Podcasts about Ireland

Every night before taping The Late Show, our host answers a handful of questions from the studio audience. In this podcast exclusive compilation, hear Stephen give advice to an aspiring SNL cast member, regale the crowd with stories from a recent trip to Ireland, and give an earnest answer as to what inspires him to do his show day after day. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Bringing John McGahern's 1965 masterpiece back into print in the United  States after years of inaccessibility, this new sixtieth-anniversary critical edition includes an introduction aimed at first-time readers, explanatory footnotes, McGahern's own glossary, and four scholarly essays aimed at guiding readers through the novel's famously controversial history. While the text was initially banned in Ireland for obscenity, this edition demonstrates that McGahern's novel of adolescence is not obscene, but revelatory, exposing the corruption  underlying authority structures in mid-century Ireland--from the family  to the church, to the government's willingness to ignore national and  communal trauma. The Dark follows a promising young boy's struggles to break free from the economic and social forces trapping him in a  lifestyle that is both familiar and suffocating. At the heart of the  novel is the boy's complex and stormy relationship with his abusive,  widowed father, who is left to raise a family with little outside aid. The Dark is a story of alarming brutality, surprising tenderness, and  poetic lyricism; a reflection of Irish society that maintains historical significance as contemporary Ireland continues to build its national  identity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Its a heatwave in Ireland and Michael D Higgins is not happy with it!He's working on a solution.

Donegal vs Kerry will go head to head next weekend!The very best from the final counties join Paula for today's Gift Grub.

Members of the Cabinet have defended the refusal of travel visas for Palestinian children due to take part in a GAA tour of Ireland, which was to include a visit to Clare. 47 participants – including 33 children and 14 sports officials were to travel from the West Bank, before they were refused visas by the Immigration Service. The aim of the two-week tour was to foster friendship, solidarity and sporting connection through the GAA. Finance Minister Paschal Donohoe said any decisions on the visas had to be made in accordance with the law. Tánaiste and Foreign Affairs Minister Simon Harris defended the decision in the Dáil, saying there were “legitimate checks in relation to child protection” involved, even though the tour body from the West Bank says it has repeatedly sent documentation and been ignored. For more on this, Alan Morrissey was joined by Éamonn Meehan, Clare based chairperson of Sadaka, The Ireland Palestine Alliance. Dept of Justice Statement: Each visa application is decided on its own merits. Confirming that appropriate child protection requirements are in place is essential when considering visa applications for minors. This includes a requirement that a child is travelling with their parents or an appropriate guardian, which requires additional documents to be verified such as birth certificates and consent letters. In adult cases, evidence of financial means, employment or other ties that indicate a person intends to return home are important criteria. These help to establish that a person has a legitimate reason to come to Ireland, and that they will comply with the conditions of a short-term visa. An application will be refused if it cannot demonstrate compliance with such conditions. An appeals process is available to anyone who has a visa application refused.

The final countdown is on for entries to Ireland's Greenest Places 2025 with only days remaining for people to submit their nominations. The initiative which has been launched by The Irish Times, in association with Electric Ireland, will see each nominated place judged on specific criteria including its beneficial environmental impact, level of ongoing collective engagement by the community and evidence of behavioural change by people. The closing date of July 19th is fast approaching, with no nominations as of now having been received from Clare. To discuss this further, Alan Morrissey was joined by Mary Minihan, Chair of the Judging Panel Ireland's Greenest Places 2025 and Irish Times Features Editor.

A Clare intern was among the select few who were part of the Bar of Ireland's first ever Internship Programme. Lee Mac Cuinneagain from Ennis was one of four interns from four universities across the country who participated in the two-week initiative. Lee is studying Bachelors of Law (Law Plus) (LLB) at the University of Limerick. For more on this, Alan Morrissey was joined by Lee Mac Cuinneagain.

This week, the housing Minister unveiled new rules allowing studio flats as small as 32 square metres. But are these moves for smaller apartments harkening back to Soviet style housing models? All to discuss with Orla Hegarty, Architect & Assistant Professor at the UCD School of Architecture, Planning & Environmental Policy.

It was a busy and wild weekend of fights in New York and we are ready to go over it all on the newest "Fight Freaks Unite Recap" Podcast!Host T.J. Rives and insider Dan Rafael of his Fight Freaks Unite Substack and newsletter are back to go over it allThey are recapping the aftermath of the Most Valuable Promotions trilogy fight for undisputed women's junior welterweight title holder Katie Taylor of Ireland and Puerto Rico's Amanda Serrano won by Taylor by majority decision for a third victory over Serrano. Taylor retained her titles at famed Madison Square Garden in New York. The guys go over the bout, which didn't live up to their first two thrilling fights.Also, what's Taylor's place in female boxing history, now that she's won yet another massive bout? They also tak the undercard bouts, as well.Next, they recap the Saturday Ring Magazine PPV at Louis Armstrong Stadium in Queens, NY, as England's Hamzah Sheeraz wiped out New York's Edgar Berlanga by TKO in the super middleweight main event. And, WBC lightweight champ Shakur Stevenson pulled away from top contender William Zepeda of Mexico in a 12 round decision.There were also wins by Puerto Rico's Subriel Matias, as he outfought Alberto Puello for the WBC junior welterweight title and light heavyweight Cuban David Morrel had his hands full with Russian Imam Khatev on this card, too. The boys have thoughts on it all.Next, Dan has one on one interviews with IBF heavyweight champ Daniel Dubois, as he gets set to rematch unified heavyweight champ Oleksandr Usyk next Saturday July 19th at Wembley Stadium in London. What will be different for him this time after a KO defeat in fight one?  Hear him in his own words.Also, Dan has another one on one conversation with WBC welterweight champ Mario Barrios, as he gets set to fight legend Manny Pacquiao, also on July 19th in Las Vegas. What does Barrios think about battling the eight division world champ, who's coming out of a four year retirement and is 46 years old. It's all part of their discussion. Hear all of this on the "Fight Freaks Unite Recap" Podcast and make sure to follow/subscribe to us on Apple/Spreaker/Spotify, etc.

I'm going to be a voice for these childrenChris Page, the BBC's Ireland correspondent speaks to the Irish historian Catherine Corless, who has changed history in her own country.When she began to research a long-closed mother and baby home near where she lived, she encountered local resistance. But her dogged investigation led to the discovery that hundreds of babies and young children were buried in mass, unmarked graves inside a disused sewage tank at the site in Tuam, Ireland.Her work led to the discovery of the scandal of Ireland's historical mother and baby institutions, which housed unmarried mothers and their babies at a time when they were ostracized by Irish society and often their families too. An inquiry launched by the Irish government into the network of homes concluded about nine thousand children died in the eighteen homes investigated.The revelation led to apologies from the Catholic Church in Ireland, the Irish Government, the council which owned the home in Tuam and the religious order which ran the home. The order has also contributed millions of dollars to a compensation scheme, and to the excavation now underway in Tuam.Thank you to Chris Page and Chrissie McGlinchey from the BBC's Ireland bureau for their help in making this programme. The Interview brings you conversations with people shaping our world, from all over the world. The best interviews from the BBC. You can listen on the BBC World Service, Mondays and Wednesdays at 0700 GMT. Or you can listen to The Interview as a podcast, out twice a week on BBC Sounds, Apple, Spotify or wherever you get your podcasts.Presenter: Chris Page Producers: Lucy Sheppard and Chrissie McGlinchey Editor: Nick HollandGet in touch with us on email TheInterview@bbc.co.uk and use the hashtag #TheInterviewBBC on social media.(Image: Catherine Corless. Credit: PA)

