Podcasts about Henry Miller

A um político nos nossos dias aquilo que deveríamos exigir antes de qualquer outra coisa é que tenha a disposição de acumular "um cadastro de prodígios", que o seu discurso se liberte do horizonte do provável, procurando formular uma profecia obscena e que passe pelo triunfo de uma voz maldita, de tal modo que aqueles que o oiçam se sintam já de certo modo culpados, capazes de vislumbrar essa realidade alternativa com uma precisão quase alucinante. Talvez não se possa resgatar a política sem uma boa dose de delírio, algo que não nos sujeite apenas à revelação do imediato. A voz deveria ser um modo de nos fazer ver o que está em falta, sobretudo tendo em conta que o quadro mediático tende a tornar irreal o próprio mundo. Como assinalava Steiner, "a televisão pode mostrar todos os massacres, todas as torturas e todos os acontecimentos de uma tal maneira que o imediato se torna para nós remoto, estranho e monstruoso, como se fôssemos crianças assustadas com o cair da noite". Talvez só restem como capazes de afectar a mudança aqueles discursos que possam aliciar-nos a mergulhar nesse território nocturno, reclamar de novo a heresia de viver a presença da queda. Aquele crítico recorda o exemplo de Claudel, acusado pelos seus detractores de uma heresia muito perigosa e grave: "acreditar não no céu, mas no inferno, acreditar no Mal, mas não no Bem". E Steiner tributava à sua época o conhecimento e o fascínio que sentia pelo mal. A verdade é que se pressente a impotência da política ou a sua profunda desonestidade por se limitar a falar em nome de uma inocência ou ingenuidade, e essa é a razão por que estamos desertos por ouvir vozes de outra ordem, que arrisquem suspender esse tom pastoso e cheio de boas intenções. "O papel que o artista desempenha na sociedade é o seguinte: redespertar os instintos anárquicos, primitivos, crucificados à ilusão de uma vida confortável", escreve Henry Miller. Fugindo ao ruído, a esse que domina o mercado como objecto de consumo indispensável, a arte surge como a possibilidade de uma paragem, uma intriga que encoraja em nós os actos que levem à destruição das condições úteis e necessárias ao dispositivo social. Há quem se satisfaça e regozije toda a vida com o mundo como ele se organizou, com o tempo como este ritmo que se infiltra nos corpos e soa tão alto que não deixa que quase ninguém escute os próprios pensamentos. Então, o que pedimos a uma suspensão abrupta? Que seja generosa, que cancele o ruído pelo tempo suficiente para que alguns possam voltar a reconhecer a voz que lhes é própria. Se alguns têm insistido que é preciso "organizar o pessimismo", "preparar-nos para sobreviver à cultura", há quem reconheça também como a cultura é precisamente aquilo que nos desmotiva, a tal coisa que vai embebendo o espírito, tornando-o pesado e impotente, sendo que, diante de uma ameaça terrífica, devemos apelar àquela vitalidade primitiva que age por impulso, com raiva, com uma ânsia absurda de esgotar em si todas as forças que lhe chegam como uma inspiração malévola. "De tanto viver nas trevas, acabámos por assinar um pacto com os monstros e as larvas que aí encontram abrigo. Esse pacto, temos agora de o romper e de nos atrever a olhar o dia, a fitar o nosso sol da Barbárie de frente" (Mohammed Dib). Deverá chegar um momento em que estejamos à altura de viver sem que tudo esteja já previsto de antemão, sem assumirmos que a melhor forma de se viver é com a captura total do dia de amanhã, sem margem para alguma dose de incerteza. Ao contrário do que se vem dizendo, talvez a nossa salvação tenha estado mais na hostilidade, e o bem seja uma província cercada pelo mal. Uma espécie de trégua entre adversários que aprenderam a temer-se. Neste episódio, vamos andar de volta das questões da habitação, e dos constrangimentos que o mercado tem imposto às cidades, ao ponto de, como um todo, as comunidades se terem visto expropriadas do espaço público, sendo-lhes retirada a capacidade de definir verdadeiras políticas de urbanismo. Quem nos veio dar algumas noções, algumas colheres de sopa numa ira que, às vezes, se fica pela saliva, foi o arquitecto e urbanista Tiago Mota Saraiva, um tipo que tem sabido aliar a sua acção profissional e enquanto professor a uma componente de intervenção e militância no sentido de combater a desigualdade e os vícios de um país que cada vez mais se divide entre os senhorios e os inquilinos de corda ao pescoço, entre outros ao deus-dará.    

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.

“Writing is its own reward.” Henry Miller

In dieser besonderen Weihnachtsfolge von "gelassen älter werden" präsentiert Tamara ein berührendes Geschenk für Bertram, Catharina und alle Hörerinnen und Hörer: Eine Auswahl literarischer Meisterwerke, die das Thema Älterwerden auf poetische und inspirierende Weise beleuchten. Diese Episode, ausgestrahlt zu Weihnachten, lädt ein, innezuhalten und sich von der Weisheit großer Denkerinnen und Denker berühren zu lassen.Hauptpunkte:Ein Geschenk mit Tiefgang: Tamara bringt eine Sammlung von Texten aus dem Buch „Die Jahre sind mein Lebensglück“ mit und schafft so einen ganz besonderen Rahmen für den Heiligabend.Berühmte Stimmen über das Alter: Vorgelesen werden Texte von Henry Miller, Vicky Baum und Elias Canetti, die alle eine einzigartige Perspektive auf das Alter und das Leben bieten.Herzlichen Dank an den Knesebeck-Verlag: Dank der Freigabe durch den Knesebeck Verlag ist diese besondere Lesung möglich gewesen.Persönliche Einblicke: Tamara stellt die Autoren vor und schafft durch die Lesung eine Brücke zwischen der Literatur und dem Erleben des Alterns.Weihnachtliche Besinnung: Die Folge lädt dazu ein, das Älterwerden als kostbare Lebensphase zu betrachten, mit all seinen Ambivalenzen und Schönheiten.Zitate:„Wenn du die kleinen Wunder des Lebens wahrnehmen kannst, bist du ein Glückspilz und solltest dem lieben Gott morgens und abends danken.“ – Henry Miller„Für ihn waren die Alten schon immer eine Inspiration. In seinen Gedanken zeigt er, wie Erinnerung und Erleben miteinander verschmelzen und das Leben bereichern" – Elias Canetti„Mut, das Leben zu leben und das Beste daraus zu machen, komme, was da wolle.“ – Vicky BaumZum Weiterlesen:Buch: „Die Jahre sind mein Lebensglück“, herausgegeben von Petra Müller und Rainer Wieland (Knesebeck-Verlag) Homepage Tamara Dietl: https://www.tamaradietl.com/Was bedeuten dir die späten Jahre des Lebens? Teile deine Gedanken mit uns und freue dich auf die nächste Episode, in der wir wieder neue Perspektiven auf das Älterwerden entdecken.Eine Bitte an unsere Hörerinnen und Hörer:Wir freuen uns über eine Bewertung unseres Podcasts. Holt für uns die 5 Sterne vom Himmel und schreibt gerne, was euch besonders gefällt.Das schenkt noch mehr Menschen unsere Inhalte, da es durch das bessere Ranking öfter vorgeschlagen wird. Herzlichen Dank.Für mehr Informationen zum Thema "gelassen älter werden" gibt es auf unserer Homepage ein Magazin zum Lesen. Hier der Link: https://gelassen-aelter-werden.de/magazin-gelassen-aelter-werden/Die Musik im Intro und Outro ist von Stefan Kissel und wurde von Nico Lange gesprochen.

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

L'ultima tappa del nostro Far West sardo ci porta lungo i 130 chilometri da Sant'Antioco a Cagliari, seguendo una delle strade più belle che abbiamo mai visto, prima di abbandonarci per un'ultima volta ai sapori della cucina sarda. Un'avventura ricca di diversità, di colori, di odori, di accoglienza, di voglia di tornare al più presto per imparare altri modi nuovi di vedere le cose.*«La propria destinazione non è mai un luogo, ma un nuovo modo di vedere le cose» (Henry Miller).Pedalare in Sardegna è un modo per imparare uno sguardo diverso sul mondo. Parole Alvento parte per un viaggio a puntate, alla scoperta di uno dei percorsi raccontati nel nuovissimo "Destinations - Italy Unknown #3".Un insieme di 'Polaroid sonore', raccolte sulla strada che segue la costa mediterranea da Porto Torres a Cagliari, il Far West della Sardegna.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/parole-alvento--4719134/support.

La gioia di una tappa più breve delle altre dura poco, quando ci rendiamo conto che da Guspini a Carloforte ci toccano 1300 metri di dislivello, a cui dovremo aggiungere qualche problema di traghetti e di digestione. Ma ogni complicazione svanisce davanti alla meraviglia di queste strade e di questo mare.*«La propria destinazione non è mai un luogo, ma un nuovo modo di vedere le cose» (Henry Miller).Pedalare in Sardegna è un modo per imparare uno sguardo diverso sul mondo. Parole Alvento parte per un viaggio a puntate, alla scoperta di uno dei percorsi raccontati nel nuovissimo "Destinations - Italy Unknown #3".Un insieme di 'Polaroid sonore', raccolte sulla strada che segue la costa mediterranea da Porto Torres a Cagliari, il Far West della Sardegna.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/parole-alvento--4719134/support.

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/

Da Bosa a Guspini, 125 chilometri e 950 metri di dislivello, si pedala chiacchierando di fortune, cene di pesce, cavalli da traino e surf. Aspettando pazientemente l'onda giusta.*«La propria destinazione non è mai un luogo, ma un nuovo modo di vedere le cose» (Henry Miller).Pedalare in Sardegna è un modo per imparare uno sguardo diverso sul mondo. Parole Alvento parte per un viaggio a puntate, alla scoperta di uno dei percorsi raccontati nel nuovissimo "Destinations - Italy Unknown #3".Un insieme di 'Polaroid sonore', raccolte sulla strada che segue la costa mediterranea da Porto Torres a Cagliari, il Far West della Sardegna.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/parole-alvento--4719134/support.

“Writing is its own reward.” Henry Miller

Contrast is among the strongest tools we writers can use.  It's magic.  Here is a discussion of how and where to use contrast.  Also, Henry Miller's rules of writing and how John Grisham works.Support the show

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

durée : 01:29:59 - Les Nuits de France Culture - Documentaire du vendredi - Henry Miller ou le picaro du Zen (1ère diffusion : 05/07/1980)

In this episode, we stroll into a hidden gem behind the well-known streets of Montparnasse: the Villa Seurat. This is a small street described in the famous Diaries of Anais Nin. Villa Seurat also appears in the work of her lover, Henry Miller, although he disguises the identity of the street by calling it “Villa Borghese”. This part of the 14th arrondissement really conjures the neighborhood feel of the 1920s and 30s, when artists and writers from all over the world filled the streets of Montparnasse, dreaming and creating and have emotional epiphanies up and down the block. For photos, please check out my website. Thanks as always to Bremner Fletcher for technical expertise and general know-how. The Improbable Walks theme music is performed by David Symons, New Orleans accordionist extraordinaire.   

