Podcast appearances and mentions of Isabel Allende

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Een aangrijpende roman over een sterke vrouw die alle obstakels overwint, geïnspireerd door historische gebeurtenissen. Voor de lezers van Isabel Allende en De brievenbezorgster van Puglia. Uitgegeven door Ambo|Anthos Spreker: Lottie Hellingman

En nuestro episodio 397 Christal Risol y El Watcher recomiendan los libros "La Casa de los Espíritus" (1982), Paula (1994) y Violeta (2022) escritos por Isabel Allende en el segmento "Loot Semanal", conversan sobre su experiencia viendo la película "Star Wars: The Mandalorian and Grogu" (2026), los primeros dos episodios de "Maximum Pleasure Guaranteed" (2026), el octavo episodio de la serie "Your Friends & Neighbors" (2025) titulado "I Feel Lost Without Me" y el "Series Finale" de "The Boys" (2019) en el segmento "Wachin' con Wacho!" y dialogan sobre su experiencia viendo la mini-serie "La Casa de los Espíritus" (2026) que estrenó en Prime Video.¡Se la diferencia en la vida de los niños de la Fundación de Niños de Puerto Rico! Aporta con tu donativo aquí: https://www.extra-life.org/participant/CulturaSecuencialAdquiere tus boletos de "Gamergy PR" aquí: https://www.ticketera.com/events/detail/gamergy-pr-2026¡Descubre la mejor manera de transmitir y grabar tu contenido! Comienza a usar "StreamYard" con nuestro "Referral Link" y obtén $10 de descuento: https://streamyard.com/pal/c/5302337768259584¡Subscríbete a nuestro canal de YouTube! Visita: https://www.youtube.com/culturasecuencial¡Síguenos y Suscríbete a nuestro canal de Twitch! Visita: https://www.twitch.tv/culturasecuencial¡Síguenos en Instagram! Visita: https://www.instagram.com/culturasecuencial¡Síguenos en Facebook! Visita: https://www.facebook.com/CulturaSecuencial

Seguimos la historia familiar de Esteban Trueba y Clara del Valle, una joven con poderes sobrenaturales, y los conflictos sociales y profundas transformaciones que viven ellos y sus descendientes a lo largo del siglo XX. Esta nueva adaptación de la novela de Isabel Allende fue realizada en formato serie, con ocho capítulos que ya están disponibles en Amazon Prime. Allende es una de las productoras ejecutivas, junto con la actriz Eva Longoria y los showrunner Fernanda Urrejola, Francisca Alegría y Andrés Wood. Alfonso Herrera y Dolores Fonzi encabezan un talentoso reparto con actores chilenos, latinoamericanos y españoles.Encuentra más episodios en Cooperativapodcast.cl

In questa puntata di Shelf. Il posto dei libri Alessandro Barbaglia, Chiara Sgarbi e Manlio Castagna raccontano La casa degli spiriti di Isabel Allende, tra romanzo, cinema e serie TV, due libri da leggere in parallelo e la novità della settimana: La cattiva figlia di Carla Cerati.Scopri la puntata e dicci la tua: cosa stai leggendo o ascoltando?SHELF. IL POSTO DEI LIBRIDi Alessandro Barbaglia. Con: Eleonora C. Caruso, Chiara Sgarbi, Manlio Castagna, Marco Ballarè e Petunia Ollister.Realizzato da MONDADORI STUDIOSA cura di Miriam Spinnato, Elena Marinelli, Danilo Di TerminiProgetto grafico di Francesco PoroliMusiche di Gianluigi CarloneMontaggio e post produzione Indiehub studio

En este episodio platicamos del libro de Isabel Allende "La Casa de los Espíritus", uno de los favoritos de Sergio y Andrea. Y la comparación de la serie de Amazon Prime del mismo nombre protagonizada por Poncho Herrera y de la película de 1993 protagonizada por Jeremy Irons y Meryl Streep .Descubre cuál es nuestro análisis de ambas.

What do the inventor of the periodic table, the novelist Isabel Allende, and the almost-creators of the iPhone have in common? Join author David Epstein and EconTalk's Russ Roberts to explore a counterintuitive idea: that boundaries, and not unlimited freedom, often make us more creative, productive, and fulfilled.

Joana Osman ist Autorin, Dozentin, Friedensaktivistin und Storytelling-Coach. Sie spricht mit Günter über die Geschichten, die sie besonders geprägt und inspiriert und manchmal auch getröstet haben. Für den Buchclub hat sie vier Bücher mitgebracht, die sie seit Jahren begleiten: von J. D. Salinger über Alice Walker und Mark Twain bis zu Isabel Allende.Es geht um literarische Heldenreisen und um die Frage, warum Geschichten uns nicht nur helfen, die Welt zu verstehen, sondern sie vielleicht auch zu verändern. Denn "alle Geschichten speisen sich aus der Realität und die ganze Realität speist sich aus Geschichten, aus Narrativen, die wir uns über uns selbst und über andere erzählen", so Joana Osman.Alle Bücher dieser Folge:Joana Osman: "Wenn wir vom Fliegen träumen" (C.Bertelsmann), "Am Boden des Himmels" (Atlantik Verlag), "Wo die Geister tanzen" (C.Bertelsmann), "Frieden. Eine reale Utopie" (Penguin), J. D. Salinger: "Franny und Zooey" (Rowohlt Taschenbuch), "Der Fänger im Roggen" (Rowohlt Taschenbuch), Alice Walker: "Die Farbe Lila" (Nagel & Kimche), Mark Twain: "Die Abenteuer des Huckleberry Finn" (Reclam Verlag), Isabel Allende: "Das Geisterhaus" (Suhrkamp Verlag).+++ Viel Spaß mit dieser Folge. Wir freuen uns auf euer Feedback an podcast@penguinrandomhouse.de! +++ Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