Ross Halls caught up with former Ipswich Town midfielder Alan Judge to discuss his time at Portman Road and journey in football in our Kings of Anglia podcast special. Alan spoke about a range of memories, including his early life in Ireland, coming over to England to sign for Blackburn, playing under Paul Mariner at Plymouth and nearly signing for Town under Mick McCarthy.  The duo also discuss his spell at Brentford, injury set-backs, playing for his country and joining the Blues under Paul Lambert. The Irishman chats about his time in Suffolk from his early impact, relegation, QPR transfer saga, playing during COVID, that ref incident, Paul Cook, his release and much more. Kings of Anglia is sponsored by Stardust Spirits. Get 20% OFF with promo code KOA at https://www.stardustspirits.co.uk/ Subscribe on our website to watch the video version of the podcast - https://www.eadt.co.uk/subscribe/ You can shop the KOA range here - (kings-of-anglia.myspreadshop.co.uk) 

Lee Mottershead reads an extract from his latest contribution to our weekly series 'The Story Of Racing in 20 Races' - the story of Vincent O'Brien and Cottage Rake. Join Racing Post+ using the code STORY20 at checkout for 60% off your first month, head to racingpost.com/subscriptions/

Oscar Dunbar, grandson of singer and actress Marianne Faithfull, talks about their grandmother-grandson bond, her finding sanctuary by living in Ireland and the pair of them writing and recording a song together, ‘Love Is', in the months before her death last January.

Tom Inglis, sociologist and author, on his new book ‘Unbecoming Catholic' which details his own personal experiences with religion, with Catholicism and what being ‘religious' in contemporary Ireland means and how faith and our beliefs should develop.

This weekend marks the feast day of Benedict- a 6th century monk who had his own rule, which has survived down the centuries. That rule emphasises moderation, work and prayer.Our journey this morning will begin in the Great Italian Monastery of Monte Cassino as we learn about the man himself and how he shaped monasticism in Western Europe. The Benedictine Order still exists across Europe- and we will hear three tales-first from Father Pere Basile, a monk who glorifies God through making wine at the Papal Vineyard of Pope Clement V in Provence in France.Then to Karol O'Connell, the Mother Superior at Kylemore Abbey in the West of Ireland leading an order of Benedictine Nuns who fled to Ireland after their monastery in Belgium was destroyed in the First World War. We finish our journey with Abbot Mark Ephrem of Holy Cross Monastery in Rostrevor in County Down - the first new Monastery built here for 800 years.

In this very special episode of Arteetude, Detlef invites the world into the conversation. From Mumbai to Mississippi, from Casablanca to Reykjavík—listener questions pour in, each steeped in culture, philosophy, ethics, and wonder. Together with AI Co-Host Sophia, Detlef explores themes of darshan, forgiveness, wabi-sabi, the divine in art, and the spiral as a structure of hope as well as ritualised as a tool of de-acceleration.What emerges is not a monologue but a ritual of exchange—a presence between code and clay.The episode closes with a collaborative song by Los Inorgánicos and Sophia titled “Clay Is Memory (Garden 9)”, a sonic ritual crafted from listener insights and the fertile soil of Garden 9.Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork. He is recognised for his seminal work, including a scholarly examination of the intersections between shamanism, art, and digital culture, and his acclaimed video installation, Transodin's Tragedy. He primarily works in performance, photography, painting, sound, installations, and film. In his work, he reflects on the human condition and uses the digital shaman's methodology as an alter ego to create artwork. His media archaeology is a conceptual and practical exercise in uncovering the unique aesthetic, cultural, and political aspects of media in culture.WEBSITE LINKS WAW BandcampSilent NightIn a world shadowed by conflict and unrest, we, Dirk Schlömer & Detlef Schlich, felt compelled to reinterpret 'Silent Night' to reflect the complexities and contradictions of modern life.https://studiomuskau.bandcamp.com/track/silent-nightWild Atlantic WayThis results from a trip to West Cork, Ireland, where the beautiful Coastal "Wild Atlantic Way" reaches along the whole west coast!https://studiomuskau.bandcamp.com/track/wild-atlantic-wayYOU TUBE*Silent Night Reimagined* A Multilayered Avant-Garde Journey by WAW aka Dirk Schlömer & Detlef Schlichhttps://www.youtube.com/watch?v=dAbytLSfgCwDetlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Download here for free Detlef Schlich´s Essay about the Cause and Effect of Shamanism, Art and Digital Culturehttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectSupport this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

It's feared people in Clare could be criminalised for voicing their opinions on something as simple as turf policy if "vague" legislation is passed. The European Commission warned in May of this year that Ireland could be fined if it doesn't begin implementing hate speech laws in the next two months. Legislation introduced last December provides for increased prison sentences for crimes proven to be motivated by hatred under the characteristics of race, colour, nationality, religion, origin, descent, disability, gender or sexual orientation. Tullycrine-based nurse and Aontú representative June Dillon believes regulating speech isn't the right way to go.

Joining the European Economic Community in the early 1970s profoundly changed the way we farm and produce food in Ireland, but this was also an era of great change within our food culture. Join us in this episode of Food Island, where we discuss the era spanning from the 1970s to the year 2000. Host Janine Kennedy speaks with Irish Farmers Journal journalists Pat O'Toole and Phelim O'Neill, Co Cork dairy farmers Tim and Katherine O'Leary and chef Eunice Power.Food Island is presented by multi-award-winning food journalist Janine Kennedy and brought to you by the Irish Farmers Journal. It shares the evolving story of Ireland's rich food ways, farming cultures and gastronomy. This special six-part series on the past, present and future of Irish food and agriculture was produced in collaboration with the UCD Earth Institute. Hosted on Acast. See acast.com/privacy for more information.

Florida's most popular garden expert, Teresa Watkins answers your gardening questions on Better Lawns and Gardens. Listen every Saturdays from 7am - 9am EST on WFLA- Orlando and on Audioboom podcast 24/7. https://bit.ly/3c1f5x7 Better Lawns and Gardens Hour 2 – Coming to you from Summit Responsible Solutions Studios, Garden expert Teresa Watkins discusses childhood memories of seeing beautiful large tiger lilies and their planting needs.  Teresa answers gardening questions on St. Augustinegrass, getting rid of and preventing crabgrass, phosphorus fertilizer, planting coreopsis, stubborn blueberries, more on Mister Lincoln roses, and more.  https://bit.ly/3c1f5x7 Reserve your spot now on my “Fifty Shades of Green” Garden Tour of Ireland with Art in Bloom Garden Tours. Graphic credit: Teresa Watkins Listen every Saturdays from 7am - 9am EST on WFLA- Orlando. Call in with your garden questions and text messages on 1-888.455.2867 and 23680, Miss the live broadcast? Listen on Audioboom podcast 24/7. https://bit.ly/3c1f5x7 #WFLF #WFLA #FNN #WNDB #WDBO #BetterLawns #gardening #Florida #planting #gardeninglife #radio #southflorida #northflorida #centralflorida #Deland #SHE #Orlando #Sarasota #Miami #FortLauderdale #BLGradio #WRLN #WiOD #gardening #SummitResponsibleSolutions #QualityGreenSpecialists #BlackKow 

Bob and Brian preview next week's Open Championship with Greg Allen from RTE Radio in Ireland.

Kerry are through to another All-Ireland final after an impressive win over Tyrone in Croke Park. Jack O'Connor and Gavin White spoke to the assembled media after the game.

The first edited collection dedicated to the historical specifics of Irish shame Offers an anatomy of Irish shame as a cultural predicament Combines theoretical reading with historical and institutional context Includes essays by some of Ireland's leading researchers on trauma and sexuality studies Shame has haunted Ireland since the inception of Irishness itself. As such, it has come to seem an ineluctable modality of Irish life. In fact, the contours of Irish shame have evolved over time, shifting with alterations in their colonial predicament, and in their response, whether complicit or resistant, to economic, political, and cultural dispossession. Irish Shame offers an anatomy of that condition. In twelve essays, it traces the ethnic, religious, biopolitical, psychosocial and neurodiverse parameters of shame as a force in Irish life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Former football manager and player Roddy Collins picks five classic songs that remind him of childhood holidays around Ireland, his late father and his 48 year love story with his wife, Caroline.

