work about Thomas Mann working with Adorno on Doctor Faustus in Pacific Palisades (a.k.a. Weimar Under The Palm Trees), how he's changed in the decade-plus since writing the book, and more. • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

"PREVIEW: BIRD FLU: Colleague Dr. Henry Miller warns against consuming raw milk given the outbreak of H5N1 in cattle across 15 states. More tonight 1950s Allentown, PA 

“In solitude, I often feel closer to the people I care for than when they're in the same room.” –Pico Iyer In this episode of Deviate, Rolf and Pico talk about how the best travels are often counterbalanced with a kind of stillness, in which one can find one’s “best self” (3:00); Pico’s decades-long experiences with monks in a California monastery, the benefits of a “childlike attitude” toward life, and how “fire” can be a metaphor for spiritual life (12:00); how Pico’s solitude is informed by, and in conversation with, nature (22:00); Pico’s engaged relationship with spiritual communities, even though he is not religious (30:00); the “counterculture” spiritual tradition that grew up around Big Sur, California, and the power of longing (39:00); and how solitude can be a gateway to other people (47:00). Pico Iyer (@PicoIyer) is a novelist, essayist, and author. His newest book is Aflame: Learning from Silence. Notable Links: Pico Iyer on what Japan can teach us about life (Deviate episode 73) The Vagabond’s Way, by Rolf Potts (book) Henri Nouwen (writer and theologian) New Seeds of Contemplation, by Thomas Merton (book) The 14th Dalai Lama (spiritual leader) The Snow Leopard, by Peter Matthiessen (book) Richard Powers (novelist) Desert Fathers (early Christian hermits and ascetics) Sign of Jonas, by Thomas Merton (book) Days of Heaven (1978 film) 4′33″ by John Cage (musical composition) New Camaldoli Hermitage (hermitage in Big Sur, California) Rigveda (ancient Indian collection of hymns) The Woman Lit by Fireflies, by Jim Harrison (book) Sarmoung Brotherhood (esoteric Sufi brotherhood) Henry Miller (novelist) Esalen Institute (retreat center in Big Sur) Bittersweet, by Susan Cain (book) Leonard Cohen (songwriter) Ludwig Wittgenstein (philosopher) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

“In solitude, I often feel closer to the people I care for than when they're in the same room.” –Pico Iyer In this episode of Deviate, Rolf and Pico talk about how the best travels are often counterbalanced with a kind of stillness, in which one can find one’s “best self” (3:00); Pico’s decades-long experiences with monks in a California monastery, the benefits of a “childlike attitude” toward life, and how “fire” can be a metaphor for spiritual life (12:00); how Pico’s solitude is informed by, and in conversation with, nature (22:00); Pico’s engaged relationship with spiritual communities, even though he is not religious (30:00); the “counterculture” spiritual tradition that grew up around Big Sur, California, and the power of longing (39:00); and how solitude can be a gateway to other people (47:00). Pico Iyer (@PicoIyer) is a novelist, essayist, and author. His newest book is Aflame: Learning from Silence. Notable Links: Pico Iyer on what Japan can teach us about life (Deviate episode 73) The Vagabond’s Way, by Rolf Potts (book) Henri Nouwen (writer and theologian) New Seeds of Contemplation, by Thomas Merton (book) The 14th Dalai Lama (spiritual leader) The Snow Leopard, by Peter Matthiessen (book) Richard Powers (novelist) Desert Fathers (early Christian hermits and ascetics) Sign of Jonas, by Thomas Merton (book) Days of Heaven (1978 film) 4′33″ by John Cage (musical composition) New Camaldoli Hermitage (hermitage in Big Sur, California) Rigveda (ancient Indian collection of hymns) The Woman Lit by Fireflies, by Jim Harrison (book) Sarmoung Brotherhood (esoteric Sufi brotherhood) Henry Miller (novelist) Esalen Institute (retreat center in Big Sur) Bittersweet, by Susan Cain (book) Leonard Cohen (songwriter) Ludwig Wittgenstein (philosopher) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

Fluoridation: Doctor Strangelove, Sterling ("Jack D. Ripper") Hayden and better dentistry. Henry Miller, HenryMillerMD.org 1964