El nuevo capítulo de 'Estamos de Cine Edición Series' arranca analizando el fenómeno de la serie argentina 'El Encargado', que tras su éxito mundial llega ahora a su cuarta temporada. La producción de Disney+ (Star+), liderada por la dupla creativa de Mariano Cohn y Gastón Duprat, vuelve a situar al personaje de Eliseo Basurto, interpretado por Guillermo Francella, en una posición de poder e intriga que en esta entrega llegará a rozar las esferas de la Casa Rosada y la presidencia de la República Argentina. Sin movernos de Disney+ Raquel Hernández nos habla del capítulo sorpresa de la aclamada serie The Bear (El Oso) concebido como eslabón narrativo fundamental entre la cuarta y la quinta temporada. Ambientado en las afueras de Chicago, el episodio rescata recuerdos de los personajes de Mike y Richie, profundizando en el pasado de la familia Berzatto y sirviendo como preámbulo para el cierre definitivo de la serie que se espera próximamente. La oferta de contenidos se diversifica con la llegada de dos propuestas europeas de alto impacto a Netflix y Movistar Plus+. Por un lado, el programa explora la serie Legends, un crudo relato sobre el mercado de la heroína en la Inglaterra de los años 90 que ya ha suscitado comparaciones con el realismo de The Wire. Por otro, se destaca la ambiciosa adaptación de El señor de las moscas, la mítica novela de William Golding que en esta ocasión cuenta con Jack Thorne como showrunner, prometiendo una visión contemporánea y perturbadora del comportamiento adolescente. Ya etsá disponible en el menú de Movistar + Y como siempre, para acabar, reservamos un lugar privilegiado para la atmósfera sonora de la ficción televisiva. En esta edición, el protagonismo recae sobre la adaptación de Prime Video de la célebre novela La casa de los espíritus de Isabel Allende. Aunque la crítica se ha mostrado dividida respecto a la narrativa, el programa resalta unánimemente la banda sonora compuesta por el músico chileno Tomás Videla, cuyas piezas más emotivas sirven de cierre para esta entrega, reafirmando el compromiso de la emisora regional con la cultura y el análisis detallado de las series de televisión.

Isabel Allende began writing daily letters to her mother when she was a teenager. Over the next several decades, they exchanged over 24,000 of them. Allende credits their letter writing with removing the need for small talk and creating a deep bond between them. Knowing that she had to write to her mother every day pushed her to pay attention to her life in a way that, she says, was central to her becoming a writer.  Letters have been a throughline in her books as well. Allende's best-selling novel, “The House of the Spirits,” began as a letter to her dying grandfather. “The House of the Spirits” has just been adapted into a new TV series, and the connection between mothers and daughters is central to this multigenerational saga. In this episode of “Modern Love,” Allende tells the host Anna Martin about the transformative power of letter writing on her relationships and career.  Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Magnusson, Kristof www.deutschlandfunkkultur.de, Lesart

Magnusson, Kristof www.deutschlandfunkkultur.de, Lesart

Magnusson, Kristof www.deutschlandfunkkultur.de, Lesart

This week, Liberty and Vanessa discuss Moonlight Murder, Platform Decay, Verity Guild, and more great books! Subscribe to All the Books! using RSS, Apple Podcasts, or Spotify and never miss a book. Sign up for the weekly New Books! newsletter for even more new book news. Keep track of new releases with Book Riot's New Release Index, now included with an All Access membership. Click here to get started today! This content contains affiliate links. When you buy through these links, we may earn an affiliate commission Books Discussed On the Show: Birth Vibes by Jen Hamilton Dissection of a Murder by Jo Murray Moonlight Murder by Uzma Jalaluddin The Fallen: The Lost Girls of Ireland's Magdalene Laundries and a Legacy of Silence by Louise Brangan The Miseducation of Caroline Bingley by Lindz McLeod Verity Guild by Mai Corland Honey by Imani Thompson Backtalker: An American Memoir by Kimberlé Williams Crenshaw The Girl with a Thousand Faces by Sunyi Dean Platform Decay (The Murderbot Diaries Book 8) by Martha Wells Seek Immediate Shelter by Vincent Yu True Crime: A Memoir by Patricia Cornwell One Leg on Earth by 'Pemi Aguda Mother Tongue: A Memoir by Sara Nović What We Ask Google: A Surprisingly Hopeful History of Humankind by Simon Rogers Earthly Playing Field by Radhika Singh What We're Reading: Little Bosses Everywhere: How the Pyramid Scheme Shaped America by Bridget Read Before I Let Go by Kennedy Ryan Brume, Volume 2: The Forest of Lost Souls by Jérôme Pélissier, Carine Hinder A Real Animal by Emeline Atwood  Taipei Story by R. F. Kuang The Repairer of Reputations by Ed Park, Robert W. Chambers Paperbacks: Victorian Psycho by Virginia Feito When the Earth Was Green: Plants, Animals, and Evolution's Greatest Romance by Riley Black The Director by Daniel Kehlmann, Ross Benjamin (translator) The Lilac People by Milo Todd The Museum Detective by Maha Khan Phillips How to Lose Your Mother: A Daughter's Memoir by Molly Jong-Fast Gliff by Ali Smith Spectacular Things by Beck Dorey-Stein You Belong Here by Megan Miranda My Name Is Emilia del Valle by Isabel Allende, Frances Riddle (translator) Flashlight by Susan Choi The Starving Saints by Caitlin Starling August Lane by Regina Black As I Dream of You by Jennifer Lee, LeUyen Pham The Book of Lost Hours by Hayley Gelfuso Don't Let Him In by Lisa Jewell The Manor of Dreams by Christina Li Not Quite Dead Yet by Holly Jackson Links: A new book from Chad Harbach The NYT Best Books of the Year (So Far) Bestsellers: Project Hail Mary by Andy Weir  Theo of Golden by Allen Levi Famesick: A Memoir by Lena Dunham   Hope Rises by David Baldacci   London Falling: A Mysterious Death in a Gilded City and a Family's Search for Truth by Patrick Radden Keefe  Poisoned Ivies: The Inside Account of the Academic and Moral Rot at America's Elite Universities by Elise Stefanik  Kin by Tayari Jones The Lion Women of Tehran by Marjan Kamali One Day, Everyone Will Have Always Been Against This by Omar El Akkad Learn more about your ad choices. Visit megaphone.fm/adchoices

Radio Castilla-La Mancha saca de nuevo músculo en formato series con una nueva entrega de "Estamos de Cine". Roberto Lancha y Raquel Hernández diseccionan tres de las novedades más destacadas que acaban de estrenar Netflix, Apple tv y Netflix. Herencia literaria de altos vuelos, el misterio sobrenatural y la acción más trepidante marcada por el pasado. Un recorrido que nos lleva desde las sagas familiares de Isabel Allende hasta los rincones más oscuros del Maine costero. La casa de los espíritus. La Maldición de Widow's Bay y la Fuerza de la Venganza polarizan el Filtro Rachel de esta semana. Y en clave de banda sonora, por fin nos damos el capricho de zambullirnos en el universo sonoro de una seria trasgresora que está entonando su despedida; "The Boys". La banda sonora de Christopher Lennertz se aleja de los clichés heroicos para ofrecer una partitura que bascula entre el dramatismo, el metal más sucio y la acción callejera, acompañando a la perfección el pulso entre "El Carnicero" y "El Patriota".

