Podcasts about Italo Calvino

Roy Menarini, Marco Leonetti"Fellini, la scrittura, gli scrittori"I Saggi Fellini StudiesCuePresswww.cuepress.comMolto noto e al tempo stesso poco studiato, il complesso rapporto di Federico Fellini con la scrittura e gli scrittori ha un ruolo fondamentale per la comprensione del suo immaginario.Da una parte, infatti, lo studio della dimensione della scrittura nei suoi film merita nuovi aggiornamenti rispetto alla dimensione iconografica e visuale.Dall'altra, la promozione di Fellini a soggetto culturale legittimato al confronto con intellettuali e scrittori del calibro di Italo Calvino, Milan Kundera, Georges Simenon (solo per citare i più noti) è un luogo di elaborazione critico-teorica degna di ulteriori approfondimenti.Il volume esplora le avventurose relazioni tra Fellini, stampa, editoria, letteratura, adattamento, attraverso saggi trasversali e studi di caso.Roy MenariniInsegna Cinema e Industria Culturale all'Università di Bologna.Ha pubblicato numerosi saggi sul cinema contemporaneo e su temi come la critica cinematografica, la cinefilia, l'immaginario hollywoodiano.È senior editor della rivista «Cinergie» e dirige il sito «Cinefilia Ritrovata».Contribuisce a diversi gruppi di ricerca nazionali e internazionali come Inc – International Research Network on Celebrity Culture e Cfc (Culture, Fashion, Communication).Collabora con «Film Tv» ed è consulente della Cineteca di Bologna oltre che di altre istituzioni e associazioni.Dirige programmi di film and audiovisual education per le scuole.È inoltre critico cinematografico, saggista e conferenziere.Marco LeonettiDirige il Fellini Museum e la Cineteca comunale di Rimini.Si occupa della valorizzazione dell'archivio Fellini, della cura e dello sviluppo delle collezioni bibliografiche e audiovisive, nonché della progettazione di attività culturali dedicate al cinema.Coordina iniziative espositive e progetti di ricerca, promuovendo il dialogo tra patrimonio pubblico e comunità.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. 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 Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. 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 Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Hueck, Carsten www.deutschlandfunk.de, Büchermarkt

Sojitrawalla, Shirin www.deutschlandfunk.de, Büchermarkt

Lehmkuhl, Tobias www.deutschlandfunkkultur.de, Lesart

Lehmkuhl, Tobias www.deutschlandfunkkultur.de, Lesart

Lehmkuhl, Tobias www.deutschlandfunkkultur.de, Lesart

"La Decapitación de los Jefes" (en italiano: La decapitazione dei capi) es un relato satírico escrito por Italo Calvino en 1969. En él, plantea una sociedad utópica y absurda donde los gobernantes aceptan su propia ejecución (mediante decapitación) tras cumplir un periodo en el poder, funcionando como un ritual para evitar la perversión y la corrupción que genera la política. Música y Ambientación: Sociopaths - Lucas King Dementia - Lucas King Mix by JMT Blog del Podcast: https://lanebulosaeclectica.blogspot.com/ Twitter: @jomategu

For the second installment in our series on the three pieces of a book, we turn from beginnings to that more difficult territory: the middle. What happens in the middle of a book? Is it simply the space connecting a strong opening to a satisfying ending? In this episode we explore the experience of living inside a book: development, repetition, immersion, wandering, pressure, rhythm. This feels like the space where the book does its work. We discuss the middles of sprawling novels as well short stories, asking what middles do and why thinking about this has helped us become less reactive and more attentive readers.2026 Novella Book ClubWe have announced the four novellas we will be reading for The Mookse and Gripes Novella Book Club in 2026!* January: Daisy Miller, by Henry James* April: An Episode in the Life of a Landscape Painter, by César Aira* July: The Hour of the Star, by Clarice Lispector* September: Prelude, by Katherine MansfieldDiscussions will be hosted at The Mookse and the Gripes Discord (see below!).We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib Mahfouz* Episode 165: Annie Ernaux* Episode 175: Henry JamesThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just about to read the second novella book club book of 2026: An Episode in the Life of a Landscape Painter, by César Aira, translated by Chris Andrews. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.Shownotes* In Trees: An Exploration, by Robert Moor* On Trails: An Exploration, by Robert Moore* If This Be Magic: The Unlikely Art of Shakespeare in Translation, by Daniel Hahn* A General Theory of Oblivion, by José Eduardo Agualusa, translated by Daniel Hahn* Catching Fire: A Translation Diary, by Daniel Hahn* The Unconsoled, by Kazuo Ishiguro* 2666, by Roberto Bolaño, translated by Natasha Wimmer* In Search of Lost Time, by Marcel Proust* Middlemarch, by George Eliot* Lonesome Dove, by Larry McMurtry* First Love, by Ivan Turgenev* Giovanni's Room, by James Baldwin* The Prime of Miss Jean Brodie, by Muriel Spark* Daisy Miller, by Henry James* An Episode in the Life of a Landscape Painter, by César Aira, translated by Chris Andrews* Train Dreams, by Denis Johnson* Effingers, by Gabriele Tergit, translated by Sophie Duvernoy* To the Lighthouse, by Virginia Woolf* “A Good Man Is Hard to Find,” by Flannery O'Connor* Reinhardt's Garden, by Mark Haber* Lesser Ruins, by Mark Haber* Ada, by Mark Haber* Ducks, Newburyport, by Lucy Ellmann* Moby-Dick: or, The Whale, by Herman Melville* If on a winter's night a traveler, by Italo Calvino, translated by William Weaver* Pale Fire, by Vladimir Nabokov* Cloud Atlas, by David Mitchell* House of Leaves, by Mark Z. Danielewski* Audition, by Katie Kitamura* Transcription, by Ben Lerner* 2666, by Roberto Bolaño, translated by Natasha Wimmer* Like a Cat Loves a Bird: The Nine Lives of Muriel Spark, by James Bailey* Absalom, Absalom!, by William Faulkner* The Sound and the Fury, by William Faulkner* Light in August, by William Faulkner* As I Lay Dying, by William Faulkner* The Hour of the Star, by Clarice LispectorThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Send us Fan MailIn this episode, the storyteller, Kathy Shimpock, will read her version of the story, the Three Crones.  It's an Italian folktale that speaks of obsession, deception and gullibility. What will we do and what cost are we willing to bear for our own obsessions? This story offers up a warning.Story:  Created from: Italian Folktales by Italo Calvino (1956), Italian Popular Tales, by Thomas Frederick Cane (1885) and Andrew Lang's Pink Fairy Book (1897).  Illustration:  Pixaby.com.This podcast is licensed under Creative Commons: By Attribution 3.0 License.  http://creativecommons.org/licenses/by/3.0/. Copyright 2026 Kathy Shimpock.    Support the showFor more crone tales, visit the "Wise Crone Cottage in the Woods" (http://www.wisecronecottage.com).