In this episode, David and Nathan delve into Henry Miller's controversial and groundbreaking novel "Tropic of Cancer." Published in 1934, this semi-autobiographical work was banned in the US and the UK upon its release due to its explicit content. Despite—and perhaps in part because of—its ban, "Tropic of Cancer" has endured as a provocative and essential piece of literature.  Discussed on this episode, historical context (with a lot of help from George Orwell's essay "Inside the Whale," which contextualizes the novel superbly), mysticism, narcissism, surrealism, c*cks and c*nts, general vulgarity, and authenticity.  This episode serves as a comprehensive exploration of "Tropic of Cancer," addressing both its literary significance and the moral dilemmas it poses, making it a rich conversation for fans and critics of Henry Miller alike. This episode serves as a comprehensive, though by no means exhaustive, exploration of "Tropic of Cancer” that we hope you enjoy.   As always, please leave comments, reviews, and buy some books through the podcast's website to support future episodes. *  Note: The photographs at the opening of the YouTube version of the episode come from Henry Miller's personal friend Brassaï (Gyula Halász), a 20th century Hungarian–French photographer, sculptor, filmmaker, and writer (even a book on Miller's Paris Years). *  Links: Twitter: https://twitter.com/BooksOSubstance Instagram: https://www.instagram.com/booksosubstance/ Our brand-new website: https://www.booksofsomesubstance.com/

How is the story of tule elk tied to the story of California? What's the difference between a grazer and a browser? Why do tule elk have such big feet? How much grazing is the right amount of grazing? Why do elk bugles sound like something straight out of a horror movie?   Come with me and Orlando Rocha as we strike out in search of tule elk in the Grizzly Island Wildlife Area, and then join me and Tom Batter as we discuss the ecological importance of tule elk along with the ties between their story and the story of California.  Historic range of California elk subspecies Current (2017) range of California elk subspecies Read more about Henry Miller, “the cattle king of California” Thank you so much to Steve Shepard of The Natural Curiosity Project podcast for sharing the elk bugle audio.  Tule Elk photo by Katie Booth / National Park Service Support Golden State Naturalist on ⁠Patreon⁠ and get perks starting at $4/month.  Follow me on ⁠Instagram⁠.  My website is ⁠goldenstatenaturalist.com⁠.  Merch  Listen next: ⁠Central Valley Water and Wetlands with Ellen Wehr⁠ 

In the 6 AM Hour: Larry O'Connor and Julie Gunlock discussed: Tim Walz on X: "Trump and Vance talk a lot about “freedom” – meaning the government should be free to invade your doctor's office, your school library, and even your bedroom. Yesterday, Pennsylvania said it loud and clear: we're not going to have it.  Mark Hemingway on X: "“School libraries”?! Serious question here—should there be ZERO oversight over what goes in school libraries? We just start assigning Henry Miller in the third grade? This is such a brain dead assumption."  Megyn Kelly's Rant on Trump's Lawfare WMAL GUESTL 6:35 AM - INTERVIEW - KURT SCHLICHTER – author of THE ATTACK, Senior columnist at Townhall, Lawyer and COL(R) US Army  SOCIAL MEDIA: https://x.com/KurtSchlichter SCHLICHTER COLUMN TODAY:  Oh Yeah, They Tried To Kill The President … I Forgot About That (townhall.com) Biden loses track o Where to find more about WMAL's morning show:  Follow the Show Podcasts on Apple podcasts, Audible and Spotify. Follow WMAL's "O'Connor and Company" on X: @WMALDC, @LarryOConnor,  @Jgunlock, @patricepinkfile, and @heatherhunterdc.  Facebook: WMALDC and Larry O'Connor Instagram: WMALDC Show Website: https://www.wmal.com/oconnor-company/ How to listen live weekdays from 5 to 9 AM: https://www.wmal.com/listenlive/ Episode: Monday, September 23, 2024 / 6 AM Hour  O'Connor and Company is proudly presented by Veritas AcademySee omnystudio.com/listener for privacy information.