Ian and Hannah review the biggest new films and bingeable shows on UK streaming services for the week beginning Friday 1st May 2026, including:NOW TV's new action-drama follows a prison officer escorting a high-value inmate who are forced to go on the run together after a brutal ambush, in Prisoner.Leanne and Matty are both robbing from the same casino – setting them on a high-stakes crash course with gangsters, police... and each other. With Sheridan Smith and Michael Socha, The Cage is on BBC iPlayer.Based on Isabel Allende's best-selling novel, The House of the Spirits is a hauntingly romantic epic tale spanning three generations of the Trueba family, and it's on Amazon Prime Video.A New England mayor (Matthew Rhys) trying to boost tourism on his island must navigate strange events suggesting it might be cursed, in Apple TV's horror comedy Widow's Bay.Follow Bingewatch on all major podcast players for your weekly rundown of the best binge-worthy shows across Netflix, Prime Video, Disney+ and more.Remember to leave a 5 star review on Apple Podcasts, Podchaser and Goodpods AND you can now show your support and leave a tip for Ian and Hannah.You can also stay in touch with the team via Twitter AND if you like Bingewatch but you're looking for a specific review, check out BITESIZE BINGEWATCH, our sister show making it easier to get the bits you want!Discover your next favourite restaurant with NeoTaste, the exclusive membership unlocking huge discounts at hundreds of restaurants. Get 2 MONTHS FREE on us! Simply use the code BINGE at checkout. Sign up here: https://bingewatch.captivate.fm/neotaste For ad and sponsorship enquiries, email liam@mercurypodcasts.com now!

Tom Sutcliffe is joined by playwright Mark Ravenhill and academic and critic Maria Delgado to review:The first major UK exhibition of Spanish master Francisco de Zurbarán at the National Gallery.A new Spanish language series adaptation of Isabel Allende's The House of the Spirits on Amazon Prime video.Please Please Me by Tom Wright, a play about manager Brian Epstein and The Beatles at the Kiln Theatre in London.Plus Tom speaks to the winner of the prestigious Donatella Flick Conducting Competition, seen on the series Making of a Maestro. Presenter: Tom Sutcliffe Producer: Lucy Collingwood

Es uno de los grandes estrenos de la primavera, vuelve Miranda Priestly y el universo de ‘El diablo viste de Prada' con su segunda parte. En este episodio analizamos cómo ha evolucionado esta historia que ahora quiere defender el periodismo en tiempos de redes sociales, memes y la dictadura del click. Además, hay otros estrenos interesantes en cartelera como ‘La isla de Amrum', lo nuevo de Fatih Akin que explora la culpa alemana, y ‘Resurrection', el monumental recorrido del director chino Bi Gan por la historia del cine. Del cine español, ‘Los justos' pone a Carmen Machi, Vito Sanz o Pilar Castro a debatir sobre sus dilemas en un jurado popular. En televisión nos visitan Nicole Wallace y Alfonso Herrera, los protagonistas de ‘La casa de los espíritus', la serie de Prime Video que adapta la novela de Isabel Allende. 

En entrevista para MVS Noticias con Ana Francisca Vega, el experto en cine y series Arturo Magaña, presentó un análisis profundo sobre el estreno de la adaptación serial de la obra cumbre de Isabel Allende, 'La Casa de los Espíritus', así como la oferta cinematográfica que trae consigo el Festival de Sundance a la Ciudad de México 2026.See omnystudio.com/listener for privacy information.

El boom de la literatura latinoamericana sigue sumando adaptaciones en el streaming. Después de ‘Cien años de soledad' de Gabriel García Márquez, ahora llega 'La casa de los espíritus', la saga familiar de Isabel Allende que estrena Prime Video. Una obra cumbre de las letras que pone el foco en tres generaciones de mujeres en un país conservador de Latinoamérica marcado por la lucha de clases, la agitación política y el realismo mágico. Una forma de revisitar un clásico de la literatura publicado en 1982 con mirada contemporánea y con un gran reparto encabezado por Alfonso Herrera y Nicole Wallace. Con ellos charlamos de este proyecto, de compromiso político y de cómo construir una carrera desde las sagas juveniles

AVISO: quem ouvir esta conversa sai de sorriso na cara e coração cheio. E, claro, óptimas recomendações de leitura. Grande convidado, assim vale mesmo a pena.Os livros que o jornalista e apresentador escolheu:Nenhum Caminho Será Longo, José Tolentino de Mendonça;De Amor e de Sombra, Isabel Allende;Dor Fantasma, Rafael Gallo;Ensaio Sobre a Cegueira, José Saramago;A Bíblia.Outras referências: Julia Navarro:História de um Sacana;Diz-me Quem Sou.As Intermitências da Morte, José Saramago;O Céu de Sacadura, Luísa Costa Gomes;Leitura da Bíblia referida: O Filho Pródigo.Recomendei:Amor Estragado, Ana Bárbara Pedrosa;Para os Caminhantes Tudo é Caminho, Tolentino Mendonça.O que ofereci:Um Bom Homem é Difícil de Encontrar, Flannery O´Connor;Visitar Amigos e outros Contos, Luísa Costa Gomes.Os livros aqui:www.wook.pt

¡Bienvenidos al gran regreso de DE UN PUNTO AL OTRO!