Send us a message.Matt picks up a Cartier-Bresson book at the used bookstore and we read two passages from it — one on prowling the streets, one on primitivism and the hobbyist trap. The quotes pull us into a longer conversation about what it means to make work outside commercial pressure, and whether the thrill of hunting for things to sell has become a structural parallel to street photography: the finding, the deciding, the sharing. We don't fully settle it, but the overlap is hard to ignore.From there we move through John Ruskin's definition of great art — the greatest number of greatest ideas, received by the highest faculties — and Alex reads a passage from Swann's Way, the moment where music briefly restores Swan's belief that there's something worth devoting a life toward. We've talked around definitions of art on this show before, and this episode probably gets us closest to something we can actually use.The last third of the episode centers on an Italo Calvino essay called "The Written City: Inscriptions and Graffiti," written in 1980, which frames words on walls — whether graffiti, political signs, or advertising — as a form of aggression imposed on anyone who happens to walk by. We spend some time with the idea and push on it: what it exempts, where we agree, where it gets complicated, and what it says about the visual state of things fifty years later. -AiSupport the show If you enjoyed this episode, please consider giving us a rating and/or a review. We appreciate and try to read all of them. Thanks for listening, and we'll see you in the next episode. Links To Everything: Video Version of The Podcast: https://geni.us/StudioSessionsYT Matt's YouTube Channel: https://geni.us/MatthewOBrienYT Matt's 2nd Channel: https://geni.us/PhotoVideosYT Alex's YouTube Channel: https://geni.us/AlexCarterYT Matt's Instagram: https://geni.us/MatthewIG Alex's Instagram: https://geni.us/AlexIG 

Avant la soirée Wet for Me, avant le Pulp, le repaire des lesbiennes parisiennes dans les années 80 s'appelait le Katmandou et se trouvait dans le 6ème arrondissement Rue du Vieux-Colombier. Anne F. Garréta, étudiantes en lettres, y passe ses nuits. À l'époque on ne parlait pas de club, même pas de DJ, on disait plus volontiers disquaire, et la nuit beaucoup moins safe qu'aujourd'hui, était aussi plus romanesque. Un jour de l'été 1982, une des disquaires du Katmandou, Momo, propose à Anne Garréta de la remplacer aux platines. C'est une révélation pour la future écrivaine qui saisit l'occasion de poursuivre sa passion pour la musique mais aussi pour la technologie. Anne Garréta a fini ses études, diplômée d'une grande école, et si elle vit entre la France et les États-Unis, elle n'a jamais abandonné totalement les platines. En 1986, elle publie Sphynx, premier de la littérature française avec une personnage de DJ. Cet hiver, elle a sorti, DJ, portrait de l'artiste en animale nocturne, où elle revient sur ses années de disquaire. Inventaire des lieux interlopes de la capitale, galerie de portrait fascinante, plongée dans la musique des années 80 et goût immodéré pour la lecture de notices techniques pas encore générées par l'intelligence artificielle. Anne F. Garréta a obtenu le Prix Medicis en 2002 pour son livre Pas un jour, elle est aussi membre de l'Oulipo, l'Ouvroir de littérature potentielle créé par Raymond Queneau dont se réclament aussi Georges Perec et Italo Calvino. D'ailleurs, dans son dernier ouvrage, elle écrit : « Toute DJ est dadaïste, à son insu ou à son corps défendant. » Aujourd'hui, dans Place des Fêtes, une heure sur le dancefloor du Katmandou avec Anne F. Garréta. Dans DJ, portrait de l'artiste en animale nocture, comme dans tout roman musical qui se respecte, on trouve à la fin une playlist dans laquelle nous avons pioché pour la playlist du jour.