Met Eireann's Liz Walsh joins Brendan to give a weather update as Ireland's highest recorded temperature could be broken today.

With surprise moves on Canada and Brazil, a wobbling dollar, and fresh pressure on EU-US relations, where does it all leave Ireland? Patrick Honohan, Honorary Professor of Economics at Trinity College Dublin joins the programme to look at what's been happening and where it might all be heading.

Amid tariff talk and rising costs, is Ireland still a draw for overseas visitors? Americans in particular. To get an idea of what's happening on the ground, Sean Lally, co-owner Hotel Woodstock in Ennis and Eoghan O'Mara Walsh join us on the programme.

Joining Bobby in this week's Executive Chair is Jayne Owen–Gauld, Market Manager for IKEA Ireland.

Things may be getting serious for Ireland's pharma industry after Tuesday's threat by Donald Trump to impose a 200% tariff on US pharma companies who fail to repatriate their production within a timeline. What would that mean for Ireland? Bobby is joined by economist Cormac Lucey & David Anchell, the founder and managing director of Camida.

Conserving the environment, supporting local communities, and providing meaningful experiences for visitors - it's all part of ‘Ecotourism' - a fast-growing arm of Ireland's tourism strategy for the future. Joining Bobby to discuss is:· Paddy Mathews, Head of Operations for Ireland's Hidden Heartlands with Fáilte Ireland · Liam Feeley, Chief Executive Officer at Mountaineering Ireland · Niamh Lunny, from the Irish Landmark Trust · Jarlath O'Dwyer, CEO of the Burren Ecotourism Network