Sourcing capital in cannabis is notoriously difficult, but it's not impossible and the second half of 2024 is poised to be one of the strongest fundraising years in recent cannabis industry history.Join the Benzinga Cannabis team and cannabis finance titans, Adam Stettner, Seth Yakatan, and Henry Miller for a special virtual event about the ins and outs of cannabis capital. Register below to save your seat!Featured Speakers

Holden Thorpe, editor of the once-prestigious academic journal 'Science,' has made many strange claims in recent years, including the assertion that anybody involved in or adjacent to science (a journalist, policy wonk and perhaps even an activist) is actually a scientist. ACSH's Dr. Henry Miller calls shenanigans.

Show Notes   I've been reading… books and essays (or blogs). I recently read two articles that seemed to spawn sort of delightful potpourri of thought and conjecture. One was an article on author Henry Miller by Maria Popova and the other came from recent Terry Hershey Sabbath Moment posts.  These are the kinds of ideas that, for me, demand discussion. So today, I've asked friend, author, and creative thinker Terry Hershey to ponder with me on several kinds of non-related subjects such as Storm Homes and the totally unrelated subject of the wonder of old age.  LINKS Find out all about Terry Hershey and Sabbath Moment HERE.    

02.00 a 03.00: Encendemos "El flexo" de Antonio Lucas y recomendamos: La revuelta de las cariátides (Ed. Tusquets) de Petros Márkaris, Juventud (Ed. Zenda / Edhasa) de Joseph Conrad y Trópico de Cáncer de Henry Miller. En el espacio "Tal vez no lo sabías", con Luismi Pascual, contamos curiosidades de conciertos y megafestivales. Y es martes y nos sentamos en "La platea". Esta semana, con Andrés Salado, contamos cómo se mide el tiempo en música, cómo se puede expresar lo rápido o lento que debe sonar una partitura hasta la mayor exactitud posible.Escuchar audio

Encendemos "El flexo" de Antonio Lucas y recomendamos: La revuelta de las cariátides (Ed. Tusquets) de Petros Márkaris, Juventud (Ed. Zenda / Edhasa) de Joseph Conrad y Trópico de Cáncer de Henry Miller.Escuchar audio

Donald checks out “The Library”, the fifth episode of season three. He chats about the pervy talent of Henry Miller, an important lesson from Kwame Dawes, and the only American institution that makes him feel a sense of patriotism.  Here are texts and authors discussed: Tropic of Cancer by Henry Miller Tropic of Capricorn by Henry Miller The Sympathizer by Viet Thanh Nguyen  Kwame Dawes Anaïs Nin

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

IT'S HAPPENING IN YOUR REFRIGERATOR: Deutero-Fung, a mold spore with big ideas, attempts to rally his fellow mold spores into blooming immediately and take over the apartment-verse, but Hyphae-Fung, a mold spore with even bigger ideas, warns the community that blooming early will be a mistake. Look out! Cuz it's Happening in your Refrigerator! Written by Greg Kotis Directed by Jonathan Cook Performed by Sol Baird as "Deutero-Fung"; Brad King as "Hyphae-Fung"; and the cast of Urinetown the Musical at Le Chat Noir Theatre as the mold spore community. Intro/Outro music: JK/47 About the writer: GREG KOTIS is a two time Tony™ Award winning author of many plays and musicals including Urinetown (Book/Lyrics), The End of All Flesh, I Am Nobody, The Truth About Santa, The Sting (Lyrics), Lunchtime, Give the People What They Want, Michael von Siebenburg Melts Through the Floorboards, Yeast Nation (Book/Lyrics), Pig Farm, Eat the Taste, and Jobey and Katherine. His work has been produced and developed in theaters across the country and around the world, including Actors Theatre of Louisville, American Conservatory Theater, American Theater Company, The Apollo (West End), The Brick, the Eugene O'Neill National Theater Conference, The Geva Center, Goodspeed, Musicals, Henry Miller's Theatre (Broadway), Manhattan Theatre Club, New York Stage and Film, New Line Theatre, The Old Globe, Perseverance Theatre, Roundabout Theatre Company, Soho Rep, South Coast Rep, The Saint James (Off West End), The Tank, and Village Theatre, among others. Future projects include ZM, an original musical about teenaged fast-food workers trying to survive a zombie plague. Greg co-founded Theater of The Apes with his wife Ayun Halliday (www.theater-of-the-apes.com), and is a member of the Neo-Futurists, the Cardiff Giant Theater Company, ASCAP, and the Dramatists Guild. He grew up in Wellfleet, Massachusetts, lives in New York City, and is the proud father of India and Milo. You can watch the full video of this episode at https://www.youtube.com/@GatherbytheGhostLight Gather by the Ghost Light merch is available at www.ghostlightpubs.com (Ghost Light Publications) If you would like to further support this podcast, please visit Gather by the Ghost Light is increasing public knowledge of emerging writers and actors (buymeacoffee.com) If you enjoy this podcast, please please please leave a rating on your preferred podcast app! For more info or if you wish to contact us, please visit www.gatherbytheghostlight.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Week 20:The Mindful Empath AlmanacI will start recording these voiceovers so they hit the podcast feed, I hope you enjoy them!! If you become a paid subscriber you will begin to receive longer audio meditations (8 per year). The next one is coming up soon!!mindfulempath.substack.com/subscribeQuote:“The only thing we never get enough of is love; and the only thing we never give enough of is love.”~ Henry MillerA Poem about Space:I've been thinking a lot about space lately.How we use it.How we make room for it.How we manipulate it and how we abuse it.How we “take it up” or push it away.And how, oftentimes, we don't make time for it in our day.Space can be holy, or can it?mindful empath is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.The room to breathe is all good and well, but the air...the energy in that space can open up for what is already there.The space between you and me is charged with energy.My words and body, my energetic space, can communicate anger, pity, resentment.These messages get flung with every harsh word, every dark stare.Pushing everyone away…creating distance…space.On a different day I might be a peaceful harbor of safety, love, and contentment.that speaks kindness, grace, and forgiveness.It is with these kind words and hopeful actions we pull people towards us in harmony, unity, and love.Every warm embrace and loving gesture imagines a space where we are connected, alive and together.Intention:Join me in this intention:Today, I allow myself to give and receive love fully.Meditation:To listen to the following meditation in audio form, please play below.Making Space for LoveWithin your chest, visualize a soft, warm light. This light represents your capacity for love.With each inhale, imagine this light growing brighter and expanding outward. Feel it fill your entire body, reaching your fingertips and toes.As you exhale, let go of any thoughts, worries, or past experiences that might be holding you back from love. Release them like clouds drifting away in the sky.Breathe in love, expanding the light within.Breathe out anything that might be blocking your ability to receive and give love.Notice the spaciousness created by releasing negativity. This is the space you're making for love to flow freely.Stay with this feeling of openness and love for a few moments. Let it fill you and radiate outward.Cultivation:Here are a few practical ideas for cultivating love-space around you!Practice active listening: When someone is talking to you, give them your full attention. Make eye contact, ask clarifying questions, and avoid interrupting.Offer words of encouragement: Notice someone's efforts and compliment them genuinely. Offer support and positive reinforcement to those around you.Spend quality time together: Plan a meaningful activity with a loved one, friend, or family member. Put away distractions and focus on enjoying each other's company.Appreciation:Do you struggle with showing appreciation to the people in your life that deserve it? It's good to remember Henry Miller's quote. Love is ABSOLUTELY something we never get enough of or get! It's also one of those rare elements in life that ONLY exists and grows when we give it away. Here are some examples of Gratitude statements for your loved ones….* For love and support: "I am so grateful for your unwavering love and support. You make me feel safe and cherished."* For laughter and joy: "Thank you for bringing so much laughter and joy into my life. You make even the ordinary days feel extraordinary."* For growth and learning: "I'm so thankful for the ways you challenge me and help me grow as a person."* For understanding and acceptance: "Thank you for accepting me for who I am, flaws and all. It means the world to feel understood."* For specific qualities: "I appreciate your incredible sense of humor/patience/generosity. It makes our relationship so special."* For shared experiences: "I cherish all the memories we've made together, and I can't wait to create many more." Get full access to mindful empath at mindfulempath.substack.com/subscribe

A bold memoir of an extraordinary, singular life lived by one of the world's most beloved and acclaimed figures: Russ Tamblyn. With more than eighty years as a celebrated artist and actor under his belt, Russ Tamblyn is a cherished figure to name among cinephiles and pop culture fans alike, working with such legendary directors as Robert Wise, David Lynch, and Quentin Tarantino. He tumbled through his acclaimed starring role in the original West Side Story as an actor and acrobatic dancer, taught Elvis Presley some signature dance moves, and became an unlikely visionary in the counterculture movement of the sixties alongside peers and friends Henry Miller and Dennis Hopper. Russ deftly guides readers through his star-studded life and his search for a deeper, more connected existence: attending school with Elizabeth Taylor, earning an Academy Award nomination for Peyton Place, dropping out of Hollywood at the height of his career to become a fine artist in Topanga Canyon, and forging a lifelong friendship with Neil Young. He shares the painful breakup of a twenty-year marriage and the joy of finding true love and inspiration as a husband, father, and mentor in his own right.Perfect for old and new fans alike, Dancing on the Edge is an intimate and powerful story about the singular life of one of our most gifted storytellers, artists, and stars of the silver screenBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

On the Eighth Episode of Season 4 of History's Greatest Idiots Lev and Derek look back on the strange life and even stranger death of a Scottish nobleman (William Henry Miller), and examine the legacy left behind by one of the sports world's most hated figures (Angel Hernandez) Join our Patreon for Exclusive Content and Gifts! ⁠⁠⁠⁠⁠⁠https://www.patreon.com/HistorysGreatestIdiotshttps://www.instagram.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠ Follow us on Social Media ⁠⁠⁠⁠⁠⁠https://www.instagram.com/historysgreatestidiots⁠⁠⁠⁠⁠⁠ Hosts: Lev & Derek ⁠⁠⁠⁠⁠⁠https://linktr.ee/ThatEffnGuy⁠⁠⁠⁠⁠⁠ Artist: Sarah Chey ⁠⁠⁠⁠⁠⁠https://www.fiverr.com/sarahchey⁠⁠⁠⁠⁠⁠ Animation: Daniel Wilson ⁠⁠⁠⁠⁠⁠https://www.instagram.com/wilson_the_wilson⁠⁠⁠⁠⁠⁠ Music: Andrew Wilson ⁠⁠⁠⁠⁠⁠https://www.instagram.com/andrews_electric_sheep⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/historysgreatestidiots/support