In this episode of the Vault, we revisit the Italian writer Italo Calvino's James Lecture, presented at the New York Institute for the Humanities on March 30, 1983. Italo Calvino was one of the most inventive and widely read Italian authors of the twentieth century. Born in Cuba in 1923 and raised in San Remo, Italy, he began his literary career as a journalist and fiction writer after World War II, publishing his debut novel, The Path to the Nest of Spiders, in 1947. He went on to write some of the most formally original works in postwar literature, including Our Ancestors, Cosmicomics, Invisible Cities, and If on a winter's night a traveler. His work moved fluidly between realism, fantasy, and structural experimentation, earning him a reputation as one of the foremost practitioners of what would come to be called postmodern fiction. He died in 1985, in Siena, Italy. In this lecture, later published as “The Written and the Unwritten Word” in the New York Review of Books, Calvino reflects on writing, reading and what it means to live between the written world and the material world. He is introduced by NYIH fellow Susan Sontag. 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

In this episode of the Vault, we revisit the Italian writer Italo Calvino's James Lecture, presented at the New York Institute for the Humanities on March 30, 1983. Italo Calvino was one of the most inventive and widely read Italian authors of the twentieth century. Born in Cuba in 1923 and raised in San Remo, Italy, he began his literary career as a journalist and fiction writer after World War II, publishing his debut novel, The Path to the Nest of Spiders, in 1947. He went on to write some of the most formally original works in postwar literature, including Our Ancestors, Cosmicomics, Invisible Cities, and If on a winter's night a traveler. His work moved fluidly between realism, fantasy, and structural experimentation, earning him a reputation as one of the foremost practitioners of what would come to be called postmodern fiction. He died in 1985, in Siena, Italy. In this lecture, later published as “The Written and the Unwritten Word” in the New York Review of Books, Calvino reflects on writing, reading and what it means to live between the written world and the material world. He is introduced by NYIH fellow Susan Sontag. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of the Vault, we revisit the Italian writer Italo Calvino's James Lecture, presented at the New York Institute for the Humanities on March 30, 1983. Italo Calvino was one of the most inventive and widely read Italian authors of the twentieth century. Born in Cuba in 1923 and raised in San Remo, Italy, he began his literary career as a journalist and fiction writer after World War II, publishing his debut novel, The Path to the Nest of Spiders, in 1947. He went on to write some of the most formally original works in postwar literature, including Our Ancestors, Cosmicomics, Invisible Cities, and If on a winter's night a traveler. His work moved fluidly between realism, fantasy, and structural experimentation, earning him a reputation as one of the foremost practitioners of what would come to be called postmodern fiction. He died in 1985, in Siena, Italy. In this lecture, later published as “The Written and the Unwritten Word” in the New York Review of Books, Calvino reflects on writing, reading and what it means to live between the written world and the material world. He is introduced by NYIH fellow Susan Sontag. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

In this episode of the Vault, we revisit the Italian writer Italo Calvino's James Lecture, presented at the New York Institute for the Humanities on March 30, 1983. Italo Calvino was one of the most inventive and widely read Italian authors of the twentieth century. Born in Cuba in 1923 and raised in San Remo, Italy, he began his literary career as a journalist and fiction writer after World War II, publishing his debut novel, The Path to the Nest of Spiders, in 1947. He went on to write some of the most formally original works in postwar literature, including Our Ancestors, Cosmicomics, Invisible Cities, and If on a winter's night a traveler. His work moved fluidly between realism, fantasy, and structural experimentation, earning him a reputation as one of the foremost practitioners of what would come to be called postmodern fiction. He died in 1985, in Siena, Italy. In this lecture, later published as “The Written and the Unwritten Word” in the New York Review of Books, Calvino reflects on writing, reading and what it means to live between the written world and the material world. He is introduced by NYIH fellow Susan Sontag. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Un livre, Un lecteur, émission présentée par Florence Berthout. Elle reçoit Florence Kutten qui parlera du livre « Chevalier inexistant » d'Italo Calvino À propos du livre : « Chevalier inexistant » paru aux éditions GALLIMARD Sous les remparts de Paris, Charlemagne passe en revue les troupes de l'armée de France. Alignés, les paladins attendent d'être examinés par l'empereur. À chaque interrogation, ils soulèvent leur heaume pour répondre. Mais lorsque Charlemagne s'approche du chevalier Agilulf Edme Bertrandinet des Guildivernes, il découvre avec surprise que sous l'armure blanche au plumail iridescent, il n'y a personne. Le chevalier n'existe pas. Dépourvu de corps, certes, mais débordant de principes inamovibles ; tout l'inverse de son écuyer Gourdoulou, dont le corps est bien réel, mais l'esprit qui l'anime complètement dénué de conscience. Entre ces deux pôles opposés, d'autres personnages se cherchent et s'enfuient : Raimbault, jeune intrépide ; Bradamante, fière amazone ; Torrismond, douteur inquiet. Tous en proie au même questionnement et au même conflit concernant le sens de l'existence. Paru en 1959, Le chevalier inexistant clôt - du moins dans l'ordre de parution - le cycle Nos ancêtres, qui comprend également Le vicomte pourfendu et Le baron perché. Dans une note introductive à la trilogie regroupée par l'auteur en 1960, Calvino nous apprend que ce roman peut occuper tant la première que la dernière place du cycle, servir tant d'introduction que d'épilogue. Cela est compréhensible dans la mesure où Le chevalier inexistant aborde la question de la réalisation humaine soulevée par la trilogie à travers un problème qui n'est pas seulement d'ordre existentiel mais aussi d'ordre métaphysique : que signifie être ? Italo Calvino est né en 1923 à Santiago de Las Vegas (Cuba) et mort à Sienne en 1985. Il est unanimement considéré par la critique et les lecteurs comme un des auteurs les plus originaux de la littérature italienne du XXe siècle. Parmi ses livres les plus célèbres, on mentionne Marcovaldo, Les villes invisibles et Si une nuit d'hiver un voyageur.