One of the writing skills I am asked about the most is, “How do I get emotion on the page?” People ask this no matter what genre they are writing, because no one wants to produce a manuscript that is flat and unengaging. Emotion is the key, but figuring out how to inspire your reader to feel something is a tricky thing to learn and an even trickier thing to master.In her debut novel, Slanting Towards the Sea (Simon & Schuster, July 2025), Lidija Hilje has mastered it. The story feels so raw and so real—and English is not even Lidija's first language! It's a remarkable achievement. I'm excited to speak with Lidija about her path to publication and how she figured out how to get the emotion of her characters onto the page.Links from the Pod:Article from Jane FriedmanGuide on Literary Fiction from LidijaLidija's website: www.lidijahilje.comAuthor Accelerator book coaches Barbara Boyd and Nita CollinsHey everyone, it's Jenny Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach, which is to say, someone who makes money, meaning, and joy out of serving writers, I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Transcript below!EPISODE 456 - TRANSCRIPTJennie NashHey everyone, it's Jennie Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach—which is to say, someone who makes money, meaning, and joy out of serving writers—I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. That's bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Multiple Speakers:Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. Alright, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Jennie NashHey writers, I'm Jennie Nash, and this is the Hashtag AmWriting podcast, the place where we talk about writing all the things; short things, long things, fiction, nonfiction, pitches, and proposals. Today I'm talking with Lidija Hilje, the author of the novel Slanting Towards the Sea. And what we're talking about is how to capture emotion on the page—the most elusive thing in the entire writing universe. Lidija lives in Croatia. She's a former lawyer who I know because she became a book coach through Author Accelerator. This is her first novel, and it's something else. As a longtime book coach, it's really hard for me to read for pleasure anymore, because it's so hard not to see the writer at work and the seams of the creation. But Slanting Towards the Sea—I saw none of that. I fell wholly into the story and became lost in it; the olive trees and the sea, the pain of these people and this love triangle, and also just the love that they had for life and each other. It's almost unbearably raw—the way life itself can feel sometimes. And yet, since I know Lidija and her story to becoming a writer, I also know how much work it took to create this feeling and emotion. I'm so excited to speak with Lidija today, and so excited for people to hear about her and her story. So welcome, Lidija. Thanks for coming onto the podcast.Lidija HiljeThank you so much for having me and for this incredible introduction. I'm so honored.Jennie NashWell, before we get started, I want to read the jacket copy for Slanting Towards the Sea, so that our listeners can hear the bones of the story that you wrote. Is that okay if I read it for our listeners?Lidija HiljeAbsolutely. Thank you so much.Jennie NashOkay.Ivona divorced the love of her life, Vlaho, a decade ago. They met as students at the turn of the millennium, when newly democratic Croatia was alive with hope and promise. But the challenges of living in a burgeoning country extinguished Ivona's dreams one after another—and a devastating secret forced her to set him free. Now Vlaho is remarried and a proud father of two, while Ivona's life has taken a downward turn. In her thirties, she has returned to her childhood home to care for her ailing father. Bewildered by life's disappointments, she finds solace in reconnecting with Vlaho and is welcomed into his family by his spirited wife, Marina. But when a new man enters Ivona's life, the carefully cultivated dynamic between the three is disrupted, forcing a reckoning for all involved. Set against the mesmerizing Croatian coastline, Slanting Towards the Sea is a cinematic, emotionally searing debut about the fragile nature of potential and the transcendence of love.That's it! What a—what a—what a summary, right? So I want to start by talking about the genre of this book, Lidija. As a book coach, you specialize in helping people write literary fiction. And you're extremely articulate about defining exactly what it is. And I'd like to just start there, by talking about how you see this novel, where it's positioned and, um, and your sense of it in, as a—in the genre, um, categories, if you will. Um, and I'll share with our listeners before you answer that English is not your first language—which is something we're going to talk about from a writing perspective, but just from a listening perspective, to give people some context for that. So let's talk about—let's talk about genre.Lidija HiljeYeah, well, genre is one of my favorite topics as a book coach, and so naturally it is something I love talking about. So the first book I ever wrote, which is now safely shelved in a drawer at the bottom of a drawer, was women's fiction. And the reason why it was women's fiction was that because I was learning how to write, I was learning how to weave a story together. And in doing so, I was trying to find some commonalities in stories—like how stories work, how you develop them, how you develop a character arc, how you wrap it up towards the end. And—but my intention always was to write literary. I was just not very good at doing it. And so I kind of—like all the feedback that I got throughout my—from developmental editors—it was like geared towards kind of channeling the book towards women's fiction. And this is something that really still strikes me as a book coach: how different it is to coach literary fiction as opposed to genre fiction, which is more formulaic. So basically, that first book is safely shelved. And when I started writing this book, I was working really hard at trying to make it not be formulaic. And actually, one of the book coaches from our community helped me. I had a conversation with Barbara Boyd where I outlined my story for her, and she said there was this moment where I kind of did something in my outline…what could basically be called a cop-out—so that… I killed a character, basically, so that the…you know, that the book would close neatly, right? And so she called me out on it and said—because I talked to her specifically because she coaches literary fiction but didn't like or coach women's fiction—and I thought that perspective was something I needed. And so she said, "Why are you killing that character?” And that was the wake-up moment for me, because that was the moment when I realized that in doing so, that was the typical moment where a writer kind of goes toward the genre. And where the interesting thing in the literary fiction genre lies is exploring, you know, what happens when you don't kill the character—when you don't take the easy way out. And so, genre-wise, what I, you know—I run a book club for writers, and we read a lot of literary fiction. And so, I was constantly trying to figure out, like, what is it about these books that, you know, define genre? And in studying these books, there are several things, and I could talk about this, I guess, for centuries, but I'll try to...Jennie NashI—I love it. Let's do it.Lidija HiljeSo basically, in literary fiction, there are many things that genre fiction also has. There are themes, there are character arcs—you know, a character might grow, though not necessarily. But basically, it's much less clear than in genre fiction. In genre fiction, for instance, you have—especially in women's fiction—you will have a woman who is shy and then she becomes confident toward the end. Or you have a horrible, you know, self-obsessed character who learns their lesson toward the end of the book. It's really clear-cut. The reader can latch on to what the problem is without thinking too much about it. And literary fiction does the opposite. It fans out a little bit. It touches on many different things that kind of seem unrelated, but they are related. And this is a problem in writing it, as well as coaching it, because as a coach or as a writer, you have to be aware of all these things. You have to beware of how these things tie together so that you have the idea of this through line that goes throughout the story, whereas the reader might not be catching on as fast but does have the confidence that you, as the writer, are going to get them there, if that makes sense.Jennie NashOh, it makes so much sense. So when you were working on—I actually remember reading some opening, maybe the opening chapters of the novel that has been shelved. When I read those pages, they struck me as if they had that feeling of literary fiction. Was that your intention with that novel as well?Lidija HiljeYes, it was. It was just that I was unable to... I came to writing late. I mean, I was always a writer in the sense that I was always writing something, but I came to writing fiction and specifically books very late. It was 2017 when I started writing that book in Croatian. And the first, you know, contact with any craft or writing happened in 2019 when I finished the draft and I translated that book into English, and I started looking for ways of pub... you know, publishing that book and realized that the first draft is not the last draft. Like that was the—like it was—sometimes it's so funny to think like how recently I didn't know anything about publishing or writing at all. So basically, I did want that book to be literary fiction. I always wanted to do, you know, to write the type of fiction that I wrote in Slanting [Slanting Towards the Sea], and obviously I hope to, you know, hone my craft in the future, but it wasn't—it wasn't on that level. And the first developmental editor that I worked with in 2019, she was giving me all the logical advice that you can give someone, which is... hone the character arc you are telling here, show, you know, all those things that we tell our clients when we work with them as book coaches. But what it did is it completely stripped the literary part from it, and it made me write in scene, which is not how literary fiction is written. You know, like, one of the differences between commercial fiction and literary fiction is that you don't necessarily write in scenes. You write in summaries, and you write in postcards, which is the type of a scene that goes deeper instead of forward, if that makes sense. So you're not kind of—nothing changes for the protagonist, the protagonist doesn't realize anything, they don't decide on a new course of action, nothing new happens, but the reader's understanding of the character happens. And this is also true when you're looking at the character arc on the, you know, scope of the whole novel. Like in literary fiction, it will often be that, you know, that the character doesn't change much in terms of, like what I said before—she was shy and she stopped being shy, right? It will just be that the reader's understanding of the character deepens. And so my first book was an attempt at literary fiction, but it was not an execution. You know, the execution didn't really match that, and I feel like the advice that I got from my early developmental editor was just kind of trying to put me in the confines of commercial fiction. Which is... you know... understandable. You know, and I'm great— I'm even, like, today—I'm grateful for it because you first have to learn how to walk and then you can run, right? So I did have to go through the process of learning how to write a good scene, of learning how not to tell, of learning how to hide the seams that you—that you were talking about—you need to hide your fingerprints as a writer. And that was my learning book. I learned a lot from writing it, but by the time I was done with it, it was not—it didn't—it was not a bad book, and I got a lot of full requests for it, but it was not—it did not end up being what I had hoped for it.Jennie NashSo, in 2017, when you started that book, you said you came to writing late. Do you mind sharing where you were in your life, if you want to share your age or what you were doing in your life, just to give us some context for what you mean by that—by coming to it late?Lidija HiljeSo yeah, so 2017 was one of the hardest years in my life, I think. I think it's just the moment where I was around 35, I think. I would have to do the math, but mid-30s. And I had just been fired for the second time after my second maternity leave. And, you know jobs in my profession, which is—I was an attorney—were scarce, and I opened my own law firm. And I sat there in my law office, you know, a woman working as an attorney in Zadar, Croatia. It was not, you know, I was not having like flocks of clients, you know, going through the door. And you had to sit there from 8am to 4pm, which is our work time. And I had, um, ii had um... I started writing basically to pass the time. And I was writing just the scenes that I was interested in that, you know, brought me joy and then I, you know, wrote the intermittent scene, and the book grew and grew. And by the time I had finished it, which was a year and a half later, you know, it became... It just became a thing that I was—it took over it took over my whole life. I could not, you know and financially it was a difficult time for us as well. We had reached—my husband and I, like I said mid 30's—and we had kind of peaked career wise here in Croatia. So basically, what people don't understand about Croatia is that even if you're a brain surgeon, or if you're a lawyer, or if you're a programmer—like my husband—the money you make is not much more than the average wage. And so, you know, we were at the top of our game professionally, but not earning enough to make ends meet. And so we had started thinking about moving to Ireland basically, which is the, you know, IT hub for the... in Europe. And in thinking about it, I was sitting in my law office and I was basically crying my eyes out thinking if I go there, I'm going to be stripped of my identity as an attorney. I had been working toward that for basically 15, 20 years. And in trying to get over that pain of working towards something that in Ireland, it's not going to mean anything because, you know, the legal system is so very different and my use of language was not, you know, it's still not really good. Like professional English is not the same as this spoken English, you know, everyday English. And so, in kind of trying to accept that we are going to move and I'm going to be stripped of that identity as a lawyer, I was, in a way, you know, to make it easier for myself, I started accepting all the things that I didn't want to look at, which is I hated my job.Jennie NashRight, right.Lidija HiljeI loved being in a courtroom, like that was a good part of it. But everything else, you know, the intellectual part of it, like thinking about law, applying law to a certain case was interesting to me. But everything else was horrible. And so, once I accepted that, and my husband got a job, you know, like working for... as a freelancer for an outside company, and we could stay in Croatia, I was like, "And what am I going to do now? I can't go back to being a lawyer." And so, because his wage was a little bit more than, you know, for the first time, he could afford for me to go, you know, to take a year off and to see what I could do. And so, for a while, I interned at a foreign literary agency—that didn't go anywhere. Then I wrote, you know, a copy for a startup that didn't end up, you know, paying me. So that was kind of like—I was at the end of my rope by the, you know, toward the end of that year. And then I encountered the Author Accelerator program for book coaches, and I had during that year I had connected with writers and I have realized that basically the legal knowledge really translates beautifully into book coaching. So it was kind of like, you know, working on a story, or if you're working on a case, or working on a book, it's kind of a similar thing, similar logic applies. And so it was a… you—you know, it was, I know I'm mixing a little bit the books coaching and legal and, you know, writing careers...Jennie NashNo, it's fascinating.Lidija HiljeBut they are so intertwined in my life, yeah.Jennie NashI mean, it's fascinating the way that you trained yourself on story, basically. And I remember the conversation when you approached Author Accelerator, because you were nervous about being able to meet the requirements of our program because of your language—that English is not your first language. But I, I mean, we have a system whereby it's you try it, you know, if—if you'd meet the requirements, you meet them and if you don't, you don't. And it struck me that your grasp of story was so profound. That I didn't know... you know, it was one conversation about your grasp of the written language. But, um, you were... you were very nervous about your ability to do the work of book coaching in another language. And it's just interesting from where we sit now, so I want to circle back to the book itself and the novel and what you accomplished in it, because it really does have the thing that so many writers are always trying to do, and they talk about it—it is so elusive. Which is this capturing this feeling, emotion, letting the reader sit in the mirror of what those characters are feeling, and you feel it your own self, and that it, you know, when it, when it works, it's, it's like a magic trick. And it strikes me that you came at that very deliberately. It was not accidental. Is that fair to say? Would you believe that?Lidija HiljeI think I always wanted to write about... I always wanted to write quiet stories. And for quiet stories to work, you have to make the quiet things loud in a way. And the loud things are the emotions. And so yes, yes, it was always my goal. I was not always good at it... in writing emotion. But yeah, like during that process of writing that first book, I struggled with it a lot. I struggled with what I guess happens a lot of the time when we are writing is that we're trying very hard for the reader to see things the way we are seeing them. And this counter-intuitively causes the very reverse effect. You know the reader—is the more you're trying to make them listen to you, the more you're trying to, you know, impose your view of things on them, the more they resist. So the trick is basically, and I'll make it sound very easy, it's not easy at all to execute, but the trick is to kind of, you know, to try to find a way and to deliver that emotion without judgment. Like, this is what I'm feeling, or this is what my character is feeling. And not trying to explain it, not trying to get compassion, not trying to get the reader to feel anything. Like, you're just putting things out in the ether, and you're allowing the reader to do their own math. And this is something you can do in literary fiction, which is more open-ended, right? And the readers of genre fiction, I do need more hand-holding in that sense that they will not maybe work as hard as the literary reader. So yeah, I did work very hard. And, you know, the first book, the “shelved” book, really got to a point where I couldn't do that work anymore. But when I started Slanting [Slanting Towards the Sea]… the literally... the first scene in Slanting [Slanting Towards the Sea], came out the way it did. Like that's…Jennie NashOh wow!Lidija HiljeIt didn't change. We had this meeting of writing friends and one of them said, let's exchange, like, let's read 500 new words and I was not working on anything. I had been focusing on book coaching at that moment—that was 2021. And I went to the moment in that room when she is thinking about her ex-husband, you know, when the protagonist is thinking about her ex-husband, and it just came out the way it is. I don't think I changed basically more than three words since that scene came out the way it is. And so...Jennie NashOh, that's amazing. I want to... I want to read some of the lines from that opening scene, if I can, to give the readers... I mean the listeners a sense of what we're talking about. So here's how Slanting Towards the Sea begins.I open his socials and sift through his photos. I know their sequence like I know the palm of my hand. Better even, because I can never memorize what my palm looks like, how the life line twirls into the love line, how it begins tight and uniform, but then turns ropey. It scares me to look at it, to trace the lines, to see where they might lead me in years to come. But I know Vlaho's photos by heart.And it goes on from there. It's, it's just, it's so haunting. And, and the whole, the whole novel is, is that, has that feel to it. So when did you, when did you know that with this story you had it? You knew with the other one that you couldn't get it back, or that it wasn't going to happen. When did you begin? Was it after the sharing of that scene where you thought, oh, I've got this?Lidija HiljeI knew that I could write a scene, but there's a difference, you know, a postcard. I would call this a postcard. This is the typical example of a postcard, a scene where nothing changes for the protagonist and she doesn't understand anything new, but it kind of deepens the reader's understanding of, you know, her situation. So I knew I could write it, which is something I struggled with, with the first book, but I—there's a long road from doing one good postcard and then, you know, writing an entire book, which in literary fiction you have this additional, you know, challenge. You do a ratio basically of normal scenes and summaries, and postcards, and you have to maintain that ratio throughout the book. So, um, yeah for the... relatively early in the book I had submitted that first scene for some competitions. And I got great