Today we discuss the movie Miller's Girl! We talk about this controversial Netflix film, Jenna Ortega, age gaps with sex, teacher student dynamics and more. Isaac talks some illuminate confirm also: director Jade Halley Bartlett's blood magick, Dr Strange, sex magick, Lions Gate portal, Dave Grohl's Studio 666 and the death of Taylor Hawkins! We talk about the six degrees of separation of Henry Miller, June Miller, Anais Nin, Marjorie Cameron, Kenneth Anger, Jack Parsons and Crowley!Housekeeping includes the proposed book club about UNFURL, Bill Maher updates, Joe Rogan's Christian Facebook claims and more! (*Miller's Girl talk starts at 24 minutes).—You can now sign up for our commercial-free version of the show with a Patreon exclusive bonus show called “Morning Coffee w/ the Weishaupts” at Patreon.com/BreakingSocialNorms  OR subscribe on the Apple Podcasts app to get all the same bonus “Morning Coffee” episodes AD-FREE with early access! (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/r34zj)Want more?…—Index of all previous episodes on free feed: https://breakingsocialnorms.com/2021/03/22/index-of-archived-episodes/—Leave a review or rating wherever you listen and we'll see what you've got to say!Follow us on the socials:-instagram.com/theweishaupts2/Check out Isaac's conspiracy podcasts, merch, etc:-AllMyLinks.com/IsaacW-Occult Symbolism and Pop Culture (on all podcast platforms or IlluminatiWatcher.com)-Isaac Weishaupt's book are all on Amazon and Audible; author narrated audiobooksSTATEMENT: This show is full of Isaac's and Josie's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.———————————

#GE: The miracle of Golden Rice and its enemies. Henry Miller HenryMillerMd.org https://henrymillermd.org/27989/greenpeace-cruel-war-on-genetically-engineered 1860 Delhi

PREVIEW: AVIAN FLU: Conversation with Dr,. Henry Miller re Avian Flu jumping from birds to dairy cows and other mammals in the Americas, and the risk, and what we do not know. More detail tonight. undated English Skylark

#MEASLES: Anti-vax creates a spike in a perilous childhood virus. Dr, Henry Miller @HenryMillerMD.org https://henrymillermd.org/27651/count-your-children-after-the-measles-has-passed 1918 USA

Savage expresses surprise at Pope Francis' call for Ukraine to negotiate peace with Russia and wave the white flag of negotiations, despite his previous criticisms of the Pope's liberal views. The Pope's unexpected stance on the conflict, which has resulted in the deaths of hundreds of thousands of people and the decimation of Ukraine, has caused controversy. Ukrainian President Volodymyr Zelensky has rejected the idea of giving up any territory. Then, Savage discusses how the concept of Freud's penis envy theory drives today's politics and expresses his disinterest in engaging in political debates. He reflects on the mortality of all beings, emphasizing that we are all made of flesh and God made it that way. He also shares his thoughts on President Biden's anger during The State of the Union address. He then shifts to discussing plants, expressing his belief that they have feelings and emotions, and warning against the evaporation of plant cell walls, which he sees as a metaphor for the destruction of nations and cultures. He explores the concept of judgment after death and shares a conversation he had with a mystical rabbi. He expresses that God will not ask about what one wrote in their diaries but rather what they didn't write. He then shares his admiration for great writers like Ernest Hemingway and Henry Miller, who inspired him during difficult times. He reminisces about growing up on existentialist writers and meeting the widow of his hero, lamenting the loss of intellectual heroes and the current state of Hollywood. He questions the existence of heroes today and expresses his love for America and shares his belief in the power of tuning into God or a higher power to overcome external influences. He concludes with a true story about the head Rabbi in Moscow during the Bolshevik takeover in Russia and the importance of faith and the Rabbi's unwillingness to compromise his beliefs, even in the face of persecution. https://surfshark.deals/SAVAGESHOW Learn more about your ad choices. Visit podcastchoices.com/adchoices

1/2: ##SCIENCE: The loss of trust in science research. Henry Miller, HenryMilllerMD.org https://geneticliteracyproject.org/2024/01/29/part-i-viewpoint-why-is-trust-in-scientific-research-at-an-all-time-low/. undated Beehive politics

2/2: ##SCIENCE: The loss of trust in science research. Henry Miller, HenryMilllerMD.org https://geneticliteracyproject.org/2024/01/29/part-i-viewpoint-why-is-trust-in-scientific-research-at-an-all-time-low/. 1879 Daumier