In questa puntata di Shelf. Il posto dei libri Alessandro Barbaglia, Marco Ballarè, Eleonora C. Caruso e Petunia Ollister animano la puntata alla scoperta delle parole che bollono, partendo da Italo Calvino, del dating, insieme al libro di Claudia Valeriani con il romanzo Niente di serio, ma vediamo e due audiolibri.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

Ya en el aire el trigésimo sexto episodio de Cierra al libro al salir, el de los camboyanos invisibles. Puedes escucharlo en las siguientes plataformas: Anchor: https://is.gd/2NtWpC Ivoox: https://is.gd/N7ZRLF Google: https://is.gd/QPSxqF Spotify: https://is.gd/HgJODw Apple: https://is.gd/ronrw0 Spreaker: https://is.gd/tcF9JV Youtube: https://is.gd/lIEI9e Minuto 0. Presentaciones. Minuto 4:00. Hablamos de frases malas y camboyanos habladores. Minuto 22. Ana y Fernando hablan del libro 13 cuentos, de Luisa Carnés. Minuto 55. Entrevistamos a destiempo a Italo Calvino, autor de Las ciudades invisibles. Minuto 1h:04. Reseña borgiana: Ana nos comenta, sin leerlo, los Cuentos amazónicos, de Roberto Piedrahita. Minuto 1h:13. Fernando nos cuenta un oído por ahí acerca del libro como refugio. Minuto 1h:17. Despedida y cierre. Puedes comprar los libros de los que te hablamos donde te apetezca, pero nosotros te sugerimos que lo hagas a través de una pequeña librería y que te dejes aconsejar por los libreros. La sintonía del programa es de Charles Matuschewski y el logo del programa de Ana Nuria Corral. Las cortinillas animadas son de Jara Vicente. La traducción sincronizada de Elvira Barrio Cualquier sugerencia o crítica, incluso malintencionada, la podéis enviar a hola@cierraellibroalsalir.com. Búscanos en facebook (sobre todo), o en twitter o en instagram o en youtube, prometemos contestar lo antes posible. Esto es todo por hoy. Dentro de un mes, otro episodio. ¡No te olvides! Cierra el libro al salir

Mr Nobody against Putin di Pavel Talankin e David Borenstein è un documentario sulla propaganda militare russa nelle scuole che quest'anno ha vinto il premio Oscar. Il film Un anno di scuola di Laura Samani parla di una ragazza svedese che si trasferisce in Italia con la famiglia nel 2007 e si ritrova in una classe unicamente maschile. Al museo di Ca' Pesaro, a Venezia, una retrospettiva ricostruisce la carriera di una delle esponenti più famose della Young british art degli anni Novanta: Jenny Saville. L'autrice Silvia Vecchini, insieme all'illustratore Sualzo, ha realizzato una graphic novel intitolata Del buio non ho paura: la storia di un ragazzo che ha un nodo esistenziale da sciogliere. CONAndrea Pipino, editor di Europa orientale di InternazionaleMaria Sole Colombo, critica cinematograficaLeonardo Merlini, giornalista di Aska news Silvia Vecchini, scrittriceProduzione di Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Mr Nobody against Putin: https://www.youtube.com/watch?v=pd2NuCDqlRI Un anno di scuola: https://www.youtube.com/watch?v=m5i0wGMyeFw Jenny Saville: https://www.youtube.com/watch?v=i1Ga4TSriuw&t=82s Del buio non ho paura: https://www.raiplay.it/video/2023/09/Italo-Calvino-nella-foresta-del-racconto---Necessita-della-fiaba-7b019e33-73bd-4181-ab38-5f2e9f9196b8.htmlCi piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

In this episode, we begin a three-part series on the movements of a novel, starting with the opening. Not just the first line or even the first chapter, but that early stretch where a book begins to take shape, sets the tone, introduces its concerns, and makes its promises to the reader.What do we look for in an opening movement? What helps us trust a book? And how do great openings draw us in? We talk about some of our favorite examples and consider how novels teach us how to read them from the very start.2026 Novella Book ClubWe have announced the four novellas we will be reading for The Mookse and Gripes Novella Book Club in 2026!* January: Daisy Miller, by Henry James* April: An Episode in the Life of a Landscape Painter, by César Aira* July: The Hour of the Star, by Clarice Lispector* September: Prelude, by Katherine MansfieldDiscussions will be hosted at The Mookse and the Gripes Discord (see below!).We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib Mahfouz* Episode 165: Annie Ernaux* Episode 175: Henry JamesThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just about to read the second novella book club book of 2026: An Episode in the Life of a Landscape Painter, by César Aira, translated by Chris Andrews. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.ShownotesWhat are we reading?* Paul: My Friends, by Hisham Matar* Trevor: The Witch, by Marie NDiaye, translated by Jordan StumpOther books mentioned:* A Month in Sienna, by Hisham Matar* Rosie Carp, by Marie NDiaye, translated by Tamsin Black* All My Friends, by Marie NDiaye, translated by Jordan Stump* Self-Portrait in Green, by Marie NDiaye, translated by Jordan Stump* My Heart Hemmed In, by Marie NDiaye, translated by Jordan Stump* Ladivine, by Marie NDiaye, translated by Jordan Stump* The Cheffe: A Cook's Novel, by Marie NDiaye, translated by Jordan Stump* Vengeance Is Mine, by Marie NDiaye, translated by Jordan Stump* Three Strong Women, by Marie NDiaye, translated by John Fletcher* Finnegans Wake, by James Joyce* Paradise Lost, by John Milton* The Divine Comedy, by Dante* If on a winter's night a traveler . . ., by Italo Calvino, translated by William Weaver* David Copperfield, by Charles Dickens* Austerlitz, by W.G. Sebald, translated by Anthea Bell* Piranesi, by Susanna Clarke* Villette, by Charlotte Bronte* The Portrait of a Lady, by Henry James* Great Expectations, by Charles Dickens* The Outsider, by Stephen King* Pedro Páramo, by Juan Rulfo* Don Quixote, by Miguel Cervantes* The Unconsoled, by Kazuo Ishiguro* The Magic Mountain, by Thomas Mann* The Comforters, by Muriel Spark* Memento Mori, by Muriel Spark* The Ballad of Peckham Rye, by Muriel Spark* An Episode in the Life of a Landscape Painter, by César Aira, translated by Chris Andrews* The Literary Conference, by César Aira, translated by Chris Andrews* The Namesake, by Jhumpa Lahiri* The Sound and the Fury, by William Faulkner* Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration, by Ed CatmullThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Antonio Martínez Asensio ha decidido innovar y trae a la sala de lectura de tres minutos de 'La Biblioteca' de 'Hoy por Hoy' una nueva novela: 'El barón rampante', de Italo Calvino.