"There are some lives you have to read to believe they were really lived. Russ Tamblyn lived one of those lives. A killer story about one of our last remaining living legends of the screen. His time as child actor in the forties (in Gun Crazy), his time working and acrobatically dancing his way through MGM's glorious heyday of the fifties, to being one of the coolest iconoclasts of the sixties, to his days toiling in the world of sleazy seventies exploitation cinema (my favorite part), all written by the man himself." - Quentin Tarantino A bold memoir of an extraordinary, singular life lived by one of the world's most beloved and acclaimed figures: Russ Tamblyn. With more than eighty years as a celebrated artist and actor under his belt, Russ Tamblyn is a cherished figure to name among cinephiles and pop culture fans alike, working with such legendary directors as Robert Wise, David Lynch, and Quentin Tarantino. He tumbled through his acclaimed starring role in the original West Side Story as an actor and acrobatic dancer, taught Elvis Presley some signature dance moves, and became an unlikely visionary in the counterculture movement of the sixties alongside peers and friends Henry Miller and Dennis Hopper. Russ deftly guides readers through his star-studded life and his search for a deeper, more connected existence: attending school with Elizabeth Taylor, earning an Academy Award nomination for Peyton Place, dropping out of Hollywood at the height of his career to become a fine artist in Topanga Canyon, and forging a lifelong friendship with Neil Young. He shares the painful breakup of a twenty-year marriage and the joy of finding true love and inspiration as a husband, father, and mentor in his own right.Perfect for old and new fans alike, Dancing on the Edge is an intimate and powerful story about the singular life of one of our most gifted storytellers, artists, and stars of the silver screenBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

#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

Nous sommes le 11 octobre 1923, à Toronto. Ernest Hemingway écrit à son amie Sylvia Beach : « Nous avons une terrible nostalgie de Paris. » Sa destinataire, originaire de Baltimore, qui a ouvert, quatre ans plus tôt, dans la capitale française, la librairie « Shakespeare and company » assure quant à elle : « Je ne voulais pas quitter cette ville. Je l'aimais tellement qu'à la pensée d'y rester et de devenir Parisienne à mon tour, je n'hésitai plus. » Quant à Henry Miller, l'auteur de « Tropique du Cancer » et de « Jours tranquille à Clichy », il écrira, en 1944, dans ses « Lettres à Emil » : « Mieux valait être un mendiant à Paris qu'un millionnaire à New York ». Hemingway, Miller, Sylvia Beach, mais aussi Scott Fitzgerald, Anaïs Nin, Ezra Pound ou Gertrude Stein, représentants d'une brillante génération de la littérature américaine, vont s'installer, dès la fin de la Grande Guerre, dans la ville lumière. Toutes et tous seront marqué.e.s par leur exil volontaire. Que venaient-ils chercher à Paris ? Que fuyaient-ils de cette Amérique en passe de devenir la première puissance mondiale ? Invité : Ralph Schor, professeur émérite à l'université de Nice-Sophia Antipolis. Auteur de « Le Paris des écrivains américains, 1919-1939 » éditions Perrin. Sujets traités : Ernest Hemingway, Sylvia Beach, Henry Miller, Scott Fitzgerald, Anaïs Nin, Ezra Pound, Gertrude Stein, Grande Guerre, Paris Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

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

Chara and Henry Miller were found shot to death in their home in 2017 while their kids were home. There was no evidence of forced entry or a robbery, and when speaking with the three daughters, authorities learned that none recalled hearing gunfire or any sounds of a struggle.  Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: http://bit.ly/KillerInstinctPod If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: http://bit.ly/KillerInstinctPod Follow Savannah on IG: @savannahbrymer Follow Savannah on Twitter: @savannahbrymer Learn more about your ad choices. Visit podcastchoices.com/adchoices

Eli Tomac (00:06), Jett Lawrence (02:06), Hunter Lawrence (06:02), Haiden Deegan (10:13), Tom Vialle (11:54), Seth Hammaker (14:31), Pierce Brown (17:33), Coty Schock (21:08), Henry Miller (24:07), Cooper Webb (27:03), Cameron McAdoo (29:40) and Ryder Floyd (33:47) discuss all that happened at the seventh round of 2024 Monster Energy Supercross in Arlington.

#GMO: European Parliament  and GMO needs explanation. Dr. Henry Miller. HenryMillerMD.org https://www.science.org/content/article/european-parliament-votes-ease-regulation-gene-edited-crops undated

#GMO: #SOIL: Enhancing soil with GMO. Henry Miller, HenryMillerMD.com https://henrymillermd.org/27504/here-how-we-can-genetically-modify-soil 1837 Ukraine

#Covid-19: Omicron JN.1 along with Influenza and RSV blanket the planet & What is to be done? Henry Miller, American Council on Science and Health. https://www.acsh.org/news/2024/01/09/we-are-falling-short-covid-prevention-and-suffering-consequences-17568 1919 Sydney NSW

PREVIEW: #Covid-19: Excerpt from a conversation with Dr. Henry Miller re the widespread Covid-19 cases, up to 2 million per day in the US, and what is to be done?  Recommending Paxlovid with scrupulous attention to side effects if taken with certain other drugs.  Clearly this Omicron JN.1 variant of the original "Wuhan" version is damaging to all age groups, but especially to seniors.  More of this later. https://www.acsh.org/news/2024/01/09/were-falling-short-covid-prevention-and-suffering-consequences-17568 1907