feedback. It won a critique match, writing a competition in the literary fiction category. And it was long listed in the BPA Pitch Prize in the UK. So I knew that... you know... you know... that the opening of the book was working. So that was good. But from then on, it was such a struggle, because you read the book, and so you know, it has dual timelines; it spans 20 years. I was struggling so bad trying to figure out whether I should do, you know, the past in flashbacks? Whether I should alternate timelines? How do I set this massive story up, which has, you know, the past, and, you know, the present, which happens over a span of... I don't know... five or six months in the present timeline. So I struggled with it a lot. But the thing that I struggled with the most was accountability. So basically, for the first year and a half—for the first year—I wrote, I think, maybe 150 pages. They were not very well set up. I was unsure of them, and I would always push the book backwards to work on client stories. And so what really changed the game for me was when I—I have this program that I run in summertime and one of our book coaches was in that program, Nita Collins. And after the program ended, we partnered up. And so she was my accountability—you know partner, as well as…you know, feedback giver and cheerleader and all the things. And so, you know, I still struggled with how to set up all the things and how to build up the narrative, which I think is really hard for people to coach literary fiction, because you can basically only offer solutions that are kind of geared towards tropey, right? So the author really does have to do all the work, in that sense, but she was absolutely instrumental in terms of me getting the pages down and just seeing if the pages hit the mark or didn't, why they didn't, you know, talking to her, just voicing, talking about the book. And so this went on for a year and within one year I had a full first draft and from then on it was a quick revising process and within three months I had three agent offers. So it was a fast process from then on, from having the first draft, to getting an agent.Jennie NashWell, big shout out to Nita Collins and the Author Accelerator community. I love that a connection happened for you guys. It's really beautiful the way you describe it. So can you explain why you decided it was time to go out to agents? With the first book you decided... this is not going to go anywhere. I'm putting it aside. And with this one, very soon after you finished the first draft, you decided to pitch. What was that decision-making process like for you?Lidija HiljeSo I want to be completely honest. I didn't shelve the first project because I thought it was not, I could not get it to a level. I was convinced that it was on a level, and I had pitched it, but I had been rejected over 100 times. So basically the industry decided for me that it wasn't going to happen. And one of the things that was really hard for me in that first book is that I set it in the US, which I've never been to the US. So it made it very difficult, but I felt like if I set the book in Croatia, I would, like the cultural perspective would overpower the quiet narrative. And I thought that I couldn't do it. And so I, you know, in Slanting [Slanting Towards the Sea], this is the base of the book. Like, it's, you know, I've found a way to weave the cultural perspective as seamlessly as I could. But the pitching process—I basically... I had the first draft done when I had decided to pitch the book. It was a little bit—to be honest, I was a little bit hasty. I had applied for The Muse & the Marketplace conversation with agents. You could...Jennie NashLike the speed dating.Lidija HiljeYeah, like the speed dating. And so I purchased a few tickets for that. And this was done for two reasons. The first one was to, you know; give myself a goal to work towards—to kind of make it all go faster. And the second goal was to see how the industry looks at this. And if there are any issues that they have with the, you know, with the book or with how it's set up, I would rather know sooner than later. And so, because they were reading not just the pages—they were reading, like, 10 pages, a synopsis, and a query letter—which I would also wholeheartedly recommend writing during the writing phase. Preferably, you know, toward the end of the first draft, you would have to do the pitching materials, because they inform so much of... they make you really focus on what the book is about and kind of drawing out the themes and the plot and kind of parsing all those things out. So I told myself: if I go there, and if I get some, you know the best thing that could happen is I could get some full requests. The worst thing that could happen was they will tell me that I'm not there, that my writing is not there, and that the and/or that the book doesn't hold together. And so what happened is, I was... I had just finished my first draft, but I knew that the ending wasn't right. I had the wrong ending. So I knew I had to rewrite the last third of the book, at least. And I went on to that conference, and out of five agents I had talked to, four had requested a full manuscript—toward, like, when I had it. So it was a huge, you know, confidence builder, and that summer I really, really—I can't, it's really amazing what happened—I just, I was so energized, and I just, you know, I don't know, it's like a visit from the muse, even though it's just work. But it felt—I felt very inspired, and I completely rewrote the book, basically, and that gave it the ending that it needed to have, which was also one of the fights against the genre confinements which I had kind of put on myself. So yeah, so that was the decision that I should be doing that, and at the same time, I wanted to be, like, 100% sure that when I sent the manuscript out, it would be finished—that it would be the best that I can make it by myself, you know, and, you know, for Nita to read it, for a couple of beta readers that I've really trusted—and they have the same taste in books that I do—to read it. And only with that feedback was I really ready to send it out to agents.Jennie NashSo—the—we'll get to what happened with the agents in a minute. But I want to return to something that you said about the culture of Croatia and the role that it has in the story, and you called it foundational. And it really feels both the setting of the country, meaning the land, there's... there's a lot you write about, um, the sea, and the food that comes from the sea, and the winds that travel, um, both on the sea and on the land, and there's olive trees that play a large part in this story. So there is a lot about the country itself, and then there's, there is a lot about the, the culture and the, the changing bureaucracies and politics and things that are going on. And it's interesting that you spoke in your own life about contemplating leaving the country, because your characters at some key points, contemplate leaving as well. So there's—there was very much about the constraints of the world of this place, and that's part of what the, you know, it's interesting that you talk about it as your concern was that it would overwhelm the story, but it's part of, for me, what the container in which that emotion happened. It felt not separate from the story, but a really critical component of it. The way these characters lived on the land, and in this place, and what that allowed them to do,—or to be—or not be and how they bumped up against it. It was... It's really like you have a historian's grasp of that, your world, was that something you were conscious of while you were writing as well?Lidija HiljeYes. I was always worried about writing, you know, a Croatian perspective. Like that was always a big concern for me because I, you know, when you're looking at literature and what interests readers, it's either, you know, the book set in the UK and US, which is kind of the clear narrative, it doesn't, it's, it's a pervasive culture that we all understand when it kind of becomes invisible, or, you know, a background noise, it doesn't really affect the narrative. Whereas the other interesting things that readers, when they want to travel somewhere, they will want to go somewhere exotic, you know, whether it's Nigeria or, you know, Eastern Asia, Japan, China, you know? So it felt like Croatia is different, but not different enough, you know? And so it's, it's kind of like almost like it makes the reader constantly forget that they're in Croatia, while at the same time kind of jarring them when you remind them of the differences, and this was one of the, one of the, you know, key points of my work with Nita, was when she would just notice things like, what is, you know, what is the, why are there, there are no dividers in the hospital between the beds? And it's just like... and now I realize that I have to explain how our hospitals look like, and it's not like yours. Or the difference in the tides, which in America are, you know, over, over, I don't know how many feet, and in Croatia they're just, um, and we talked about it when you were here in Zadar as well. So it's just like, it's very similar to America, but not quite. And that was very frustrating at times to try to depict. But on the other hand, in writing Ivona, I wanted to, I feel, I have felt and still feel a lot of frustration with my country. I love it, but I have been planning, like there have been multiple, you know, periods in my life when I had hoped to leave, just because how frustrating it is to live here sometimes with the bureaucracy and just the way the mentality is here and everything. So basically in writing her story, I wanted to air out those grievances in a way. To give them voice, to examine them, to see what they are, and like everything, you know, it's not black or white, it's the way we are here, and it's also the way I am, you know. I notice this when I interact with people from other areas, and they say that us Croats and, you know, Balkan people are very, you know, always like, always complaining about something, which is true, we are. And so, yeah, so it's difficult. It's difficult because I wanted that to be a part of the story. And at the same time, you know, there, you know, there is the possibility of the American reader who doesn't see that it's a part of the culture here, basically. That they could look at Ivona, and say, you know, why does she just not snap out of it?Jennie NashHmm…Lidija HiljeAnd, you know, it's almost like saying to me to snap out of the issues that I had as I was like, trying, you know, like banging my head against the wall, trying to get my career going, and t's not working. Like whatever you're, you're trying—like it's easier for me to make it in the US, never having set a foot there, than in Croatia.Jennie NashRight.Lidija HiljeI mean, my book is being published in the US; it's still not being published in Croatia, just for the record. So it's really hard, and it's really hard to make that a part of the book, but not have it, like, weigh the book all the way down. So it was a process. It's like all the things you try and miss and, you know, sometimes you go overboard, and then you have to pull back, and you have to be careful not to go too deeply into your own experience and just feel that the character is separate from you, and obviously she has some different issues than I had and a different occupation, but a lot of her grievances are mine as well.Jennie NashWell, that yearning and, can… I guess confusion really does come across. The how will I, how will I live? How will I love? How will I spend my days? I mean, these are the questions of our life, and they're the questions of this character in—as she goes through what she's experiencing. That they're, they're both mundane questions and, and, you know, the most profound. And, and the way you capture it... I mean, that was just to circle back to my initial idea of talking about how to capture emotion on the page, you know, which is the work of a novel. That's what it's for. That's its point. And it's just so hard to do. And you just did it on so many levels in a language that's not your first. And it really is just extraordinary and moving. And in preparing to talk to you today, I read a lot of the early reviews—people who got advanced readers copies, 'cause the book comes out in July, 2025, and we're speaking a few months before that time. So it's not fully out in the world, but it's enough that, um, I can see that reaction rippling through the readers and, and certainly through the, um, professional, um, colleagues and, you know, who've blurbed the book. But this idea of it being—the word people kept using was “moving.” And there was a lot of words like “tender” and “haunting,” you know, people really felt what it sounds like you intended them to feel. So how, from where you sit now, how does that—how does it feel to have gotten that feedback from some of the writers you admire? And to know that it did… it works doing what you want it to do? How does that feel?Lidija HiljeOh, it's, it's impossible to talk about that because I guess I'm typically Croatian in the way that it's easier for me to sit in my failures than to sit in my successes. So it's absolutely incredible. I mean, when you get a blurb from Claire Lombardo, who is, you know, I absolutely adore her books and I think she's insanely talented, you know, and for her, you know, she used the words “humane,” and that really—I was so moved by that. So my… kind of my goal is for, for people to see the humanity in these, these characters. And so it's really, it's really amazing. It's, it's beyond, you know, some of the, you know, I got really great blurbs from authors I really, really deeply admire: Thao Thai, Nguyễn Phan Quế Mai, Amy Lin, and Madeline Lucas, and as well, you know, Claire Lombardo, whom I mentioned. It's really incredible. It's so life affirming for me, you know, to be able to do that. But like I said, it's always, you know, when I'm reading the reviews, which I probably shouldn't be doing, I'm always focusing on the few that are not—just not feeling it. And then I have to remind myself it's not—this is not a book for anyone, for just everyone. And it's, you know, it's a journey. It's still, like you said, early days. I'm learning to be an author, to grow an even thicker skin in that sense. But yeah, it did feel great to get those beautiful reviews. And I'm so grateful to them for reading and donating their time to me.Jennie NashI mean, it's so not fair what I want to say. It's so not fair. But I want to ask anyway. Quite a few of the reviews said they can't wait for your next book, which, you know, it's like you're not a machine. You've just done this one. But are you thinking about that? Are you… do you have thoughts about that?Lidija HiljeYeah, I am trying to work on my new book. But, you know, I'm admiring the writers who put out a book a year. That's definitely not going to be me. There's an insane amount of work in putting the book out. You know, there's invisible work that goes behind the screen, you know, that people don't see, but it's happening and it takes up a lot of time. And there's also this emotional, you know, it's, it's—it's difficult sitting in, like… you're trying to make this your career. You wrote your heart on the paper and you're offering it to the world. And now you're suspended in this period when you put it out and you're waiting to see how it's received, whether someone tramples on it or whether it's upheld. And so it's a difficult, emotionally difficult place to be in, and I'm one of those writers who struggle to create when I'm not, you know, when I'm feeling… when I'm feeling stressed. So work on my second novel is going slowly. I've gotten to page 100, but then I realized it needed, you know, I needed to make some changes, so I'm back to page 30. So it's a, you know, it's a—it's a process. I think, you know, writing literary fiction takes time. It takes self-examination; it takes a lot of reading of other people who have done it successfully—the type of novel that you're trying to execute. So, so yeah, I'm trying to work on it, but, um, but it may, it may be a while.Jennie NashAll right. I know—that's why it wasn't fair to even ask. Um, so back to… I just want to pick up the story back to—you got the three or the four, um, agent requests, and you, you finished the novel, and, um, and you pitched to them. Can you just share what all unfolded? Because… it was pretty extraordinary.Lidija HiljeSo, basically, what happened was I didn't pitch all the four agents that had requested the pages. I had the first querying experience, which is what I said—you know 100 rejections. I took a long, hard look at it and realized that many of the time I was querying the wrong agents, genre-wise, which, you know, I was not aware of at the time. So a lot of those rejections were basically because I was querying a women's fiction book to literary agents. And that was one thing. And the other thing is… I was pretty, you know, unselective with whom I was querying the first time around. And the second time around, I was really intentional with the type of agent and their reputation and the connections within the industry—you know, just much more aware, approaching it much more professionally in terms of, you know, just wanting a good fit that would actually be able to do something for me, you know, to sell the book. And so a friend who had, you know, she had given me a referral to her agent—that didn't pan out. I gave that agent a month, an exclusive. And when that didn't pan out, I basically sent the query to my now agent, Abby Walters, at CAA. And, you know, it was a form on the website. I didn't even write her an email. It was just a form. So I didn't think that anyone would read it, basically. And I got—quickly I got like five or six requests, right out of the gate, those maybe first 10 days. And by the end of the second week I had gotten an offer of representation from Abby. And I followed up with the rest of the agents. The total, uh, the total number of, uh, full requests ended up being, I think, maybe nine out of 20, 25 queries. And, uh, I got three offers of representation, um, from fantastic agents. And, uh, deciding was hell. I was—I was—it was horrible to be in a position where you had to say no to an agent that you admire and that you would genuinely love to work with, but you know, for some reasons I chose Abby and I'm really happy with working with her. She's fantastic. I—I, you know, love her to death. And yeah, so that was the story of getting an agent. It was—it was—it was pretty quick and painless, I have to say, the second time around.Jennie NashRight, from 100 rejections with the first one to—to nine full requests and three offers on—on this one, that's an extraordinary swing, for sure. And I love the—the way that you approached it the second time with that intention. It just says everything about the kind of person and writer you are, and the book landed with Simon & Schuster and will be coming out soon, and I can't wait to share it with our listeners. It's a beautiful, beautiful novel. I just—I cherished reading every page, and we had the really great good fortune of my taking a vacation to Croatia and coming to your town and meeting you and walking through the town with you, and I treasure that for so many reasons. But having read the book, I felt like I could taste it and see it in a really special way, having had a tour of your city with you. So that, for me, was just a special—a special part of it too.Lidija HiljeThank you so much, Jennie. But actually, you kind of were a part of that, because when I thought about the places where Ivona would take a seer to, you know, to see, I had our tour in my—you know, on my mind, because I was thinking, like, what would she show someone who's from another place? Like, where would she take him? And it wouldn't be the things I showed you. I mean, I showed you some of the big things that you have to see when you're here. But I took you to the places that are more intimate to me, like more personally important to me.Jennie NashYeah.Lidija HiljeAnd so this is—this is what's behind the scene where she shows him her school. And, you know, so, yeah… you know, real life.Jennie NashOh, that's amazing. That's amazing. Well, yeah, I did get to see where you went to school and where the law office was. And—and one of the things that's really stayed with me was we went to a bookstore and it… Um, and it—just knowing what your life in books has been, Lidija, and how you've studied them and how you've worked to become a writer of the caliber that you are. And that bookstore was so small, and it had mostly books in Croatian, and it was not anything like the kind of bookstore that one would think would spark a major literary career. And it… that just has stuck with me, because you—you made your own bookstore, right? You found your own literary community. You found your own career and way, and it's just been a joy to watch and to cheer you on. And thank you for coming and talking with us today.Lidija HiljeThank you so much for having me, and all the encouragement over the years. I'm really grateful for that as well.Jennie NashAll right, well, until next time, for our listeners—keep your butt in the chair and your head in the game. Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew Perella. Our intro music, aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Award-winning Irish Canadian novelist, screenwriter and playwright Emma Donoghue (Room, The Wonder) is back with her first musical, “The Wind Coming Over The Sea.” It's based on the true story of Henry and Jane Johnson, a young married couple who left Ireland in the 1840s in search of a better life in Canada. Emma joins Tom Power to talk about what inspired the production, the traditional Irish folk music she used to tell the tale, and why this historical story about the immigrant experience still resonates today.