Gast: Linda Pennings, vertaler en universitair docent Italiaanse Letterkunde en Italië Studies . In deze aflevering* is Springvossen te gast in het Allard Pierson. Robert van Altena spreekt daar met Linda Pennings over Zes memo's voor het volgende millennium van Italo Calvino. Naast Zes memo's heeft uitgeverij Atlas Contact nog enkele boeken van Calvino opnieuw uitgebracht, zowel beschouwend proza als romans. . *Dit gesprek werd eerder uitgezonden op 22 april 2025 . Foto: Italo Calvino op de fiets (“come colui che leggerissimo era”) in Versilia (Italië) op 1 januari 1970 (fotograaf onbekend). (Bron: Wikicommons) . SPRINGVOSSEN
 Redactie + presentatie: Robert van Altena
 Contact: springvossen[at]gmail.com
  linktr.ee/springvossen www.amsterdamfm.nl/programma/springvossen

Se llamaba Esther Benítez. Nos tradujo a Italo Calvino, a Cesare Pavese, a Bocaccio, a Camus. Fue pionera en la defensa de los derechos laborales de una profesión invisible la mayoría de las veces por esencia y por vocación. Esther Benítez se ha convertido en la primera traductora en tener un espacio propio en la Caja de las Letras del Instituto Cervantes junto a otros intelectuales, escritores y nombres fundamentales para nuestra cultura. Recordamos su trabajo y su importancia. Hablamos con Amaya García presidenta de ACE Traductores y con Alicia Martorell, última ganadora del Premio de traducción creado hace veinte años en honor de Esther. Escuchar audio

Sinema yazarı ve çevirmen Fatma Cihan Akkartal ve yazar Hakan Bıçakcı ile Gece Vardiyası, ayda 2 defa Pazartesi akşamları karşınızda... 

Moderner Klassiker aus Italien. Fantasiereich, witzig und melancholisch entfaltet Italo Calvino in seinem Roman aus dem Jahre 1957 einen Raum der Wunder, wie ihn nur die Literatur erfinden kann. Ein abenteuerlicher Fall von Eskapismus und poetischem Protest in Zeiten des gesellschaftlichen Umbruchs. Wer das Hörspiel am Radio hören will:  Freitag, 20.02.2026, 20.00 Uhr, Radio SRF 1 (Teil 1) Am 15. Juni 1767 beschliesst der zwölfjährige Baron Cosimo Piovasco di Rondò, das dekadente Milieu seiner aristokratischen Familie zu verlassen, um fortan auf den Bäumen zu leben. Er erhebt sich von der Familientafel, klettert auf eine Steineiche und wird bis zu seinem Tod die Erde nicht mehr betreten. Cosimo baut sich in den Baumkronen eine eigene Welt auf: Er isst und schläft, wächst und entwickelt sich, er lernt und arbeitet, liest und kommuniziert, ohne jemals den Boden zu berühren. Er unternimmt sogar Reisen durchs Land, entlang von Alleen, und nimmt an gesellschaftlichen und politischen Ereignissen teil. Sein Dasein auf den Bäumen wird zum Symbol der Freiheit und des Widerstands gegen Konventionen und Zwänge. Im Laufe seines Lebens begegnet Cosimo vielen Menschen, auch berühmten Persönlichkeiten wie Voltaire und Napoleon. Und er verliebt sich in die geheimnisvolle Viola. Die Hörspielbearbeitung des Schauspielers Wolfgang Stendar (1929–2017), der auch die Hauptrolle spricht, entstand 1968 im Radiostudio Zürich. Es ist ein Fundstück aus dem SRF-Archiv und wurde letztmals 1985 gesendet. ___________________ Mit: Gert Westphal (Erzähler/Biagio), Wolfgang Stendar (Cosimo), Jöns Andersson (Baron), Valerie Steinmann (Baronin), Gisela Zoch (Viola), Eva Wächter (Violas Tante), Guido von Salis (Graf von Estomac), Willy Birgel (Don Federico), Verena Muntwyler (Ursula), Jacques Musso (Voltaire), Alex Freihart (Napoleon), Renate Reger und Karen Meffert (Frauenstimmen) ____________________ Übersetzung: Oswalt von Nostitz – Hörspielbearbeitung: Wolfgang Stendar – Musik: Emil Moser – Regie: Hans Jedlitschka ____________________ Produktion: SRF 1968 ____________________ Gesamtdauer: 93' (Teil 1: 51'; Teil 2: 42')