On this week's episode, I have author Shelia Heti, book writer of Pure Color, Motherhood, Alphabetical Diaries, and many many more. We talk about how I discovered her writing and why Pure Color meant so much to me. She also explains her writing process and how she approaches a story. There is so much more.Show NotesSheila Heti Website: https://www.sheilaheti.com/Sheila Heti on Wikipedia: https://en.wikipedia.org/wiki/Sheila_HetiMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptSheila Heti:That's what I was thinking.Michael Jamin:It was work harder.Sheila Heti:I was like, I got to work harder than any other writer alive.Michael Jamin:And what did that work look like to you?Sheila Heti:Just always writing and always not being satisfied and being a real critic of my work and trying to make it better and trying to be more, try to get it to sound and more interesting and figure out what my sentences were and letting myself be bad and repeat myself until I got better. And I don't think that I ever let that go. I'm not sitting here today saying, I work harder than any other writer alive. I do remember having that feeling when I was young. That's what I need to do. That's the only wayMichael Jamin:You're listening to What the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity. I'm talking about writing, and I'm talking about reinventing yourself through the arts.Michael Jamin:What the hell is Michael Jamin talking about today? Well, ladies and gentlemen, I'm talking about, honestly, one of the greatest, I feel, one of the greatest writers of my generation. Yep, yep. Her name is Sheila Hedy. She's the author of I guess 11 books, including Pure Color, although it's spelled with a U, the Canadian Way, a Garden of Creatures, motherhood, how Should a Person Be? And her forthcoming book, alphabetical Diaries. And she's just an amazing talent. So she's an author, but I don't describe her this way. And by the way, I'm going to talk about Sheila for about 59 minutes, and then at the end I'll let her get a word and then I'll probably cut her off. But I have to give her a good proper introduction. She's really, really that amazing of a writer. So author isn't really the right word. She really is, in my opinion, an artist who paints with words.And if you imagine going up to a Van Gogh painting, standing right up next to it, and then you see all these brushstrokes, and then you take a step back and you're like, okay, now I see the patterns of the brushstrokes. And you take a little step back, oh, the patterns form an image. Then another step back, you say, oh, that's a landscape. It really is like that with her writing. She has these images that she paints with words, and then they form bigger thoughts and you pull back and it's really amazing what she does and how she kind of reinvents herself with each piece. And so I'm so excited and honored she for you to join me here so I can really talk more about this with you. Thank you for coming.Sheila Heti:Yeah, thanks. That introduction made me so happy. Thank you for saying all that.Michael Jamin:Lemme tell you by the way, how I first discovered you. So I have a daughter, Lola, she's 20, she's a writer, and we trade. I write something we trade. It's really lovely that we get to talk about. And so she's off at school, but she left a book behind and I'm like, all right, what's this book she left behind? Because that way I can read it and we can talk about that, have our book club. And she left Pure Color. And I was like, oh, I like the cover, so I'll take a look at it. And what I didn't realize, it was the perfect book to discover you by because it's book about among other things, about a father's relationship with his daughter. So I text her, I say, I'm reading pure color. She goes, Sheila Hedy's, one of my favorite authors. If I could write anybody, it would be her. I'm like, all right, well, I got to continue reading this. And then a couple of days later, I get to the part and I send her a text. I say, you and me would make a great leaf. And she goes, that's my favorite part. The tree. That's my favorite part.You're also an interviewer. You've interviewed some amazing writers. Joan Didion, Margaret Atwood, big shots. And so I'm sure as an interviewer, you give a lot of thought to your first question. So I was trying to, I better give a lot of thought to my first question, and I kept coming back to the same one, which is pure color. It's such a big swing. If you were to pitch me this idea, you'd say, I'm going to write a book. It's about a father's relationship with his daughter, but it's also about a woman's unrequited love with her friend, but it's also about the soul and what it means to have a life. I'd say, I don't know, Sheila, that's kind of a big swing. I don't know about this, but you hit it out of the park, you did it. It was beautifully done. And so my first question is, you come up with an idea like this, where do you get the nerve to think that you can actually pull this off? This is really where do you get the nerve to think that, okay, I'm going to do this.Sheila Heti:The nerve.Michael Jamin:Well, it's such a big swing. It's like, how do you know you can do this? Do you know what I'm saying?Sheila Heti:Yeah. I don't know. I mean, I don't know that I could do it. So it's nice to hear. I mean, I don't think that you ever think you're going to be able to finish the book that you start, and then when you finish a book, you never think you're ever going to start a new one. That's sort of where I am right now. In that confused place. There's a part of it that always feels like, I dunno how to explain it. I mean, I don't know how to answer that question. It's a weird process. There's no process. There's no system to doing it, and then you hope you did it. You feel good and it feels done, but you dunno how you ever got there.Michael Jamin:And how do you know you arrived? How do you know when it's time to quit on something? And do you ever quit on something?Sheila Heti:Yeah. Yeah, A lot. A lot. But usually not like three or four years in, usually 60 pages in or something like that.Michael Jamin:60Sheila Heti:Pages is when you start thinking this is not working.Michael Jamin:Is it a gut feeling? How do you knowSheila Heti:Your curiosity runs out?Michael Jamin:Your curiosity runs out. Okay, so you get bored by it yourself?Sheila Heti:Yeah.Michael Jamin:Is that what you're saying?Sheila Heti:Yeah, it's just like, that was fun. That was nice. That was a good couple of weeks. I was really excited. I really thought this was going somewhere. And then it just ends. It's like a relationship. You think, oh, this is so great, I'm going to be with this person. And then after six months you're like,Michael Jamin:I was kidding myself. But you're writing. I have so much I want to say, it seems like you reinvent yourself with each piece. You know what I'm saying? It's like pure color is very, very different from how should a person be, which I was like, okay, I want to read this. I'm not sure how should a person be, which is extremely different from alphabetical diaries, which is almost like an experiment. And I wonder, do you get pushback from your agent or your publisher? Do they want you to do the same thing? We know it works.Sheila Heti:No, I think that at this point there's no expectation of that. When I wrote my second book, there was a feeling like that's not the first one. And there was some disappointment and the publisher said, this book doesn't count as your next book. In part, I think it was so different, but I think at this point that's, I mean, I've been publishing for 20 years. That's not really what people say to me anymore.Michael Jamin:Really? What do they say? They say, oh good, this is fresh. And it's more from you.Sheila Heti:No, I mean, I guess I changed publishers a lot more than other people do. So my publisher of motherhood didn't like pure color, so they rejected it. So I found a different publisher and the publisher of Tickner, my second book didn't like how should a person be? So I found a different publisher. So I think I move around a lot for that reason.Michael Jamin:Is that common with authors? You have to tell me all about this author thing? No, it's not really common.Sheila Heti:No. Usually you have one publisher and one editor and you just stick with them for a long time. SoMichael Jamin:It seems though you came up through the art. Alright, I have this idea of who you are from reading your books. You have, it's all very personal what you write and which makes it brave. It's brave for a couple of reasons. It's brave because you're being so vulnerable, you're putting yourself out there, but it's also brave. I feel like you're trying something new each time and that could fail. And so that to me is part of what makes your writing so exciting. But do you have any expectation when you're writing something which is so different, do you have an expectation of your reader how you want them to react?Sheila Heti:I mean, I want them to get to the end of the book. That's what I want. I want to draw them through, but I don't think I have a feeling like, oh, I want them to be sad on this page and I want them to be curious of this page and feel this way on this page. I just want them to be interested enough to get to the end. So how do I keep that momentum up and how some people conversation, they have long monologues, they're like a monologue, but I'm not because I'm always afraid people are going to lose interest. So I kind of feel like the same with my book. I'm always afraid that somebody's going to lose interest. So I'm always trying to keep it moving,Michael Jamin:But it's not an emotional reaction. I mean, your writing is very philosophical to me. When I'm reading your work, I feel like maybe this is my theory about what you have, and I'm sure it's not right, but it's that there are passages which I feel are so rich and so smart, and I have so much thought that I have to go back and read it again. So I'm wondering if that's what you're thinking. I want to write something that makes people have to read it again.Sheila Heti:No, I never think that because a very fast reader, and I don't reread passages and I don't read slowly. So for me, I'm always thinking that people are reading. I'm always imagining the person reading kind of fast,Michael Jamin:But thought. I mean some of them are really, some of your thoughts are very deep and very profound, and I'm like, I'm not sure if I understood all this. I got to read it again. I mean, don't you think? No.Sheila Heti:Yeah, I guess so. I don't know. I don't really think about that. I don't really think about the person, the reader in that way of like, are they going to have to read this again? Is this going to be hard for them to understand? I think my language is very straightforward. Yeah. I don't know how I think about the reader. I think of myself as the reader. So I'm really writing it so that I like every sentence. I like the way it turns. I like the pictures it makes.Michael Jamin:But when you say I want them to get to the end, what are you hoping they'll do at the end? Is there any hope or expectation?Sheila Heti:Well, I think especially in pure color, the end is really important. It kind of makes the whole book makes sense. And motherhood too, and maybe less how should a person be and less alphabetical diaries. But I think in some cases, a book, I'm somebody who doesn't always read books to the end. I like getting taste of different author's minds and so on. But I think in the case of some books, you have to read it to the end to really understand the whole, so that's in the case of pure color, why I wanted people to get to the endMichael Jamin:BecauseSheila Heti:It makes the beginning mean something different. If you've read.Michael Jamin:It does. I mean it is, and it's about processing grief. So do you outline when you come up with an idea, where do you begin?Sheila Heti:Well, with pure color, I thought I want to write a book about the history of art criticism. So I always start off really far away from where I end up. I always think that I want to write a book of nonfiction and I'm not a good nonfiction writer, so it always ends up being a novel. But I think I usually start off with an, well, in the case of this book, I also started off with this title that I had in my dream. The title was Critics Bayer, BARE. So I was thinking about art criticism and so on, but then I don't know, the books kind of take on their own direction. I never really understood when people said that they had characters that sort of did things that they didn't expect. But I feel like that is true sometimes of the book as a whole. It moves in a direction I didn't expect, so I couldn't outline.Michael Jamin:You don't outline all. And so does it require you to discover what the story is then once you find it, toss out the stuff that's not the story orSheila Heti:Yeah, I basically write way too much and then just cut and try to find the story and move things in different orders and try to find the plot after. I've written a ton of stuff already,Michael Jamin:Because I know from reading, you come from the art world, you're an artist and I think you hang out with artists, people, so you talk about what art is, is that right or no, do not shatter what I think of now. That's not itSheila Heti:Mean and relationships and all that kind ofMichael Jamin:Stuff and relationships. Because I mean, I don't know, it seems like that's why I say you're an artist. You have these conversations even about what art is. And do you draw inspiration from paintings when you approach?Sheila Heti:Yeah, I'm interested in the book as art. I think more than storytelling. I'm interested in the book as sort of an experience that you're undergoing in different way from just the experience of being told a story. I don't think that I'm so interested probably in the things that a lot of other novelists are interested in, character and plot and conflict and all those things.Michael Jamin:Well, it's really, I've heard you say this, it's really, you're writing various forms of you and it's very personal and very intimate. But you also made the distinction in something I read where there's Sheila, the author, then there's Sheila, the character. Is that right?Sheila Heti:Yeah. I mean, in two of the books there's kind of a character that sort of stands in a way for me, but it never really, it doesn't feel like a direct transcription of myself or my life or my thoughts. There's always this feeling of maybe it's like how actors are, there's a part of yourself that goes into the character and there's other parts of yourself that are left out.Michael Jamin:And so I was going to say, is there stuff about you that you leave out, for example? I mean, how should a person be? Or alphabetical diaries, it feels like we're talking about you, right?Sheila Heti:Yeah. Well, how should a person be felt? A lot like a character pretty, I was thinking about Paris Hilton and Lindsay Lohan. This was like 2005, and Britney Spears and these kind of women in culture that were bad girls and doing things sort of the subject of so much attention and so narcissistic or considered Narcissistic and the Hills, which was a show that I really loved. And sort of thinking about this character in the book being a voice that was somewhere between me and those girls. So there was this, this layering on of personalities, which I'm not thinking