Ralph welcomes Professor Nicholas Chater, co-author of “It's on You: How Corporations and Behavioral Scientists Have Convinced Us That We're to Blame for Society's Deepest Problems.” Then, as most of the media turns its attention to Iran, we return to the ongoing genocide in Gaza and welcome back Dr. Feroze Sidhwa to break down his three-part series published in Zeteo called “The Truth About Gaza's Dead.”Nick Chater is Professor of Behavioural Science at Warwick Business School. He has written and co-written more than two hundred research papers and six books, including It's on You: How Corporations and Behavioral Scientists Have Convinced Us That We're to Blame for Society's Deepest Problems (co-written with George Loewenstein).I was on a UK government committee as the representative of behavioural science for six years, where my role was (at least I understood my role to be) coming up with smart-aleck ideas about what individual nudges or bits of useful information we could give to the public—how that would help people reduce their carbon emissions. And I came away from that experience extremely chastened. Because almost all the interesting issues were nothing to do whatsoever with individual behavior. They were all about big systemic changes… And the shock for me was realizing that the tools that I was hoping to wield were in fact completely ineffective.Nick ChaterI think it's absolutely true that many of the things that behavioral scientists are supposedly “discovering” [are] the things that campaigners and activists and indeed people in the political world generally and journalists intuitively have long known, and indeed probably have good evidence for. It's simply— it's sort of a sad process of trailing-along-behind which I think the academic world has been engaged in, where we've been slowly realizing that things that everybody else knew initially are actually true after all.Nick ChaterOne of the most powerful things that each of us has is the ability to propagate our own perspective and to campaign for change…I think getting people pulling together and pushing for change can be incredibly powerful. So seeing ourselves as citizens who are actively able to have our voice, make our voices heard, I think that's where the real power lies. And I think that the campaigners and political activists and so on have always known this. And of course, also, big businesses have always known this too. And they certainly don't want us to be doing too much of that. They want us to be focusing on quite the opposite. They want us to be focusing on our own gardens and not worrying about the big picture. They don't want organized opposition.Nick ChaterDr. Feroze Sidhwa is a general, trauma, and critical care surgeon in California. He is also a humanitarian surgeon who has worked in Palestine, Ukraine, Haiti, Zimbabwe, and Burkina Faso. He most recently volunteered at Nasser Medical Complex in Khan Younis, Gaza. He was blocked from entering Gaza by Israel's Shin Bet intelligence service in November 2025.In the first 25 days of the assault on Gaza, more children were killed than in the entire worst year of conflict that Airwars had ever studied previously, which was Syria in 2016. In the first 25 days in Gaza, between 2,200 and 2,600 children were killed in Gaza, compared to 1,900 in Syria. So again, if you adjust for the size of the population (because Syria is a much bigger country than Gaza is a territory), the rate of killing of children in Gaza was 71 to 142 times higher than it was in the worst year on record for children in conflict—Syria in 2016.Dr. Feroze SidhwaGaza is a place where infants freeze to death if they are not sheltered. Well, there are no sheltered infants in Gaza for any practical purposes. They're all unsheltered. So we have a list of the actual names of a dozen or two dozen children who have actually frozen to death…And there is shelter—ready-made mobile shelters for hundreds of thousands of people right outside of Gaza. It's in Egypt and it's in Jordan. The only thing that's stopping anybody from bringing it in is the US and Israel…This is just dastardly. We should think about it for a second—we (meaning Americans) [are] living in a country where neither political party seems to care that we are freezing infants to death.Dr. Feroze SidhwaRight now, the Israelis are blocking cough medicine from going into Gaza. And the reason (they say) is because it contains glycerin. Now, glycerin, in theory, can be used to make explosives. But it's one picogram or something—it's just part of a pill or the syrup that goes into it, right? This is children's cough medicine. The idea that Hamas or Islamic Jihad or anybody else in Gaza has the laboratory equipment and facilities that would be needed to extract the 0.01% of glycerin that's in a pill or a medical syrup to then make a bomb is beyond idiotic. Furthermore, we all know that there's (and I'm speaking literally) hundreds of tons of unexploded Israeli bombs—actually I should say unexploded US bombs—all over the Gaza Strip. That's where Hamas gets all of its explosives from. It just repurposes unexploded Israeli munitions. So all of this is just sheer nonsense.Dr. Feroze SidhwaNews 4/24/26* Our top stories this week have to do with people losing their jobs. First up, Apple CEO Tim Cook – the handpicked successor of Steve Jobs who has led the tech giant for the past 15 years – announced this week that he would transition away from the CEO role. While he will remain on as Executive Chairman, John Ternus, the company's head of hardware engineering, will take over at the helm, PBS reports. Cook's tenure at Apple has received mixed evaluations, with many applauding the steady handed executive for adding an estimated $3.6 trillion in market value to the company, while others have critiqued his supposed lack of innovation compared to his predecessor. Some hope his more technical-minded successor will put more emphasis on product development moving forward. Like many tech CEOs, Cook went to great lengths to ingratiate himself with President Trump in his second term, donating $1 million to his inaugural committee and gifting Trump a glass plaque set in 24-karat gold last August.* Meanwhile, Secretary of Labor Lori Chavez-DeRemer resigned this week amid “an internal investigation into her conduct,” which included “instructing staff to buy her bottles of sauvignon blanc on work trips… [stashing] liquor in her office, [encouraging] young female staffers to ‘pay attention' to her father and husband, [having] an affair with a member of her security detail, and [arranging] work travel to visit family and friends,” per Vox. For the time being, the Labor Department will be headed by Keith Sonderling, whom POLITICO calls a “quintessential Washington insider who is well-connected in the capital's Republican circles and his home state of Florida.” Sources quoted in this piece identify Sonderling as a key behind-the-scenes player in the administration whose accumulated influence “extends well beyond DOL.” The choice of Chavez-DeRemer, a former Congresswoman who was seen as perhaps the most labor-friendly Republican in the House, was supported at the time by Trump-aligned Teamster boss Sean O'Brien; her ouster therefore, represents the latest humiliating setback for his strategy of cozying up to Trump to win favorable treatment for his membership. In the words of a recent Current Affairs piece published before the downfall of Chavez-DeRemer, “Sean O'Brien Sold Labor to Trump, and Got Nothing.”