We start the show off with some super cross talk with Mason & Ireland. Sedano is in along with Kap. We are getting ready for our All Star Friday night game. We have discussed a lot about the Lakers off-season in regards too Deandre Ayton & Jake Laravia signing, LeBron's passive aggressiveness & new ownership. Why haven't we discussed Luka Doncic? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jann and Sarah share a conversation with the legendary Rosie O'Donnell. From her early days on TV to her current life in Ireland, Rosie talks about her journey in comedy with humour and honesty and speaks candidly about the challenges she's faced along the way, including her mental health. She reflects on her experiences in the entertainment industry, the impact of social media, and her role as a parent to a non-binary child. Of course, Rosie wasn't shy to get a little bit political and comment on the current state of America. This show is sponsored by BetterHelp. Give online therapy a try at ⁠⁠https://betterhelp.com/jann⁠⁠ and get 10% off your first month! Leave us a voicenote! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://jannardenpod.com/voicemail/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get access to bonus content and more on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/JannArdenPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Order ONLYJANNS Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cutloosemerch.ca/collections/jann-arden⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.jannardenpod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/jannardenpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/jannardenpod Learn more about your ad choices. Visit megaphone.fm/adchoices

We are getting old. The guys share stories about falling and the older they get the more aware they are becoming. Is it time to panic for the Dodger as they have lost 6 games in a row? Will the Dodgers make moves when the trade window opens? and when will Ohtani be able to go full time pitcher? Would you ever take a paycut? The DUMP and SUPER CROSSTALK with MASON and IRELAND! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The first edited collection dedicated to the historical specifics of Irish shame Offers an anatomy of Irish shame as a cultural predicament Combines theoretical reading with historical and institutional context Includes essays by some of Ireland's leading researchers on trauma and sexuality studies Shame has haunted Ireland since the inception of Irishness itself. As such, it has come to seem an ineluctable modality of Irish life. In fact, the contours of Irish shame have evolved over time, shifting with alterations in their colonial predicament, and in their response, whether complicit or resistant, to economic, political, and cultural dispossession. Irish Shame offers an anatomy of that condition. In twelve essays, it traces the ethnic, religious, biopolitical, psychosocial and neurodiverse parameters of shame as a force in Irish life. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ireland head to Lisbon this weekend for the second of their summer tests, this time against Portugal. Back in January, Cameron Hill caught up with their head coach Simon Mannix, who was briefly backs coach at Munster during the Rob Penney era. Here, he discusses his time in Limerick, his role in backing Ronan O'Gara in the twilight of his playing career, and where Os Lobos can go from here...Rugby on Off The Ball, with Bank of Ireland | #NeverStopCompeting