about. What does it mean to try to be a celebrity? What does it mean to be one? To be looked at, to idolize oneself? Those are my diaries. So there wasn't a sense of a character in the same way, but because the sentences are separated from one another, I guess it's like I don't feel like I'm telling anybody anything about my life. There's no anecdote in there.Michael Jamin:But I see that's the thing. And we'll just talk about alphabetical diaries because you're telling with such an, let me tell people what it's, so it's basically an ordinary diary is chronological. This is what I did today and this is tomorrow, whatever. But you grouped your diary by the first letter of each sentence, which organized, and this is again, another high degree of difficulty. This could have easily been gimmicky, but it was a rethinking of what a diary is. And when I say patterns emerge, so for example, when you get to D, these was do not whatever or do this or that. So you hear, okay, so here's a person creating rules for themselves. And then an E was even though, so now they're creating rules, but creating exceptions for these rules, making allowances. And so what you have is, and was so interesting about it, many of these thoughts were contradictory.So you're painting a picture of this person, but in one sentence, okay, maybe she's dating this guy. And the next sentence, this other guy, I'm like, well, what's going on here? Then I realize, oh, this is not chronological. And so I'm getting a complete picture of this person, which is so interesting, but, so I know who I guess know who you are, but I don't know who you are today. I know who you are as this arching thing in your life, which is so fricking interesting. And that was where the thought process going into this,Sheila Heti:Yeah, mean. So it's like 10 years of diaries and I put it into Excel and the a z function. So it's completely alphabetical first letter of the sentence and then the second letter and the third letter. And it was just, I mean, I guess I wanted to see exactly that. What happens if you look at yourself in that way? Do you see patterns? Do you understand yourself in a different way? Not narratively, but as a collection of themes or Yeah, exactly. That a scientific or sort of a cross section of yourself.Michael Jamin:Yeah,Sheila Heti:And it worked that way. I think with the diaries, what you do see is, oh, there are sort of these recurring thoughts and these recurring themes and these recurring ways of perceiving the world and perceiving yourself that persists over 10 years. That actually the one self, you think of yourself as this thing that's constantly changing through time and especially a diary gives you that feeling, but then when you do it alphabetical, the self looks like a really static kind of thing in way, no, I'm actually just these few little bubbles of concerns that don't change,Michael Jamin:That keep recurring when, by the way, when people say everything's been done before everything's been written, it's like, well, you haven't read Sheila Heady. Start reading hers. This is different. This why's so interesting about, that's why I think you're such an amazing writer, and it totally worked. Totally. You get a picture of this person and the recurring themes and recurring worries and, and even one of them, some things that struck me, there was one passage where it's like you go into a bookstore and you're like, isn't this also novels? Isn't it also unimportant? And I'm like, no, if it was, you wouldn't be doing this. So this was just a thought that you had at one point. It's not how you feel. It's how you felt at this one moment, right?Sheila Heti:Yeah, yeah. Literary fiction. Yeah. Like what a little tiny thing that is.Michael Jamin:But when people, okay, so now we have this picture of you and when you go do, let's say book signings or whatever, and people come up to you, they must have a parasocial relationship with you where they feel they know you. Your writing is so intimate. And what's your response to that?Sheila Heti:I think that's nice. I mean, I think that that's kind of the feeling you want people to have is it is your soul or your mind or whatever that you're trying to give people. And so if somebody feels that they know you well, in a certain sense they do. I mean, obviously not that well, they knowMichael Jamin:What you share, but there's, okay, I don't know what kind of music you like. I've read to all this stuff, but I know your insecurities and fears, but I don't know what you think is funny. I don't know what music you like. There's stuff you held back.Sheila Heti:Yeah, absolutely. But I think that's like, I don't know. I mean, I don't know. People aren't really very weird with me. Ed books or things, people are just pretty nice. And I never get this. I, I've rarely had interactions that feel creepy or weird or presumptuous or any of those things.Michael Jamin:Well, I'm not even going even that far, but they feel like they must feel like they know you certainly, but they know what you share. They know as much as you share. Right?Sheila Heti:TheseMichael Jamin:Kind of brave, bold decisions you make to create all this stuff. Is there a writer whose work you emulated in the beginning? Where do you begin to come up with this stuff? Was there someone who you wanted to write? Just like,Sheila Heti:I mean, I really loved Dostoevsky and Kafka and the heavy hitters. Yeah, I mean, I just loved all the greatest writers,Michael Jamin:But did you want to write like them?Sheila Heti:No, I mean, I think the closest I ever felt like I wanted to write a writer was, do you know Jane Bowles? BOW Elliot? She was married to Paul Bulls.Michael Jamin:No, to me, much of your work felt a little bit like it. Tall Cals, some of it works. Some of it was very ethereal and meditative.Sheila Heti:Yeah, I mean, I think Jane Bowles was the only one that I really felt myself imitating her sentences. She wrote a book called Two Serious Ladies, which I still really love. That was the only time when I felt like I was falling into somebody else's cadences and rhythms and so on. AndMichael Jamin:What happened whenSheila Heti:That was with my first book, the Middle Stories, and then the second book was written was so different. The second book I wrote was in such a different style that left me, but maybe there's still a way in which I still do. I think she's probably the writer that I write the most, if anyone. But I mean, she only wrote one book. So it's a very different kind of life than the one that I've had. No, I'm just always just trying to keep myself interested. So I think that I don't ever want to, I a very, I just want it to be fun for me. And so if I was to write the same book again, it wouldn't be fun. And books take five years to Write, or this diary book took more than 10 years to edit. So by the time I'm done a book, no, I'm such a different person than I was in some way when I started, even though I just said that you don't really change, but there's a way in which you get tired of thinking about the same things over,Michael Jamin:But then you think it would be hard to not constantly tinker with it. Isn't that part of the problem?Sheila Heti:I like constantly tinkering with it. That's fun.Michael Jamin:But then you have to let go. But how do you let go of it though?Sheila Heti:Well, at a certain point you start making it worse. You're like, oh, I think I'm starting to make it worse. You start to become self-conscious, and then you start to want to correct it, and then you start to want it to sort of be the person that you are today rather than the person you were five years ago. But you've got to honor the person that was five years ago that started the book. So you can't carry it on so far that you become, you've changed so much that now you're a critic of the book that's going to destroy the book.Michael Jamin:Yeah. See, that's so interesting. That's something I think about quite a bit. Yeah. How do I just let it go? And that someone else, it's funny when you talk about the language, because that's one thing that struck me about pure color. Your sentences are written in very, they're very, it's kind of brief, very, I dunno what the best way to describe it, but it's almost terse. And to be honest, if you had told, as I'm reading this, I could have thought this was said 150 years ago, and then occasionally you say you make a reference to something modern Google, and I'm like, oh, wait a minute, this takes space today. So that was a conscious, obviously decision that you made to kind of give it a timelessness.Sheila Heti:Yeah, I always kind of want that because I think that's my hope for a book is that it could be understood in a hundred years or 500 years, or you need Plato today, you want to write something that people could understand in a thousand years.Michael Jamin:But you know what I'm saying, the language, it almost felt, but your language is different though, in an alphabetical diary. Well, obviously since it's a diary, but man, so to me it's like you're not doing, like I said, you're not doing the same thing. I don't know, it could have been two different authors. That's what I'm saying. I guess it felt like two very different pieces and it was just wonderful. But when you say, so what then? Because like I said, you have these art friends, I have this whole life for you, you have these because you went to art, you studied art, and you hang out with a bunch of artists and you talk about art, and I want to know what these conversations are because we don't talk about art and TV writing. No one, we don't think we're doing art, but I feel like that's what you guys are doing. So do you talk about what the whole point of art is?Sheila Heti:I think I did when I was younger,Michael Jamin:Right? Then you grewSheila Heti:Out of it when I was in my twenties. And then you kind of figure that out for yourself in some way. Well, then you have your crises and whatever, and then you got to think about it and talk about it again. But no, I think these days what I talk about with my friends is just whatever the specific project is, whatever problems you're having with a specific thing, mostly complaining, the difficulty of not being able to pull it off or feeling like you are stuck or you're never going to be able to write it. I have these three other writers that I share my work with we're meeting tomorrow. So before I got on the call with you, I just sent something off to them, and tomorrow we're just going to have read each other's things and talk about how we feel about it. But for me, I'm just like, I think what I need at this point from them is reassurance, honestly.Michael Jamin:Reassurance,Sheila Heti:Yeah. Because you're so lost in the middle and you don't know what you're communicating and if you're communicating anything, and is it worth continuing? Should it just all be thrown out? There's so much doubtMichael Jamin:Because it's so very humble of you. You're a master writer, and yet you make it sound like you're still a student. You know what I'm saying?Sheila Heti:I mean, you think, I don't know if it's the same for you, but don't you think you're always kind of a student? BecauseMichael Jamin:Whenever you start, yeah, yeah. Look, yes. When every time you're looking at that blank page, I dunno how to do any of this.Sheila Heti:Yeah, exactly. You always feel like you're back at square one somehow.Michael Jamin:Yeah.Sheila Heti:Although now, not exactly square one. I've been starting this new book this week, and again, it may get to 60 pages and fall away from me, but now I have a different feeling that I had when I was in my early twenties. The feeling I have now is like, oh, I did that. Oh, I've had that thought before. Oh, I've written senses in that way before. What I'm trying to do now is none of the things that I've already done. They just, and so, yeah, where is this part of myself that I haven't written from yet? So that's kind where I'm now. So it's not really starting from square one, but it's still just as hard,Michael Jamin:Right? Because you feel like you've said everything you had to say or done everything you wanted. Is that what it is? Or,Sheila Heti:I know what my sentences sound like, so I feel like, oh, I'm not surprised by that sentence. That sounds like a sentence that my, I feel like I'm, you get this rhythm that is very pleasurable to write if the sentences have a rhythm, but now I'm just like, I'm tired of that rhythm. That rhythm can only give me one kind of sentence or one kind of thought. So I'm trying to figure out what else is there inside.Michael Jamin:Yeah, I imagine that's hard for someone. Basically, you're a physician who's made a hit and another hit, and what if I don't do it again? How do I do it differently? Or how do I reinvent myself now?Sheila Heti:And even just what's the meaning in this for me now? With every book, there's a different phase of life you're at. And I'm 46 now, so I dunno how old you are.Michael Jamin:How dare you? I'm 53.Sheila Heti:Yeah, I figured you were just a few years older than me. So it's a very different age to write from because you are not hungry in the same way you were when you were 23 and you were both in houses. You have accomplished certain things. And so what's the deepest part of yourself that still needs to do this when you're 23? Every part of yourself needs to do it in this extreme way. You've got to make a life for yourself. You've got to prove to yourself, you can do it. You've got to make money, you've got to all this kind of stuff. So what's the place at 46 or 53 that you're writing from that is just as vital and urgent as that place at 23?Michael Jamin:Yeah, I think actually that's why I started changing mediums. I've kind of done this headcount thing. What else can I do?Sheila Heti:So the essay, the podcast? Yeah.Michael Jamin:Well, most of the essays, the essay started the whole thing. It was like, it's funny, in your book or a couple of times, you mentioned, should I go to LA? And I'm thinking, why does she want to go to la? What was that about? What'sSheila Heti:That about? I've got family there. When I was a little kid, my parents used to put me on a plane. I was five years old and I'd be sent to LA and I had relatives and I would stay with them. And it was just, to me, it's such happy childhood memories and I just love Los Angeles. Whenever I go back, I think this is a place in the world besides Toronto that I'd most like to live.Michael Jamin:Really? So different.Sheila Heti:Yeah. I just love it. Yeah, so I love everything. I love it.Michael Jamin:Oh my God, I don't what, I've been to Toronto. I had, well, then ISheila Heti:Remember that LA's in America, and then I like, no, maybe not.Michael Jamin:Yeah, good point. Good point. So there's something else. I remember what I wanted, what I want to say. You had in one book, it was like, you're lamenting. I hope I never have to teach. And now you're teaching, right?Sheila Heti:Yeah, just for this one year.Michael Jamin:Okay. What was that about that decision?Sheila Heti:Well, I love teaching and I wanted the money because I didn't want to have to feel like I had to rush to start a new book. So I just wanted a year where I didn't have to have that anxiety of what's my next book going to be like, I've got to start. I've got to get a certain ways in and then sell it. And I like teaching a lot, and I just felt excited about the idea, but it was