Già nel 1977 Italo Calvino riteneva che Thomas Bernhard (9 febbraio 1931 - 12 febbraio 1989) avesse «la statura da Nobel», ma contrariamente ai connazionali e coevi Elfriede Jelinek e Peter Handke, l'autore austriaco non ottenne il prestigioso riconoscimento. Nonostante ciò oggi è uno dei più apprezzati romanzieri e drammaturghi europei. E sebbene in vita fosse stato sia motore sia vittima di scandali mediatici mai visti prima in Austria, oggi è più che celebrato anche in patria.Con l'aiuto di studiosi e conoscitori della biografia e dell'opera di Bernhard, da Bernhard Fetz (direttore del Museo della Letteratura di Vienna e del Literaturarchiv della Biblioteca Nazionale Austriaca) a Norbert Christian Wolf (direttore della Thomas Bernhard Forschungsstelle), da Juliane Werner (ricercatrice della Thomas Bernhard Forschungsstelle e presidente della Internationale Thomas Bernhard Gesellschaft), a Jeroen Versteele (Dramaturg del Burgtheater), Flavia Foradini si è messa sulle sue tracce, per sondare il suo contrastato rapporto con Vienna, e per fare il punto sulle ricerche in atto e su quelle programmate per il prossimo futuro attorno a questo scrittore prolifico e quanto mai caustico, segnato per quasi tutta la sua vita dalla malattia.

Già nel 1977 Italo Calvino riteneva che Thomas Bernhard (9 febbraio 1931 - 12 febbraio 1989) avesse «la statura da Nobel», ma contrariamente ai connazionali e coevi Elfriede Jelinek e Peter Handke, l'autore austriaco non ottenne il prestigioso riconoscimento. Nonostante ciò oggi è uno dei più apprezzati romanzieri e drammaturghi europei. E sebbene in vita fosse stato sia motore sia vittima di scandali mediatici mai visti prima in Austria, oggi è più che celebrato anche in patria.Con l'aiuto di studiosi e conoscitori della biografia e dell'opera di Bernhard, da Bernhard Fetz (direttore del Museo della Letteratura di Vienna e del Literaturarchiv della Biblioteca Nazionale Austriaca) a Norbert Christian Wolf (direttore della Thomas Bernhard Forschungsstelle), da Juliane Werner (ricercatrice della Thomas Bernhard Forschungsstelle e presidente della Internationale Thomas Bernhard Gesellschaft), a Jeroen Versteele (Dramaturg del Burgtheater), Flavia Foradini si è messa sulle sue tracce, per sondare il suo contrastato rapporto con Vienna, e per fare il punto sulle ricerche in atto e su quelle programmate per il prossimo futuro attorno a questo scrittore prolifico e quanto mai caustico, segnato per quasi tutta la sua vita dalla malattia.

Flavio Soriga"Sardinia noir"Tre casi per Martino CrissantiBompiani Editorewww.bompiani.itMartino Crissanti è un carabiniere antropologo che non ha fretta di dire la sua, che non ama le certezze, che non è sicuro di nulla e conosce il valore del dubbio. Eppure indaga, chiede, cerca – quando la professoressa Marta Deiana, bella e disinibita, i capelli rossi tagliati corti e gli occhi di caffè forte, viene trovata morta; o quando il cadavere di una donna appartenente a una delle famiglie più importanti della città viene scoperto in una cabina sulla spiaggia; ma anche quando la segnalazione del ritrovamento di un'escavatrice rubata accende in lui il sospetto che dietro un reato così semplice si possa celare una trama molto più violenta. Questo volume comprende i due romanzi di Flavio Soriga dedicati a Martino Crissanti, Neropioggia e Metropolis, insieme all'inedito Kalashnikov.Flavio Soriga, è nato a Uta, in provincia di Cagliari. A venticinque anni ha vinto, con il romanzo d'esordio I diavoli di Nuraiò, il premio Italo Calvino per inediti. Tutti i suoi romanzi sono pubblicati da Bompiani.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

My guest in this week's Book Club is Joanna Kavenna, who talks about her witty, philosophically riddling new novel Seven: Or, How To Play A Game Without Rules. She tells me about taking her bearings from Italo Calvino, making up a board game and then being the world's worst player at it, how AI challenges our sense of ourselves – and how Morten Harket found his way into her fiction. Hosted on Acast. See acast.com/privacy for more information.

My guest in this week's Book Club is Joanna Kavenna, who talks about her witty, philosophically riddling new novel Seven: Or, How To Play A Game Without Rules. She tells me about taking her bearings from Italo Calvino, making up a board game and then being the world's worst player at it, how AI challenges our sense of ourselves – and how Morten Harket found his way into her fiction.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcastsContact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