* In the House, Rep. Sheila Cherfilus-McCormick resigned her seat this week, just minutes before the House Ethics Committee was set to weigh punishment for the Congresswoman, whom the panel had previously found guilty of “a slew of ethics violations, including accusations that she stole millions in pandemic relief funds and used it to bolster her 2021 campaign,” according to CNN. Cherfilus-McCormick was one of the four Members of Congress included in the proposed bipartisan expulsion deal some weeks ago, along with Representatives Swalwell, Gonzales, and Mills. With the first two gone, a tremendous amount of pressure is sure to be exerted on Congressman Mills to resign as well. Prior to resigning, Cherfilus-McCormick was already facing a stiff primary challenge from young progressive Elijah Manley. Now, it seems her seat – representing hundreds of thousands in Broward and Palm Beach counties – could remain vacant until a new member is sworn in next January, with Florida Governor Ron DeSantis unlikely to call a special election before then.* Also in Congress, Axios reports Representative David Scott of Georgia, a powerful Black Georgia Democrat who served in the lower house for over 20 years, passed away this week at age 80. Scott, who rose to become the first Black chair of the key House Committee on Agriculture, had filed to run again in 2026 despite rumored resistance from his colleagues. His death leaves Georgia's 13th district without representation in the House and amounts to a stunning fourth death-based Democratic House vacancy in the past year. Like the ones that preceded it, this must be seen as a bright red warning signal to Democratic leadership.* In DC more broadly, the employment picture looks even worse. According to a new report in the Guardian, the combined purging of 300,000 jobs from the federal government – the piece notes this is the “region's largest employer” – by Elon Musk's absurd Department of Government Efficiency (DOGE) initiative, with another 13,000 job cuts in the private sector, has left DC with the highest unemployment rate in the nation at 6.7%. With little sign of increased hiring in the public or private sectors, there is no indication this trend will reverse itself any time soon.* Elsewhere in the DMV, this week Virginia voters approved a referendum to amend the state constitution allowing Democrats to redraw the state's congressional districts in their favor. Currently, Virginia Democrats hold six districts to the Republicans' five; under the new map, Democrats are poised to hold 10 districts and the Republicans just one. This is the latest episode in the mid-decade redistricting fight begun last year, when Texas Republicans sought to redraw the Lone Star state's maps to be more favorable to the GOP. This set off a stampede of states seeking to redraw their district lines. Now, in light of the Virginia referendum passing, Florida is threatening to redraw their maps to the detriment of Democrats there. The Hill reports House Minority Leader Hakeem Jeffries, taking a sharper tone than usual, responded to news of the Florida redistricting attempt with a statement reading “If Florida Republicans proceed with this illegal scheme, they will only create more prime pick-up opportunities for Democrats, just as they did with Trump's dummymander in Texas…[he vowed] maximum warfare, everywhere, all the time.”* In California, the downfall of Eric Swalwell has resulted in the unexpected rise of another candidate – former Congressman, California Attorney General, and Biden-era Health and Human Services Secretary Xavier Becerra. Between April 10th and April 22nd, Becerra surged from a polling average of under 4% to an average of 13% – and in some polls, even moved into first place. While Becerra seeks to consolidate this spike in support, progressives are airing long-held grievances. David Sirota, former Bernie Sanders campaign advisor and founder of the Lever, cited that publication's 2021 report on how “As California AG, [Becerra] demanded the HHS secretary use existing law to lower medicine prices - and then he became HHS secretary & literally refused to do that.” Others have pointed out that, according to Transparency USA, Becerra's campaign has received massive donations from the likes of Chevron. Progressive billionaire Tom Steyer on the other hand this week received the endorsement of Our Revolution, closely aligned with Bernie Sanders, which noted that “Yes, Tom Steyer is a billionaire. But it matters what he is doing with that power: pushing for taxes on the wealthy, expanding universal programs, and dismantling corporate influence in our politics.”* In another case of politics making strange bedfellows, the Chicago Tribune reports the political arm of Planned Parenthood is making an endorsement in the race to succeed retiring Rep. Jesús “Chuy” García in Illinois 4th congressional district. Except, in this case, the reproductive rights group is not endorsing the Democrat in the race. Listeners may recall that Congressman García was sharply criticized for his maneuvering to ensure his chief of staff Patty García would be the Democratic nominee. This has forced other potential aspirants to run as independents. These include DSA-aligned Chicago Alderman Byron Sigcho-López and activist Mayra Macías – the latter of whom won the Planned Parenthood Action endorsement this week. The Tribune notes that Macías served on the board of Planned Parenthood Action until the beginning of this year. In a statement, Planned Parenthood President Alexis McGill Johnson called Macías “a proven leader,” who “will be unrelenting in the fight to protect access to sexual and reproductive health care.”* Turning to international news, in South Africa, leftist politician and leader of the Economic Freedom Fighters (EFF) party Julius Malema was sentenced to five years in prison this week for “firing a rifle in ⁠the air at a party rally,” Al Jazeera reports. Unsurprisingly, given that the EFF is the fourth largest political party in South Africa, this case has become a rallying cry for Malema's supporters, with those same supporters accusing the prosecution of being politically motivated. Presiding Magistrate Twanet Olivier disputes this, contending that it “is not a political party who has been convicted here … it is a person, an individual.” Malema's lawyers immediately applied for – and were granted – leave to appeal, but if these appeals fail Malema could be barred from serving as a Member of Parliament.* Finally, in more positive news from abroad, Reuters reports that the much-trumpeted summit of the global Left held in Barcelona this week – designed to help progressives rally their forces to defeat modern reactionary Right-wing nationalism characterized by figures like Trump – drew over 6,000 attendees from over 40 countries. Headline speakers included Spanish Prime Minister Pedro Sanchez, Brazilian President Lula, Mexican President Claudia Sheinbaum, Colombian President Gustavo Petro and South African President Cyril Ramaphosa. From the United States, an ecclectic group addressed the summit, ranging from video messages of support from Hilary Clinton to Bernie Sanders to Zohran Mamdani, with an in-person address by Minnesota Governor and former Vice-Presidential candidate Tim Walz. A recurrent theme, hammered home by Isabel Allende, former Senate president ​of Chile and daughter of Salvador Allende, Chile's leftist president ousted in a U.S.-backed coup and replaced with the dictator Augusto Pinochet, was that the left has become too distant from the daily concerns of workers, stating in no uncertain terms that “It's unimaginable to fight against the right ‌if we can't ⁠get closer to ordinary people.”This has been Francesco DeSantis with In Case You Haven't Heard. Get full access to Ralph Nader Radio Hour at www.ralphnaderradiohour.com/subscribe