supposed to be a two year position, and now I've just changed it to a one year position. It becomes too much, even one day. And teaching a week is like, there's no point to writeMichael Jamin:Because you have to read all the whatever they write on the side. You're saying, well,Sheila Heti:I've got to commute two hours to get there, and then two hours home, and then, I don't know. And then your brain just sort of stays in that university space with your students for three or four days, and then you have two days where you're not with them and then you go back to school.Michael Jamin:So what does your life really look like? Your writing life? What is it like to be an author on a dayday basis?Sheila Heti:What your life is all day long? You're either writing emails or you're writing writing. Probably spend more time writing emails and doing correspondence and businessy stuff than writing. Writing, and then all the life stuff, walking the dog, doing household chores. I don't have a very regimented existence, but I just sitting in bed and being on my computer, that's sort of myMichael Jamin:Favorite. That's where you write on laptop. Oh my God, my back would kill me. But something else you said, because I really was turning to you for answers as I was reading it. I'm like, she's got the answers. And you said, and you're like, I don't have the answers, but no, I'm like, no, she's got the answers. And you said, art must have at one point, art must have humor. I think you said that in How should a person be? And I was like, really? That's what you guys think. There has to be humor in art.Sheila Heti:Oh yeah. You got to know where the funny is. Yeah, I think,Michael Jamin:Sure. I don'tSheila Heti:Understand. It's the two. I read your essay. It was very funny.Michael Jamin:Yeah. But thank you. But I have an intention. I have an intention when I write, but I don't understand why you think there has to be humor. Alright. Why do you think there has to be humor it in art?Sheila Heti:Humor's such a part of life. I mean, if you don't have humor in life or art, you're missing a huge part of the picture. I mean, it's all, it's just the absurdity of being a human. It's,Michael Jamin:Well, see the thing as a sitcom writer, look, I'm grateful to have made a living as a sitcom writer. It's what I wanted to do, but it's not like anyone looks at what we do. It's like, oh, that's high art. They go, it's kind of mostly, people think it's kind of base. And I think, and when you think about even at the Oscars, when they're fitting the best picture, it's never a comedy. It's that the comedies are not important enough. And so that's why I had this feeling like, well, can humor be an art? Can it be, ISheila Heti:Mean, I think great art always has humor in it, but it's the same thing in literature. The funny writers are not as respected as the serious ones, but I think that they're wrong. I mean, Kurt Vonnegut, I love Kurt Vonnegut. He's extremely funny, but he's never had the same status as somebody like, I dunno, Don DeLillo or whatever, because he's not serious enough. But I think it's a very, who are the people that are making that judgment? That the solemn writers that have no humor are the best writers. They're just idiots. I mean, it's not the case.Michael Jamin:I gave my manuscript to one publisher. I was rejected from him, and he wrote, he was very kind. He goes, oh, this book really works. I like it, but it's not high literature. And we do high literature here. And I was like, how dare you? I was like, well, I totally agree. It's not high literature. Not that I could write high literature, but I didn't set out to do. But there was still that sting of what you're doing is not important because it's funny.Sheila Heti:Yeah. That's a stupid editor.Michael Jamin:Well, he got the last laugh. Wait a minute, wait a minute. But yeah, I don't know. Okay. But is humor in painting and humor in all art? I mean,Sheila Heti:Yeah, levity. Well, just that scent, that aspect of life. That is the laugh that is that bubbling up laughing. Yeah. I mean, I think that that's joy. Joy and humor are very closely connected. And a work of art without humor is a work of art without joyMichael Jamin:AndSheila Heti:Wants to take that in.Michael Jamin:Then what is art? I'm honest here. You learned this when you're 20 and I haven't learned it yet. So what is art to you and what's the difference between good art and bad art?Sheila Heti:It's a reflection of the human experience. It's like an expression of what it feels like to be a human, that a human is making for another human.Michael Jamin:Okay, so it's this interpretation of what you feel, what it means to be human, is that right?Sheila Heti:It's an expression of what you feel like it means to be human.Michael Jamin:Right. Okay. And then how do youSheila Heti:That in an object?Michael Jamin:And then how do you know if it's good art or bad art?Sheila Heti:I mean, there's no consensus, right? You liked pure color, but a lot of people don't. There's just no consensus because it touched you, but somebody else thinks it's the worst book they've ever read, and that's okay. I mean, I think that that's right. We can't all speak to each other. We're not all here for all of each other.Michael Jamin:Oh, just because you mentioned that it was so touching this one moment, it really hit me where you explain how you felt the father, how his love for his daughter was so much that it put pressure on her not to have her life because her life was so important to him. And I thought, oh crap, I hope I'm not doing that because my feeling is no, it's just pure love. It's an expression of pure love. But from the other side, I can see that.Sheila Heti:Yeah. Yeah. I think that that's what I was thinking about in that book. That's the sort of tragedy ofMichael Jamin:Yes,Sheila Heti:Families and friendships and so on, that we want to love each other, but we can't in the way that we want to.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com. And now back to, what the hell is Michael Jamin talking about?Michael Jamin:It was just so beautiful to express that as two souls stuck in a leaf, where is this coming from? It felt completely appropriate, but also almost out of the blue. And that's what was so amazing about that whole section. Thanks.Sheila Heti:Yeah. I don't even remember where that idea came to me. I don't know if you feel like this with your writing, but sometimes you remember exactly where an idea came from. You can even picture yourself being right there having it, and sometimes you almost have anesia around it,Michael Jamin:Really? And what about the part? There was so many lovely moments of this woman working in a lamp store, and she has to turn the lamps on every single lamp on, and it's almost like, I got to do this, but there's her counterpart who has to turn the lamps off at the end of the day, something equally horrible. It was really funny, and it was just, I don't know. Did you ever work in a lamp store?Sheila Heti:No. No. But there was this lamp store that I used to pass on the way to one of my first jobs, and I would look in the window, and I did eventually buy a lamp from that store with all the money I had in the world. But I never worked in a lamp store, but I was obsessed with this lamp. I really thought it was going to change my life.Michael Jamin:And do you still have it?Sheila Heti:No. It got broken in aMichael Jamin:Fit ofSheila Heti:Rage situation. Yeah, it got broken rage.Michael Jamin:I was stuck on a paragraph I wrote against this important list. ItSheila Heti:Was in the box on the floor, and somebody stepped on it. And anyway, it's sad, but whatever.Michael Jamin:Okay. But alright. So much of it felt like, yeah. Okay. So it was a version of you that wasn't exactly, but where was this coming from? You said you had a point you were making. I don't rememberSheila Heti:Where, because at some parts you remember where they came from and some parts you justMichael Jamin:Kind of pull out of, pullSheila Heti:Out of. You don't remember how they came about?Michael Jamin:Yeah. I don't know. I always feel like when I'm writing, if there's an idea that has a strong emotional reaction, like, okay, maybe there's something there.Sheila Heti:A strong emotional reaction in you.Michael Jamin:Yeah. In me. I have a terrible memory, but if I remember something, why do I remember it? There must be a reason.Sheila Heti:You have a terrible memory too,Michael Jamin:And you wouldn't know it, but I guess you document everything in your diary.Sheila Heti:I mean, the diary is usually not about things that happened. It's more about the feelings that I'm having in the moment that I'm writing it. I wish that my diary was more about things that happenedMichael Jamin:Really Well, you get to decide what you put in your diary.Sheila Heti:I know usually when one writes a diary, it's because you're in a moment of high emotion that you need to get your feelings out.Michael Jamin:Do you write every day in your diary?Sheila Heti:No. No, no. Just when I need to. And I don't even really do it anymore now.Michael Jamin:Interesting. Yeah, there is. There's something else you said about it. Yeah. There's so many moments that were so interesting. Like you said at one point that the men you date don't understand you. I'm like, well, don't they read your book? I mean, why don't you just give 'em your book and didn't understand you?Sheila Heti:No, I mean, I don't know.Michael Jamin:You don't know. We'll get back to, I don'tSheila Heti:Even think that it's really all Yeah, like you were saying earlier, it's not really you. It's just an expression of a corner of you.Michael Jamin:Yeah. I don't know. But do you really feel that? I mean, I'm going back and forth. You'll see I contradict myself, but what you write is so to me, it feels so personal. I don't know how it cannot be you.Sheila Heti:I mean, I don't know. When I'm working on it, it doesn't feel like me. It just feels like writing on a page. It feels very plastic. I don't feel like it's me.Michael Jamin:So there's no, wow, because there's no inhibition there because it's very intimate. There's no inhibition. You don't feel to be judged. This is just a character named Sheila, by the way.Sheila Heti:I mean, I just don't think about it. Just I have this, that part of my brain is not awake when I'm editing or writing that people that are going to think it's meMichael Jamin:Or whatever. Well, that's bold. That really is bold because the notion that you're not worried about being judged, you're not worrying about expressingSheila Heti:Yourself. I worry about being judged for an email that I send. That's a stupid email much more than I ever worry about a book.Michael Jamin:Really? Really? Yeah. Your book is permanent and it's your art.Sheila Heti:But I have so much control over it. I have so much. I take so much time with it. It's not spontaneous. It's really thought through. So I'm not, and it's art. It's not me. An email is me. A book is not, it's its own thing.Michael Jamin:Okay. How should a person be? I mean, this to me felt like this is your struggle. It was really interesting when it was a narrative struggle about a woman trying to find herself in a brief period of time. And I felt like, no, this is you. Right?Sheila Heti:I mean, it doesn't really feel like that. No.Michael Jamin:Alright. This interview's over. That's why I think when I said, you're brave, I think that's what makes you brave, is that this fearlessness of I can put it out there and I'm not really worried about it.Sheila Heti:Yeah. I just don't care. I care about being judged as a human in the world, as a person, but not through my books, not through your I care about it and Oh, she's wearing a really stupid outfit. I care about it in all those ways that everybody does, but not via the books. Not as the books as a portal to judgment about me.Michael Jamin:Wow. Wow. I I don't know if you know how profound that is. To me. It really is. Yeah, because it gives you so much freedom to write then.Sheila Heti:Yeah. I mean, but fiction is different from essays. I think with essays you do feel like it's you, but with novels you don't. Or I don't,Michael Jamin:Yeah. But I guess, and I didn't really know this term, it's auto nonfiction, which I guess is this term. I was not familiar withSheila Heti:Auto fiction. They call itMichael Jamin:Auto fiction. That's what I meant. Auto fiction. Yeah. And soSheila Heti:I like auto nonfiction though. I think that's how it should start to be called.Michael Jamin:Really? Yeah. Just by my dumbest. Yeah. But when you call it auto itself, so I don't know.Sheila Heti:Yeah, I didn't give it that term. The critics give it that term, auto fiction, but all writing is auto fiction. All writing comes from yourself. It's a really silly term, but I mean, they guess they use it for people that write characters that have their name. Which again, that's only, and how should a person be? Does the character have my name? None of the other books.Michael Jamin:Well, okay, but Well, theSheila Heti:Diaries, obviouslyMichael Jamin:The diaries, but also I also know that pure color was taken from your life. I mean, we know that inSheila Heti:A lot ofMichael Jamin:Ways. So I also want to know about this, and I know I'm concentrating on how should person, well, on both of 'em I guess. But this play that you were commissioned to write, how does that work that you were tortured by throughout the whole book? You felt like you couldn't come up with anything good. How does that come about? So a local theater said, will you write us a play?Sheila Heti:Yeah, yeah.Michael Jamin:And it was their idea.Sheila Heti:Yeah. Yeah. They commissioned a play for me,Michael Jamin:But they said, I mean, this is what we want it to be about. Or they said right aboutSheila Heti:It was a feminist theater company, and they said it could be about anything as long as it was about women in it. And I really had the hardest time. I mean, I wrote a play, I'm sure you experienced this in Hollywood, and then there was a lot of notes. And in theater we call it dramaturgy. And I got so confused and I just couldn't make the play better from the notes. And it was just this torture, because when you're writing a book, or at least in my case, editors aren't like that. They're not giving you their notes to make the book something other than what you want it to be. But in theater, what's this character's motivation? Why does this happen here? There was just so much feedback and I just lost my sense of what I liked about it and what it was.Michael Jamin:And then how did you find it ultimately? You were happy with it, weren't you?Sheila Heti:Ultimately, I just, when it got put on a couple years after, how should a person be was published, it was just my original draft. So I never ended up editing it according to any of the notes in the end.Michael Jamin:Wow. So you won that battle?Sheila Heti:I guess so you did. It wasn't them who put it on. It was some other, some kid.Michael Jamin:Oh,Sheila Heti:I mean, he's not a kid anymore, but he seemed like a kid at the time.Michael Jamin:But you also do something called trampoline hall, which struck me as really fun. It seems like you're just part of this artwork. You make art. Well, I don't care what it is. Let's just do something weird and interesting until trampoline hall, which I love the premise of it's you say people deliver lectures on subjects they don't