Francesca Pilato"Incantamenti"Castelvecchi Editorewww.castelvecchieditore.comPartenope non incanta più con il suo canto mortale: è divenuta testimone silenziosa, musa segreta, voce narrante. Dalle acque del Golfo di Napoli, osserva il passaggio degli artisti, li accompagna, li protegge, li ascolta. In Incantamenti, Francesca Pilato immagina sei incontri fuori dal tempo tra poeti, filosofi, musicisti e narratori, in un affresco narrativo che intreccia storia e invenzione, sogno e memoria, in un canto fluido e cangiante come il mare. Con una scrittura che evoca le grandi narrazioni liriche e mitiche, queste pagine celebrano Napoli come luogo dell'anima e della creazione, patria immaginaria di chi ha il coraggio di affidarsi all'arte, alla parola, alla musica. Un libro che è omaggio alla bellezza, all'identità e al mistero del gesto artistico.Francesca Pilato, torinese di origini siciliane, è autrice di tre monografie (Verga, Montale, Gadda, pubblicate per Carocci nel 2011) e di numerosi saggi apparsi su riviste italiane e internazionali. Ha curato edizioni di Leopardi, Ortese, Savinio e Jaeggy. La sua prima raccolta di racconti, Debussienne (tradotta in francese per l'Harmattan, 2018), dal 2022 è inclusa nella collana Echi di Musica di Florestano Edizioni. Per lo stesso editore, nel 2023 ha pubblicato il romanzo Il colore turchino, finalista al premio Italo Calvino.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Mauro Francesco Minervino"Le strade, la vita"Storie, luoghi, antropologieScholéwww.morcelliana.netLa strada, spazio fondativo dell'esperienza umana e luogo materiale e simbolico, è analizzata in queste pagine come un grande dispositivo di relazione e di spaesamento, intrecciando diverse prospettive. Innanzitutto la storia: dalle vie dell'antichità alle autostrade della modernità, dai cammini dei pellegrini alle rotte digitali. Poi, il confronto con autori come Jack Kerouac, Jorge Luis Borges, Elsa Morante, Pier Vittorio Tondelli, James G. Ballard, Albert Camus, Italo Calvino e con capolavori del cinema come La strada di Federico Fellini e Il sorpasso di Dino Risi permette di comprendere le trasformazioni e le tensioni legate alla mobilità nella contemporaneità.Infine, seguendo la traccia del pensiero di Marc Augé e degli studi dedicati alla strada in ambito etnografico e antropologico, questo libro – anche grazie alla originale impostazione che abbina il rigore scientifico del saggio all'attenzione al racconto e al dettaglio narrativo – propone una rilettura critica e inedita della strada nell'epoca della postmodernità e delle sue complesse implicazioni culturali, esistenziali e sociali.«Con sempre maggiore invadenza materiale e discorsiva, con altrettanta crescente ridondanza tecnologica e digitale, la presenza della strada si impone oggi inarrestabilmente nelle nostre esistenze individuali e collettive. E ciò accade ben oltre le pretese di dominio, separazione e controllo imposte artificialmente da muri e confini, reali o immaginari».Mauro Francesco Minervino è professore di Antropologia Culturale, Etnologia, Sociologia dei Nuovi Media presso le Accademie di Belle Arti di Catanzaro e Bari. Tra le sue pubblicazioni: In fondo a Sud (Philobiblon, 2005, con prefazione di Marc Augé); Statale 18 (Fandango, 2010); Stradario di uno spaesato (Melville, 2016). Ha tradotto e curato il volume di George Gissing, Verso il Mar Ionio. Il Sud di un vittoriano (Exòrma, 2023). Nel 2014 gli è stato conferito il Premio Internazionale di Filosofia Karl-Otto Apel. È autore di programmi RAI e collaboratore ed editorialista del «Corriere della Sera».Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Spekülatif'in bu bölümünde Emre Dündar, aydın nedir, entelektüel nedir, entel ne demek soruları üzerinden Türkiye'de aydın–entelektüel tartışmasının tarihsel kırılmalarını ele alıyor. Türkiye'de aydın, entelektüel ve “entel” kavramları nasıl birbirine karıştı? Dündar, “entel” kavramının popüler kültürle nasıl zehirli bir etikete dönüştüğünü, aydın ve entelektüel figürlerin neden itibarsızlaştırıldığını ve günümüz düşünce krizinin kültürel arka planını tartışıyor. Cemil Meriç ve Peyami Safa'dan Sartre, Foucault, Umberto Eco ve Italo Calvino'ya uzanan referanslarla, entelektüel kimliğin tarihsel rolü, popüler kültürün ve dijital çağın düşünce üretimini nasıl dönüştürdüğünü tartışıyor. Learn more about your ad choices. Visit megaphone.fm/adchoices

Giovanni Pannacci"A domani, ragazzi"Fernandel Editorewww.fernandel.itAl liceo Italo Calvino sei ragazzi si affacciano all'ultimo anno di scuola, tra interrogazioni, amori, amicizie complicate e voglia di cambiamento. Elias, Lisa, Gemma, Matei, Paula e Javier non potrebbero essere più diversi, ma condividono una stessa esigenza: quella di essere ascoltati.Quando la nuova preside impone una visione autoritaria della scuola, gli studenti reagiscono inscenando una performance corale che unisce linguaggi artistici, citazioni letterarie e creatività. La loro ribellione pacifica e creativa finisce online e diventa virale.Dietro i riflettori della protesta, però, restano i corpi e le emozioni: amicizie che si consolidano, amori che nascono, ferite personali che chiedono di essere curate. Mentre gli adulti si dividono tra chi condanna e chi incoraggia, i protagonisti imparano che ogni rivoluzione ha un prezzo. E che la libertà non è una conquista definitiva, ma un esercizio quotidiano che si costruisce insieme.Giovanni Pannacci dà voce a un romanzo corale capace di raccontare l'adolescenza di oggi: fragile e combattiva, ironica e profonda. A domani, ragazzi è un romanzo di formazione che parla di scuola, di educazione e di crescita, ma è anche un libro che offre agli insegnanti spunti didattici e percorsi interdisciplinari da portare direttamente in classe.(Copertina di Stefano Bonazzi)Giovanni Pannacci vive a Rimini, dove insegna filosofia e storia in un liceo. In passato è stato conduttore radiofonico e ha scritto per il teatro, la pubblicità e il web. Come autore ha esordito nel 2012 con il romanzo La canzone del bambino scomparso (Perrone). Per Fernandel ha pubblicato i romanzi L'ultima menzogna (2016), La donna che vedi (2019) e Noi siamo qui (2021), di cui A domani, ragazzi rappresenta l'ideale continuazione.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