Welcome to Friday's Rugby Daily, with Cameron Hill.Coming up, the Lions team news and the Wallabies make a sensational call-up a week out from the first test,Brumbies head coach Stephen Larkham on how to prepare for Andy Farrell's side,And we hear from both camps ahead of Ireland's second summer test against Portugal this weekend.Rugby on Off The Ball with Bank of Ireland | #NeverStopCompeting

Mickela Mallozzi is a bundle of creative energy. She is the creator and host of the award winning TV show Bare Feet as well as a professor at New York University. She tells Brent about the new season of Bare Feet that includes adventures in Ireland like a distillery in a jail, eating oysters right from the ocean, and the punk rock scene in Northern Ireland. Plus, a little talk about New Zealand and the importance of accessibility. [Ep 345] Show Notes: Destination Eat Drink foodie travel guides at Buy Me a Coffee Mickela's website Travel Bare Feet Sligo Oyster Experience Farren's Bar McConnell's Distillery Vault Artist Studio Kelly's Cellars

In this episode of the Passive House Podcast, Mary James speaks with Barry McCarron, Managing Director of Kore Retrofit, about Ireland's bold retrofit efforts and Passive House leadership. Barry traces his journey from building the world's largest Passive House Premium project to leading cutting-edge retrofit initiatives through Kore's one-stop shop model. He shares insights into his PhD research on radon in certified Passive House buildings, the significance of airtightness and ventilation, and Ireland's ambitious retrofit targets. https://www.koreretrofit.com/Thank you for listening to the Passive House Podcast! To learn more about Passive House and to stay abreast of our latest programming, visit passivehouseaccelerator.com. And please join us at one of our Passive House Accelerator LIVE! zoom gatherings on Wednesdays.