Terminamos la revisión del FICG en su día 1 con algo de series, y es que vimos el primer episodio de La Casa de los Espíritus, mini serie basada en la novela de Isabel Allende.

Hoy nos visita Carolina Sarmiento para presentar su nueva novela, 'Las fronteras', un eco-thriller que transita lugares apenas explorados en la narrativa reciente en español. Jonay Armas pone música con su piano a 'El mundo como ensayo', de Juan Malpartida. Ana Zurita nos trae la nueva novela de Isabel Allende, ya en librerías, y el Camino de la desviación de hoy nos lleva hasta Lisboa. Desde allí, la doctora Underground Elena Rosilla nos habla de la contracultura en la capital portuguesa. Y todo sin olvidar los estrenos que llegan a la cartelera, de la mano de Conxita Casanovas.Escuchar audio

«El Huésped de la Maestra» es uno de los relatos más impactantes y memorables de la colección "Cuentos de Eva Luna" (1989). En esta obra, Isabel Allende despliega su maestría para mezclar la cotidianidad de un pueblo rural con la brutalidad de la justicia poética. La historia se centra en Inés, la respetada maestra de un pequeño pueblo llamado Agua Santa. Su vida parece tranquila hasta que llega al pueblo un forastero que se instala en su hostal. Lo que nadie sabe (excepto Inés) es que este hombre fue el responsable de la muerte de su hijo años atrás, un acto de violencia gratuita que quedó impune. Lejos de buscar una confrontación pública o legal, Inés ejecuta un plan meticuloso, frío y silencioso para cobrar la deuda de la única forma que considera definitiva. Música y Ambientación: Dark Piano - Lucas King Remixed by JMT Blog del Podcast: https://lanebulosaeclectica.blogspot.com/ Twitter: @jomategu

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

"Write what should not be forgotten," says Isabel Allende.Jan shares his experience working on his new novel and how writing can be a metaphor for living in full our most precious lives.

Not all is as MEH as it first appears when John embarks on the story of Jesus' entry into Jerusalem. Palm fronds and an ancient plea turned praise adorn the political street theatre of Jesus astride a baby donkey. It calls to mind the Singing Resistance happening in Minneapolis - St. Paul in these days and weeks (and increasingly: months). When things get spicier for Jesus in the Jerusalem week ahead (which spans a full HALF of John's gospel), perhaps folks look back on that moment in the streets, drawing strength and inspiration when all seems hopeless and lost. Perhaps they ponder more deeply and poignantly what Jesus meant by that grain of wheat that needs to be buried and die in order to bear fruit and live.Sermon begins at minute marker 2:52Scripture:  John 12.12-27Resources:BibleWorm podcast: Episode 336 - The Executed King, Amy Robertson and Robert Williamson, Jr.Josephus, ancient historian.Passover, ancient pilgrimage festival and contemporary Jewish holiday, recalling the story of the Exodus of the Hebrew people from slavery in Egypt.Theatre of the Oppressed, originated by Brazilian director and activist, Augusto Boal, in the 1970s. Based at least in part on…Paulo Freire, Pedagogy of the Oppressed, 1968.Singing Resistance, Twin Cities MN, 2025-2026"Hold on, hold on, my dear one, here comes the dawn," written by songwriter Heidi Wilson“On the Origins of ‘They Tried to Bury Us, They Didn't Know We Were Seeds,'” Interview of Greek media scholar, Alexandra Boutopoulou, by AX Mina, Hyperallergic, 2018 (link).Brandi Carlile reflects on livestream concert from Minneapolis, ICE, and changing your mind, in Rolling Stone, 2026. Sally Morgan, My Place, Fremantle Arts Centre Press, 1987.Isabel Allende, City of the Beasts, HarperCollins Publishers, 2002 (trans. Margaret Sayers Peden).Jesmyn Ward, Let Us Descend, Scribner, 2023.

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service. This programme contains distressing details.Our guest is Bárbara Fernández Melleda, Assistant Professor in Latin American Studies at the University of Hong Kong.We start with Chilean author Isabel Allende on her debut novel, The House of the Spirits, in 1982 which reflects Chile's 20th century history.Then, we hear the memories of a soldier injured in the Battle of Gallipoli.The recollections of a mother who lost both her daughters in a crowd crush at Hillsborough stadium in 1989 - the UK's worst sporting disaster.How a British artist's unmade bed was nominated for a prestigious art prize in 1999.Next the swimsuit made ahead of the Beijing Olympic games in 2008 that was so good it had to be banned.Finally, we learn about the world's longest running animated TV series that began in 1969.Contributors:Isabel Allende - a Chilean author.Rupert Westmacott - a soldier (from archive).Jenni Hicks - a mother who lost her two daughters in the Hillsborough tragedy.Dame Tracey Emin - an artist.Jason Rance - former head of Speedo's global research and development team.Sunishi Yukimuro - an animated cartoon writer.(Image: Chilean author Isabel Allende. Credit: Felipe Amilibia/AFP via Getty Images)

In 1982, Isabel Allende published her debut novel, The House of the Spirits. The characters are based on her family, and the story reflects Chile's 20th Century history, including the 1973 military coup in which her relative, President Salvador Allende, was overthrown. The book began as a letter to her dying grandfather, but it grew into an epic multi-generational story. The House of the Spirits was an international bestseller and made Isabel one of the most renowned novelists in Latin America's rich literary history. She speaks to Ben Henderson.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from the death of Adolf Hitler, the first spacewalk and the making of the movie Jaws, to celebrity tortoise Lonesome George, the Kobe earthquake and the invention of superglue. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: Eva Peron – Argentina's Evita; President Ronald Reagan and his famous ‘tear down this wall' speech; Thomas Keneally on why he wrote Schindler's List; and Jacques Derrida, France's ‘rock star' philosopher. You can learn all about fascinating and surprising stories, such as the civil rights swimming protest; the disastrous D-Day rehearsal; and the death of one of the world's oldest languages.(Photo: Isabel Allende in 1986. Credit: Louis Monier/Gamma-Rapho via Getty Images)