know anything about.Sheila Heti:Is that what it's, it's not their area of professional expertise. So they can do, oh,Michael Jamin:So they are experts.Sheila Heti:They can do research for their talk. It's just that it can't be their professional expertise.Michael Jamin:So they're not talking out of the rests. They're talking to about if they know No. Oh, okay.Sheila Heti:They do the research. Yeah. And then there's, so the talk lasts about 15 minutes, and then there's a q and a, and then So there's three of those and night, and yeah, it's been running once a month in Toronto since December, 2000 or 2001. Them. I haven't been involved in it. You them? Oh, no, no. I mean, I started it, and my friend Misha Goberman is and was the host, but after about three or four years, I left around 2005 or so. But he still keeps it going. So now I used to pick the three people every month, and I just used to, when I was in my twenties, I had crushes on people all the time. And it was fascinated by people in such a way that it was a way of having these friendships where I would go out with them and talk about what their talk was going to be about, and then I'd see them on stage.And it was just a way of being with people. My life is not really like that anymore, where I'm coming into contact with so many people that I just have to have a show and put them on stage. I find 'em so fascinating. And the culture's changed because again, in the early two thousands, there weren't, the internet wasn't what it is. And I just felt like there's all these smart people with all these interesting things to say, and nobody's paying any attention to them. And here's a venue for them. You obviously don't need that, a barroom lecture series for people to have a voice in this culture anymore. Yeah,Michael Jamin:Right. That's right. Now you deal with students, young people. And so what's your take then, as an artist, as you deal with people of this younger generation? What do you see?Sheila Heti:I don't know. I mean, I only see them through a very narrow lens. You don't show your teacher that much of your life. I see them sitting in a classroom for two and a half hours once a week. I've only done it for seven weeks.Michael Jamin:But you read their work or you pretend to?Sheila Heti:I read it. There's not that much. I mean, I don't know. You can't really generalize about a generation. Every person's different.Michael Jamin:One of the stories in my book is about that. It was about me trying to, being in a creative writing class, trying to impress my teacher, and just having no idea how to write, just none. And feeling complete. You're smiling. You can relate or you see it.Sheila Heti:Well, because I'm smiling, because yeah, that's how people feel. And it's sort of a failure of the way that creative writing is taught that makes a person feel like they can't writeMichael Jamin:Well. Okay. So what's the first thing you tell? What's the most important thing you tell your students then maybe?Sheila Heti:Well, I try to show them all these examples of, so-called bad writing and stuff that's intentionally boring and that's badly put together because I just think it's a better route. You're more likely to become a good writer if you are trying to do something bad than if you're trying to do something good. If you're reading the greatest writers and you're trying to emulate them, and you're all intimidated and blocked and nervous, and you're trying to write in a style that has nothing to do with yourself.Michael Jamin:So then how does showing them something bad help? Do you say, go ahead and write or write. What's the point of showing them somethingSheila Heti:Bad? I don't want 'em to try to write. WellMichael Jamin:Write Well, you don't, but you don't want 'em to write schlocky or poorly written stuff either.Sheila Heti:I'd rather have them write basic. I don't know. I just think when you're trying to impress, when you're writing to try to impress somebody, it's just you're starting off on completely the wrong foot. I want them their writing. So for example, in this class, one of the first experiments we did was I told them to go into their messages, their text messages, threads, and to copy out every single text message that they'd sent and put that in a document and make it a long sort of monologue, because that is actually what they write. That is what they're writing. You got to start from what you're actually saying and what you're actually writing, not this imaginary idea of what writing is.Michael Jamin:Right, right, right. That's exactly right. So there's this thought of what writing should be and what writing, how get, I guess, how did you get over that, especially when you were writing your favorite authors were the greats. How did you find the confidence to have your own voice, I guess?Sheila Heti:Well, when I was young, when I was a teenager, I read all the Paris Review interviews, and I just got the sense like, oh, there's no way to do it no one way. Everyone has their own way. Faulkner has his way, and Dorothy Parker has her way, and John au has his way, and there's just no consensus. And so you just have to figure out your own way. That's what they all did. I just sort of saw that's what each one of them had done.Michael Jamin:See, that's where I struggled with, and you're getting my therapist now and my creative writing teacher when I was starting to write this book. Because as a TV writer, my job is not to have a voice. My job is to emulate the voice of the show or the characters. And I'm a copy. I'm a mimic. That's what I do. And that's what I've been doing for 27 years. And then to write, this was an experiment to me. What would it be like to write just whatever I want to write with no notes, no one telling me what to do. And it was very scary in the beginning. And it was very, I loved David Sari. How can I do him? And so I wrote a couple of pieces. I studied him, I read all, I've studied books over and over again. He was so entertaining. He writes so beautifully. And I read it over and over again, and I wrote my first pieces, almost like I was doing him. And I felt, oh, this is good. And then I let it sit for a couple of weeks, and then I read it with fresh eyes. And this is terrible. It sounds like someone pretending to be him is terrible.Sheila Heti:Yeah, yeah. But that's a stage that you still probably learned a bunch by doing that, maybe about structure or about something.Michael Jamin:No, not that I learned that I felt like I was a pretender, but my thought was, well, he's doing it. He's successful. I write and now I perform my pieces as well, which is what, and I tore a little bit, and I thought, well, if it works for him, why reinvent the wheels? He's obviously got a market. And then I realized I had to come to the conclusion that it was almost heartbreaking. I can never write like him. I can't, no matter much. I want to, it'll never happen. And then I had to let go of that, and then had to come to the more, even a larger, heartbreaking realization was like, oh, I have to write me. And who the hell is that?Sheila Heti:And how did you find it?Michael Jamin:It was a lot of just drafts after draft. And then the problem, and this is something else, but I find some of the earlier pieces are very different from the later pieces. And I've tempted to go back and change the earlier ones. But like you're saying, I'm also tempted. I feel like I can't, can't, it's time to let 'em go.Sheila Heti:Right. That was that person.Michael Jamin:But it's all in the same book, and it felt like, well, should there be any kind of, is that okay? Is it okay to feel like each one's a little different from the other? I don't know.Sheila Heti:Yeah. I don't know. I mean, are the early ones still good, even if they're different?Michael Jamin:Yeah, I think they're good. I'm not sure if anyone else would notice except for me, but I noticedSheila Heti:Maybe not. Yeah, probably. Yeah. And I think it's okay if they're a little different from each other.Michael Jamin:Yeah. I don't, well, we'll find out. But that was very difficult for me to figure out how to, and I turned a lot to, and I wonder if you do this, you kind of answered a little bit. I didn't want to turn to other writers. I turned to musicians to music. Do you do that asSheila Heti:Well? Which musicians?Michael Jamin:It was turning to musicians to find out what is art? What am I supposed to be doing here? Yeah.Sheila Heti:I always look to painters for that.Michael Jamin:So painter, is it contemporary painters orSheila Heti:Contemporary or not contemporary?Michael Jamin:And how do you pull, what are you looking for them? Yeah. When you look at a painting, how does that help you?Sheila Heti:Well, how does it help you to look at musicians?Michael Jamin:Well, there's two things with music, and I feel like music is too, they're telling us, they get to tell a story with lyrics and with music. So if you didn't hear the lyrics, maybe you'd still get the sentiment of it. And so I feel like they have two tools where we only have one because they can set a mood just for the tune. And so I looked to them for the intimacy in their bravery. You'd look, okay, Stevie Nicks, she's singing about herself. That's all she's doing. And okay, you can do that. It just felt so vulnerable to be doing this.Sheila Heti:Yeah.Michael Jamin:And that's why I'm shocked that you're so brave about it.Sheila Heti:I mean, it's the only job is to not care about yourself in relation to it, that the book matters. And you don't matter.Michael Jamin:Right. That's your job is to put the art first. Right.Sheila Heti:To not do things because worried about what people will think of you. That's the first. And I guess when I was younger, I was reading so many avant-garde writers that did that in such flamboyant ways. It just seemed to me the only Henry Miller, it just seemed to me maybe the first lesson, not even a conscious lesson, just like, oh, clearly he's not worried about what people are going to think of him or his reputation among decent people.Michael Jamin:Yeah. Right. And so you don't have that, obviously, you don't have that worry.Sheila Heti:No, but I don't know. A lot of decent people.Michael Jamin:Yes, you do. But yeah, I don't know. Again, it's what makes you, I don't know, such a fantastic writer. I mean, I want everyone to read your work because it's really fantastic. I have some questions here that I have to ask from. So my daughter, Lola, I tell her she's a way better writer than I was at her age. But the truth is, she may be a better writer than I'm now, but I don't tell her that part. But she has these questions. She put down some questions like, damn, you've got some good questions. So I can't take credit. I can't take credit for this question. GiveSheila Heti:Me Lowes questions.Michael Jamin:Okay. First of all, she says, what are your dreams for your writing, and how do you let them go while also keeping them alive? Oops. I dropped a rock.Sheila Heti:My dreams. You dropped a rock.Michael Jamin:Yeah, I dropped. I have magic crystals by my computer that are supposed to make my work better.Sheila Heti:Oh, what kind of rock is that?Michael Jamin:It came out of my head. You want some? Yeah. I don't know. They're magic, but they're on my computer. So what are your dreams for your writing, and how do you let them go while also keeping them alive? And I guess what she means is, I guess, ambitions at the age You were talking about that young age.Sheila Heti:Young. Yeah. How old is she? 20.Michael Jamin:Yeah.Sheila Heti:When I was 20, my dream was to be the best living writer, just to be the best novelist, just to work harder than any other writer alive. That's what I was thinking. ItMichael Jamin:Was work harder.Sheila Heti:I was like, I got to work harder than any other writer alive.Michael Jamin:That's what I was. And what did that work look like to you?Sheila Heti:Just always writing and always not being satisfied, and being a real critic of my work and trying to make it better, and trying to try to get it to sound more interesting and figure out what my sentences were, and letting myself be bad and repeat myself until I got better. And I don't think that I ever let that go. I am not sitting here today saying, I work harder than any other writer alive. But I do remember having that feeling when I was young. That's what I need to do. That's the only way it's going to work.Michael Jamin:Yeah. That importance. Yeah, becauseSheila Heti:It's just so hard. It's just so hard to write. Well, to write anything good for people.Michael Jamin:I think you give the perfect answer on that. I'll give her another theSheila Heti:Parental answer. In any case, work hard.Michael Jamin:Work hard. Well, but it was really,Sheila Heti:It's true. I think it's true that, and I remember being her age and interviewing this older Canadian writer, Barbara Gowdy, who I really loved, and she told me, and she's terrific. She told me, I was writing for the student newspaper, and she said, it's funny, I've got my students who have talent, clear talent, and then I've got these other students who don't seem to have so much talent, but the ones who don't so much talent work really hard, and they end up doing better than the ones that have talent. And I thought, oh, I never even would've known that. I would've thought that. I didn't know that hard work meant could mean more than talent. So hopefully you have talent, and then you can also make the choice to talentMichael Jamin:Work. And you learned this at a young age, you're saying thisSheila Heti:Part? I mean, my mother was also just very strict about working hardMichael Jamin:Right.Sheila Heti:Studies and stuff.Michael Jamin:Interesting. Yeah. She's a delian mom. Hungarian.Sheila Heti:Yeah.Michael Jamin:Do you speak any Hungarian?Sheila Heti:No. Do you? No.Michael Jamin:No, I don't. But I do know there's a Hungarian expression that really helped me. I'll tell you what it is. So do you speak any other languages?Sheila Heti:No,Michael Jamin:No, no. That's your next task. I wrote about this in one of my stories as well. There's a Hungarian expression where it says, okay, so let me take it back. So I learned to speak Spanish as a teenager and then Italian as an adult. So each time when you learn a new language that you're not born into, there's that moment where it's like it's really hard to talk. It takes months and months, and then finally one day you open your mouth and the words just come out without thinking just like that magic. And it's turning on a light bulb. And I've had a hard time explaining to people what that feels like. But then I discovered a Hungarian expression, which said it perfectly. It says, when you learn a little language, you gain a new soul. And I thought, that's exactly what it feels like, because you're talking, you're like, who is this? I don't speak this language. Who am I? That's incredible. And you talk about soul so much in your work. I thought maybe that's something you had experienced.Sheila Heti:I never got that far. I mean, I studied French and I never got close to a new soul. I didn't have always translation.Michael Jamin:You're always translating in your head,Sheila Heti:Right? Yeah.Michael Jamin:It's just that moment, like, I don't know who I am. And then you find yourself reacting differently. And also using, if I find myself, I can't say, I don't know how to say this, so I'll say it this way, which is not how I