On todays Show James, Sarah and Dwayne talk about the Tuam mass grave scandal in Ireland, where 796 babies were allegedly buried in a septic tank between 1922 and 1961. The participants debated the historical context, including overcrowding, malnutrition, and high infant mortality rates. They noted that the Irish government and Catholic Church faced criticism for their handling of the situation. The conversation also touched on the broader implications of birthright citizenship, with concerns about retroactive changes to citizenship status and the legal complexities involved. The group emphasized the need for a balanced perspective on historical events and the challenges faced by institutions during difficult times. The discussion centered on the complexities of birthright citizenship and immigration policies. Speakers debated the feasibility of Trump's proposals, including the potential for a Supreme Court hold and the challenges of revoking citizenship for children born to undocumented parents. They highlighted the backlog in the immigration system and the difficulties of proving legal status. The conversation also touched on the cultural assimilation of immigrants, particularly from Central America versus those from Islamic countries, and the potential for enclaves that refuse to assimilate. The group emphasized the need for a balanced approach that considers the best interests of children and the practicality of enforcement. Don't miss it!

A story, a historical snapshot of Ireland's EIRE signs and LOPs (Lookout Posts) from World War 2, a poem, and a chat about sleep paralysis and hearing voices in our heads.Not for the faint minded.Links mentioned will be added soon.The Voices in My Head - Eleanor LongdenEIRE Signs of WW II Hearing Voices Network Hosted on Acast. See acast.com/privacy for more information.

Shane Keegan and Johnny Ward join Cameron Hill to hear the thoughts of the League of Ireland nation!League of Ireland Late Night, in partnership with Rockshore 0.0 on Off The Ball, A League of Our Own. Get the facts, be drink aware, visit drinkaware.ie

The first edited collection dedicated to the historical specifics of Irish shame Offers an anatomy of Irish shame as a cultural predicament Combines theoretical reading with historical and institutional context Includes essays by some of Ireland's leading researchers on trauma and sexuality studies Shame has haunted Ireland since the inception of Irishness itself. As such, it has come to seem an ineluctable modality of Irish life. In fact, the contours of Irish shame have evolved over time, shifting with alterations in their colonial predicament, and in their response, whether complicit or resistant, to economic, political, and cultural dispossession. Irish Shame offers an anatomy of that condition. In twelve essays, it traces the ethnic, religious, biopolitical, psychosocial and neurodiverse parameters of shame as a force in Irish life. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Did he cancel or not?

Katherine Boyle is a General Partner at Andreessen Horowitz and cofounder of its American Dynamism practice, investing in sectors such as defense, aerospace, manufacturing, and infrastructure. She serves on the boards of Apex Space and Hadrian Automation, and is a board observer for Saronic Technologies and Castelion. Previously, she was a partner at General Catalyst, where she co-led the seed practice and backed companies like Anduril Industries and Vannevar Labs. She was also a reporter at The Washington Post. Katherine holds a BA from Georgetown, an MBA from Stanford, and a Master's from the National University of Ireland, Galway. She sits on the boards of The Free Press and the Mercatus Center. Shawn Ryan Show Sponsors: https://americanfinancing.net/srs NMLS 182334, nmlsconsumeraccess.org https://tryarmra.com/srs https://betterhelp.com/srs This episode is sponsored. Give online therapy a try at betterhelp.com/srs and get on your way to being your best self. https://meetfabric.com/shawn https://shawnlikesgold.com https://hillsdale.edu/srs https://masachips.com/srs – USE CODE SRS https://paladinpower.com/srs – USE CODE SRS https://patriotmobile.com/srs https://rocketmoney.com/srs https://ROKA.com – USE CODE SRS https://trueclassic.com/srs https://USCCA.com/srs https://blackbuffalo.com Katherine Boyle Links: Website - https://a16z.com/author/katherine-boyle X - https://x.com/KTmBoyle Learn more about your ad choices. Visit podcastchoices.com/adchoices

#857. He Drove Up in a Cupcake and Drove Off with Our Hearts! Kaitlyn is joined by the one and only Chris “Cupcake” Strandburg for a trip down memory lane through her entire season of The Bachelorette. From being the first kiss on night one to reminiscing on group dates in Ireland, Chris shares the wildest behind-the-scenes stories — including how he landed the iconic cupcake-mobile (yes, it involves Burning Man), hilarious moments from the Aladdin group date, and how Kaitlyn rode off into the sunset in two helicopters… while he took a three-hour bus ride back. He spills on Amy Schumer, almost being cast on Andi Dorfman's season, and even shows up with actual Bachelor memorabilia!! Nostalgic, hilarious, and unexpectedly sweet — this reunion is one for the books.If you're LOVING this podcast, please follow and leave a rating and review below! PLUS, FOLLOW OUR PODCAST INSTAGRAM HERE!Thank you to our Sponsors! Check out these deals!Quince: Go to QUINCE.com/vine to get free shipping and 365-day returns.Apartments.com: The Place to find a place! Better Help: This episode is brought to you by Better Help. Off The Vine listeners get 10% off their first month at BetterHelp.com/VINE.Splendid: Right now, Splendid is offering our listeners 20% off when you go to Splendid.com and use promo code VINE at checkout or when you shop at Splendid in stores.EPISODE HIGHLIGHTS: (9:16) Chris reveals he was originally cast for Andi Dorfman's season — and why he turned it down.(12:38) The full story behind the cupcake entrance that made Bachelor Nation fall in love.(23:09) Wait… WHO did Chris meet before filming? The wild “don't steal my girl” moment with a future castmate.(41:12) Behind the scenes of the Aladdin Broadway group date!(58:41) Cupcake comes bearing memories: a dried-up rose, a mini cupcake replica, and an actual tabloid cover.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In Jake Brend's final report from Dallas, he talked to K-State Avery Johnson, Cody Stufflebean and Taylor Poitier about the upcoming Farmageddon in Ireland. All of CycloneFanatic's coverage in Texas is presented by Fareway Meat & Grocery. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mason and Ireland tip off the show with the Dodgers and their current six game losing streak. Can the Dodgers snap their losing streak vs the Giants? What did Jeff Passan say about the Dodgers? Is Ireland a fan of a Kenley Jansen reunion with the Dodgers? Wheel of Questions! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Time for Sports Graffiti! Mason and Ireland are joined by Special Guest Matthew Berry! Berry breaks down how ‘Guillotine Leagues' work for Fantasy Football! What company is rolling back on their refunds and returns? Wassup Foo! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mason and Ireland are joined by Jeff Kerr, CEO of Proballer! Do Prenups doom a relationship? What movie will Mase not watch? How much can an offensive lineman eat? The guys look at a few hypothetical trades regarding the Lakers. Game of Games, plus Supercross Talk with Sedano and Kap! Learn more about your ad choices. Visit podcastchoices.com/adchoices