To celebrate the old bird/broad role models who've appeared on The Shift with Sam Baker, I'll be rerunning some of these conversations throughout December and into January. Next up, bestselling novelist Isabel Allende... ---- The main word I can think of to describe this week's guest is wise. (Well there are other words - fabulous and no-bull for starters - but wise is the biggie.) Bestselling author Isabel Allende has written 25 books including her debut, the global smash hit The House of the Spirits, published when she was 39, and two memoirs, one about the death of her daughter Paula, at the age of 29. In her latest, The Soul of A Woman, the 79 year old Chilean who has been in self-imposed exile since 1975, takes a candid look at her own life, sexuality and evolution as a feminist. What, she asks - and tries to answer - do women want? From her home in Northern California, Isabel explains why she's been a feminist since she was five and what feminism means to her (“Not what we have between our legs but what we have between our ears.” Love her!); being “fatally heterosexual”, and why she's spent her life in training to be a “passionate old woman”. By the end of this episode, I defy you not to want to be her when you grow up! * You can buy all the books mentioned in this podcast at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Shift bookshop on Bookshop.org⁠⁠. * If you enjoyed this episode and you fancy buying me a coffee, pop over to my page on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠buymeacoffee.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. • And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including exclusive transcripts of the podcast, why not join The Shift community, come and have a look around at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.theshiftwithsambaker.substack.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

¡Feliz Año Nuevo 2026! En nuestro episodio 375 Christal Risol, Gabriel y El Watcher conversan sobre su experiencia comenzando a jugar "Clair Obscur: Expedition 33" (2025), viendo el segundo "Teaser Trailer" de "Avengers: Doomsday" (2026) enfocado en "Thor", los primeros episodios de la segunda temporada de "Fallout" (2024) y las películas "Marty Supreme" (2025) y "Sirāt" (2025) en el segmento "Wachin' con Wacho!", recomiendan el libro "La Casa de los Espíritus" (1982) escrito por Isabel Allende, la serie "Grace and Frankie" (2015) y la película "Eurovision Song Contest: The Story of Fire Saga" (2020) en el segmento "Loot Semanal" y hablan sobre todo lo relacionado a el estreno del Vol. 2 de la quinta temporada y lo que esperan de el "Series Finale" de "Stranger Things" (2016).¡Se la diferencia en la vida de los niños de la Fundación de Niños de Puerto Rico! Aporta con tu donativo aquí: https://www.extra-life.org/participant/Cultura-Secuencial-2025¡Descubre la mejor manera de transmitir y grabar tu contenido! Comienza a usar "StreamYard" con nuestro "Referral Link" y obtén $10 de descuento: https://streamyard.com/pal/c/5302337768259584¡Subscríbete a nuestro canal de YouTube! Visita: https://www.youtube.com/culturasecuencial¡Síguenos y Suscríbete a nuestro canal de Twitch! Visita: https://www.twitch.tv/culturasecuencial¡Síguenos en Instagram! Visita: https://www.instagram.com/culturasecuencial¡Síguenos en Facebook! Visita: https://www.facebook.com/CulturaSecuencial

Wenzel, Tobias www.deutschlandfunkkultur.de, Lesart

Wenzel, Tobias www.deutschlandfunkkultur.de, Lesart

Wenzel, Tobias www.deutschlandfunkkultur.de, Fazit

[ TEXTO PENDIENTE DE EDICIÓN ]

Welcome to the Paint The Medical Picture Podcast, created and hosted by Sonal Patel, CPMA, CPC, CMC, ICD-10-CM.Thanks to all of you for making this a Top 15 Medical Billing & Coding Podcast for 5 Years on Feedspot. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sonal's 16th Season starts up and Episode 12 features a Newsworthy update on RAC audits for 2025.Sonal's Trusty Tip and compliance recommendations focus on specific RAC audits for 2025.Spark inspires us all to reflect on resilience based on the inspirational words of Isabel Allende.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paint The Medical Picture Podcast now on:Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/6hcJAHHrqNLo9UmKtqRP3X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/paint-the-medical-picture-podcast/id153044217⁠7⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Music: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://music.amazon.com/podcasts/bc6146d7-3d30-4b73-ae7f-d77d6046fe6a/paint-the-medical-picture-podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Paint The Medical Picture Podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCzNUxmYdIU_U8I5hP91Kk7A⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Sonal on LinkedIn:⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.linkedin.com/in/sonapate/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And checkout the website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://paintthemedicalpicturepodcast.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you'd like to be a sponsor of the Paint The Medical Picture Podcast series, please contact Sonal directly for pricing: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PaintTheMedicalPicturePodcast@gmail.com⁠⁠

Jorge and Paola Ramos sit down with renowned author, social activist, and feminist icon Isabel Allende to discuss the state of democracy in the U.S. today, why women’s rights must constantly be defended, and how looking back at our history is crucial in times like these. You can listen now on the free iHeartRadio app. New episodes drop every Wednesday. Follow us at: @JorgeRamosNews @PaoRamos @RadioAmbulante @MyCulturaPodcasts See omnystudio.com/listener for privacy information.

It's time to step outside your literary neighborhood! This episode is a celebration of the human spirit as seen through the lens of world literature. Host Danny takes you on a tour across the globe, sharing ideas and excerpts from diverse works to highlight two incredible truths: that our core human experiences are strikingly similar, and that our cultural expressions of them are endlessly fascinating. From the magical realism of Latin America to the postcolonial voices of Africa, this journey will expand your world and your reading list. In this episode, we'll take a tour of: Asia:Explore the tension between tradition and modernity with Japan's The Tale of Genji and the surrealism of Haruki Murakami, and witness the resilience of the human spirit in China's To Live. Latin America:Dive into the world of Magical Realism with Colombia's Gabriel García Márquez and explore the feminist family sagas of Chile's Isabel Allende. Africa:Understand the power of the oral tradition and the legacy of colonialism through Nigeria's foundational novel Things Fall Apart and the intimate feminism of Senegal's So Long a Letter. The Middle East & Europe:Glimpse the mystical poetry of Rumi, the sprawling social realism of Egypt's Naguib Mahfouz, and see how these traditions are in constant conversation. To unlock full access to all our episodes, consider becoming a premium subscriber on Apple Podcasts or Patreon. And don't forget to visit englishpluspodcast.com for even more content, including articles, in-depth studies, and our brand-new audio series and courses now available in our Patreon Shop!