He is a writer, an actor, a poet, a storyteller, an anti-storyteller -- and he cares about both the world outside and the one inside. Danish Husain joins Amit Varma in episode 359 of The Seen and the Unseen to talk about his life and learnings. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Danish Husain on Twitter, Instagram, Facebook, Wikipedia and IMDb. 2. TheHoshrubaRepertory, Qissebaazi and Poetrification. 3. Danish Husain interviewed by Irfan for Jashn-e-Rekhta. 4. The art of storytelling -- Danish Husain interviewed by Purva Naresh. 5. 'Becoming the story when performing it' -- Danish Husain interviewed by Roanna Gonsalves. 6. The 27 Club. 7. Self-Portrait — AK Ramanujan. 8. The Mysterious Arrival of an Unusual Letter -- Mark Strand. 9. Collected Poems — Mark Strand. 10. Man's Search For Meaning -- Viktor E Frankl. 11. The Importance of Satya — Episode 241 of The Seen and the Unseen (w Uday Bhatia). 12. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 13. Aadha Gaon — Rahi Masoom Raza. 14. Out of Place: A Memoir -- Edward Said. 15. The Incredible Insights of Timur Kuran — Episode 349 of The Seen and the Unseen. 16. Private Truths, Public Lies — Timur Kuran. 17. Varun Grover Is in the House — Episode 292 of The Seen and the Unseen. 18. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 19. Gita Press and the Making of Hindu India — Akshaya Mukul. 20. Where Have All The Leaders Gone? — Amit Varma. 21. Santosh Desai is Watching You -- Episode 356 of The Seen and the Unseen. 22. The Life and Times of Nilanjana Roy — Episode 284 of The Seen and the Unseen. 23. Bombay--London--New York -- Amitava Kumar. 24. Fighting Fake News — Episode 133 of The Seen and the Unseen (w Pratik Sinha). 25. Sample SSR conspiracy theory: He's alive! 26. Life is Elsewhere -- Milan Kundera. 27. The Four Quadrants of Conformism — Paul Graham. 28. Ignaz Semmelweis on Britannica and Wikipedia. 29. India's Tryst With Pandemics -- Episode 205 of The Seen and the Unseen (w Chinmay Tumbe). 30. Age of Pandemics — Chinmay Tumbe. 31. Kashi Ka Assi — Kashinath Singh. 32. A Meditation on Form — Amit Varma. 33. Scene: 75 -- Rahi Masoom Raza (translated by Poonam Saxena). 34. Folktales From India — Edited by AK Ramanujan. 35. The Indianness of Indian Food — Episode 95 of The Seen and the Unseen (w Vikram Doctor). 36. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 37. Stage.in. 38. The Age of Average -- Alex Murrell. 39. Nothing is Indian! Everything is Indian! -- Episode 12 of Everything is Everything. 40. Wanderers, Kings, Merchants: The Story of India through Its Languages — Peggy Mohan. 41. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 42. Early Indians — Tony Joseph. 43. Early Indians — Episode 112 of The Seen and the Unseen (w Tony Joseph). 44. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 45. ‘Indian languages carry the legacy of caste' — Chandra Bhan Prasad interviewed by Sheela Bhatt. 46. The Loneliness of the Indian Woman — Episode 259 of The Seen and the Unseen (w Shrayana Bhattacharya). 47. Premchand, Hardy Boys, Nancy Drew and Agatha Christie on Amazon. 48. Milan Kundera, Gabriel Garcia Marquez, Saul Bellow, Henry Miller and Octavio Paz on Amazon.. 49. Midnight's Children -- Salman Rushdie. 50. Selected Poems -- Dom Moraes. 51. Theatres of Independence -- Aparna Bhargava Dharwadker. 52. Saadat Hasan Manto and Ismat Chugtai on Amazon. 53. Toba Tek Singh -- Saadat Hasan Manto. 55. How Music Works -- David Byrne. 56. Danish Husain's anecdote about Mahatma Gandhi and Bade Ghulam Ali Khan. 57. Poems -- Louise Glück. 58. Harmony in the Boudoir -- Mark Strand. 59. And Then One Day: A Memoir -- Naseeruddin Shah. 60. Kohrra -- Created by Sudip Sharma and directed by Randeep Jha.. 61. If You Are a Creator, This Is Your Time -- Amit Varma. 62. Make Me a Canteen for My Soul — Episode 304 of The Seen and the Unseen (w Sameer Seth and Yash Bhanage). 63.  The Aaron Levie tweet on the market for cars. 64. 'A feeble no may mean yes': Indian court overturns rape conviction -- Michael Safi. 65. Grace is Poetry -- Danish Husain.  66. Train-Track Figure -- Kay Ryan. 67. अंधा कबाड़ी -- नून मीम राशिद. 68. The Conjurer of Meaning -- Danish Husain. 69. Converse: Contemporary English Poetry by Indians -- Edited by Sudeep Sen. 67. Yearbook of Indian Poetry in English: 2022 -- Edited by Sukrita Paul Kumar & Vinita Agrawal. 68. मत बुरा उस को कहो गरचे वो अच्छा भी नहीं -- कलीम आजिज़. 69. शम्-ए-तन्हा की तरह सुब्ह के तारे जैसे -- इरफ़ान सिद्दीक़ी.. 70. हुस्न-ए-मह गरचे ब-हंगाम-ए-कमाल अच्छा है -- मिर्ज़ा ग़ालिब. 71. हिरास -- साहिर लुधियानवी. 72. Separation -- WS Merwin 73. वो जो इक शर्त थी वहशत की उठा दी गई क्या -- इरफ़ान सिद्दीक़ी. 74. तुम्हें डर है. -- गोरख पाण्डेय. 75. शायद कि ये ज़माना उन्हें पूजने लगे -- अब्दुल वहाब सुख़न. 76. Kya sitam hai waqt ka -- Madan Mohan Danish. 77. फ़राज़ अब कोई सौदा कोई जुनूँ भी नहीं -- फ़राज़. 78. कौन-सी बात कहाँ , कैसे कही जाती है -- वसीम बरेलवी. 79. A Plain Landscape -- Danish Husain. 80. इतिहास की कगार -- दानिश हुसैन. 81. Jawaab -- Kumar Ambuj (translated by Danish Husain). 82. Your Touch -- Danish Husain. 83. The Joke -- Milan Kundera. 84. Herzog -- Saul Bellow. 85. Edward Said, Mary Oliver and Toni Morrison on Amazon. 86. Step Across This Line -- Salman Rushdie. 87. Harishankar Parsai, John Kenneth Galbraith and AS Byatt on Amazon. 88. Garam Hawa -- MS Sathyu. 89. Shatranj Ke Khilari -- Satyajit Ray. 90. The Godfather -- Francis Ford Coppolla. 91. Do Ankhen Barah Haath -- V Shantaram. 92. Mandi -- Shyam Benegal. 93. Party -- Govind Nihalani. 94. Khosla Ka Ghosla! -- Dibakar Banerjee. This episode is sponsored by the Pune Public Policy Festival 2024, which takes place on January 19 & 20, 2024. The theme this year is Trade-offs! Amit Varma and Ajay Shah have launched a new video podcast. Check out Everything is Everything on YouTube. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘The Actor as a Builder of Worlds' by Simahina.

Photo: No known restrictions on publication. @Batchelorshow Baghdad 1921 King Faisal coronation #Sustainability: What is "Sustainable intensification" and "Agroecology" Same as GMO? & What is to be done. Henry Miller is the Glenn Swogger Distinguished Fellow at the American Council on Science and Health. He was the founding director of the FDA's Office of Biotechnology https://henrymillermd.org/26925/genetically-engineered-crops-are-key-to

The Democrats have transformed into the Sexocrats as sexuality and perversity dominate the Democrat agenda.Savage shares a pastiche of thoughts on this latest freewheeling talk. Hear a discussion on Surrealism, literature and film including Henry Miller, Belle de Jour, Charles Bronson, and Bernie Getz. Then, how vigilantism arose in San Francisco after the gold rush owing to rampant crime. Politics, culture, and more only Savage could deliver! Learn more about your ad choices. Visit podcastchoices.com/adchoices