[REBROADCAST FROM May 5, 2025] Chilean novelist Isabel Allende discusses her latest novel, My Name is Emilia del Valle. The story follows a young journalist who becomes caught up in the Chilean Civil War.

Isabel Allende spoke about identity & resilience in her historical novel set in the 19th century against a backdrop of civil war breaking out in Chile. The Sixth and I Synagogue in Washington, D.C., hosted this event. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are celebrating Isabel Allende’s newest book – My Name is Emilia del Valle – by listening back to the beautiful conversion she had with Julia in Season 1. Today on Wiser Than Me, Julia gets schooled by 82-year-old award-winning author Isabel Allende (The House of the Spirits). Isabel enlightens Julia about organic justice, letter writing, and blueberry weed edibles. The two compare notes on everything from postpartum experiences to otherworldly visits from the other side. Follow Wiser Than Me on Instagram and TikTok @wiserthanme and on Facebook at facebook.com/wiserthanmepodcast. Keep up with Isabel Allende on Instagram @allendeisabel. Find out more about other shows on our network at @lemonadamedia on all social platforms. Joining Lemonada Premium is a great way to support our shows and get bonus content. Subscribe today on Apple Podcasts, Spotify, or wherever you get your podcasts. For exclusive discount codes and more information about our sponsors, visit https://lemonadamedia.com/sponsors/. For additional resources, information, and a transcript of the episode, visit lemonadamedia.com.See omnystudio.com/listener for privacy information.

Host Meg Wolitzer presents four stories in which characters give, and get, a little assistance, from friends, strangers and family. A daughter copes with a cantankerous parent in “How to Take Dad to the Doctor” by Jenny Allen, performed by Jennifer Mudge. A woman moves to a new town and makes a strange new friend in Laura van den Berg's “Friends,” performed by Roberta Colindrez. A Tyrolean café improbably situated in South America is home to mysterious strangers and new and old romances, in Isabel Allende's “The Little Heidelberg.” It's performed by Kathleen Turner. And a budding singer and socialist gets unwelcome help from Mom in Grace Paley's “Injustice,” performed by Jackie Hoffman.

Diane Rehm started her career at WAMU 52 years ago as a volunteer.  In 1979, she began hosting WAMU's local morning talk show, Kaleidoscope, which was renamed The Diane Rehm Show in 1984. The Diane Rehm Show grew from a local program to one with international reach and a weekly on-air audience of nearly 3 million. In 2016, Diane decided to step away from daily live radio, and brought her unique mix of curiosity, honesty, intimacy and four decades of hosting experience to the podcast world with On My Mind.In 2020, during the heart of the pandemic, Diane launched a new project to help engage an audience stuck at home. The Diane Rehm Book Club met monthly on Zoom and featured panel discussions, as well as author interviews. Guests included Ann Patchett, Isabel Wilkerson, Anthony Doerr and Isabel Allende.  Now, she takes the microphone one last time at WAMU to say farewell.You can find an archive of interviews from The Diane Rehm Show and On My Mind at dianerehm.org. You can find an archive of book club discussions on Diane's YouTube channel.

Isabel Allende didn't publish her first book until she was 39, after losing nearly everything in the wake of the Chilean military coup. More than four decades later, she's become one of the most beloved Spanish-language authors, with over 80 million copies of her books sold worldwide. After political exile, writing books became Allende's way of making sense of the world. She wrote through divorce, affairs, and moving across continents. But after the devastating loss of her daughter Paula, even writing felt impossible, until her mother urged her to begin again. “My mother knew that the only way for me to walk the tunnel of grief was writing,” she says. In this episode, Anna and Isabel talk about loss, late starts, and new beginnings. Isabel met her most recent husband, Roger, in her late 70s, “an age when most people are knitting for their great-grandchildren.” Allende's newest novel, “My Name Is Emilia del Valle,” is out now.  Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Isabel Allende didn't publish her first book until she was 39, after losing nearly everything in the wake of the Chilean military coup. More than four decades later, she's become one of the most beloved Spanish-language authors, with over 80 million copies of her books sold worldwide. After political exile, writing books became Allende's way of making sense of the world. She wrote through divorce, affairs, and moving across continents. But after the devastating loss of her daughter Paula, even writing felt impossible, until her mother urged her to begin again. “My mother knew that the only way for me to walk the tunnel of grief was writing,” she says. In this episode, Anna and Isabel talk about loss, late starts, and new beginnings. Isabel met her most recent husband, Roger, in her late 70s, “an age when most people are knitting for their great-grandchildren.” Allende's newest novel, “My Name Is Emilia del Valle,” is out now.  Death, Sex & Money is now produced by Slate! To support us and our colleagues, please sign up for our membership program, Slate Plus! Members get ad-free podcasts, bonus content on lots of Slate shows, and full access to all the articles on Slate.com. Sign up today at slate.com/dsmplus. And if you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our new email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

At 82, Isabel Allende is one of the world's most beloved and best-selling Spanish-language authors. Her work has been translated into more than 40 languages, and 80 million copies of her books have been sold around the world. That's a lot of books.Allende's newest novel, “My Name Is Emilia del Valle” is about a dark period in Chilean history: the 1891 Chilean civil war. Like so much of Allende's work, it's a story about women in tough spots who figure out a way through. Thematically, it's not that far off from Allende's own story. She was raised in Chile, but in 1973, when she was 31, raising two small children and working as a journalist, her life was upended forever. That year a military coup pushed out the democratically elected president, Salvador Allende, who was her father's cousin. She fled to Venezuela, where she wrote “The House of the Spirits,” which evolved from a letter she had begun writing to her dying grandfather. That book became a runaway best seller and it remains one of her best-known.Allende and Book Review editor Gilbert Cruz spoke about her life and career. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

The beloved author left Chile at a time of great turmoil and has longed for the nation of her youth ever since. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.