In Cyborg Fever, acclaimed writer Laurie Sheck brings us a probing and lyrical philosophical fiction in the spirit of Umberto Eco, Italo Calvino, and Donna Haraway's Cyborg Manifesto that enacts an incisive and moving exploration into what it means to be human in the age of AI and increasing transhumanism.Throughout Cyborg Fever, many strange, surprising facts appear: an artist clones a flower from his DNA and the DNA of a petunia, an astronaut is playing golf on the moon, a mathematician on a rest cure rethinks the life of Shakespeare, and particles and antiparticles collide at lightning speed beneath the green hills of Switzerland and France. Threaded throughout, one question lingers: in this age of AI and genetic engineering, how can we come to know more fully what it means to love and be human among the wonders and destructions we have wrought on Earth?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

fotos de Curaçao: https://www.flickr.com/photos/renedepaula/albums/72157709553344952/with/54971305293 Palomar (Italo Calvino) https://a.co/d/hOwMqXH Deadly prehistoric snakes the length of a bus, 7 tonne crocodiles and supersized penguins almost 2 metres high – 11 animals that used to be bigger https://www.discoverwildlife.com/prehistoric-life/animals-that-used-to-be-bigger Bees ‘infect' each other with optimism that spreads through the colony https://newatlas.com/biology/positivity-spread-bumble-bees/ The Genius Spiders Changing How We Think About Brains https://youtu.be/lwPryksCmIo?si=nNsDpj9gHJT1oRSb A expressão das emoções no homem e nos animais https://a.co/d/8T74xzw Are Animals Religious? https://youtu.be/irZt_Je-F70?si=2xy8TWWI-nsyHVs9 canal do radinho no telegram: http://t.me/radinhodepilha meu perfil no Threads: https://www.threads.net/@renedepaulajr meu perfil no BlueSky https://bsky.app/profile/renedepaula.bsky.social meu twitter http://twitter.com/renedepaula aqui está o link para a caneca no Colab55: https://www.colab55.com/@rene/mugs/caneca-rarissima para xs raríssimxs internacionais, aqui está nossa caneca no Zazzle: https://www.zazzle.com/radinhos_anniversary_mug-168129613992374138 minha lojinha no Colab55 (posters, camisetas, adesivos, sacolas): http://bit.ly/renecolab meu livro novo na lojinha! blue notes https://www.ko-fi.com/s/550d7d5e22 meu livro solo https://www.ko-fi.com/s/0f990d61c7 o adesivo do radinho!!! http://bit.ly/rarissimos minha lojinha no ko-fi: https://ko-fi.com/renedepaula/shopmuito obrigado pelos cafés!!! http://ko-fi.com/renedepaula The post animais têm religiosidade? abelhas otimistas e contagiantes! viva Italo Calvino! appeared first on radinho de pilha.

This week we went to see 8 Hours of Work at the Wattis. We had to infiltrate, take an elevator, and take in about 900 hours of video. We both get emotional in different ways. We also appreciate Julia Bryan-Wilson and Italo Calvino.The music in this episode is by Tommy GuerreroCCA Wattis Institute Hosted on Acast. See acast.com/privacy for more information.

Luigi Tassoni, Milly Curcio, Monica Fekete"Raccontare Calvino"Rubbettino Editorewww.rubbettinoeditore.it«Ciò che conta per noi nell'opera letteraria è la possibilità di continuare a sfogliarla come un carciofo infinito, scoprendo dimensioni di lettura sempre nuove»Italo Calvino ci ha ricordato il supremo piacere della letteratura, capace di relazionarsi a universi altri, e portare la mente del lettore sempre un po' più in là del prevedibile. Raccontare Calvino vuol dire guardare le cose con occhio curioso, disinibito e coinvolto, e contemporaneamente con semplicità, accuratezza e profonda attenzione. Il meno che si possa fare per raccontare Calvino è tentare di restituire ai lettori il senso di queste qualità dello scrittore. In ciò sono certamente riusciti i 14 autori del volume, impegnati in discipline diverse e provenienti da Paesi diversi, accettando la sfida e dando vita a un dialogo vivace, innovativo e, appunto, multidisciplinare. I capitoli di Raccontare Calvino sono opera di Gian Mario Anselmi, Gian Italo Bischi, Corrado Bologna, Liliana Curcio, Milly Curcio, Oana Boşca-Mălin, Delia Morar, Giovanni Darconza, Monica Fekete, Jíři Pelán, Eszter Rónaky, Alberto Russo Previtali, Sara Svolacchia, Luigi Tassoni.Luigi TassoniCritico e semiologo, è professore ordinario di Letteratura italiana e di Semiotica all'Università di Pécs, dove ha diretto l'Istituto di Romanistica, e dal 1994 al 2021 il Dipartimento di Italianistica. È membro dell'Accademia ungherese delle Scienze, e di altre Istituzioni internazionali. Del suo intenso lavoro saggistico, in più lingue, ricordiamo i libri recenti: Il viaggiatore visibile. Come leggere i romanzi (Carocci, 2008), I silenzi di Dante (Pàtron, 2016), L'immagine del pensiero da Agostino a Derrida (Mimesis, 2017), Le meraviglie di Sinisgalli (Fondazione Leonardo Sinisgalli, 2019), Il gioco infinito della poesia. Lettura dei contemporanei da Ungaretti a De Angelis (Giulio Perrone editore, 2021), Leonardo Sciascia. Confessioni di un investigatore (con M. Curcio; Rubbettino, 2023). Autore inoltre di due volumi sull'arte di Mattia Preti, di cui è uno dei maggiori esperti, dirige i Seminari internazionali interdisciplinari di Pécs, e firma la fortunata trasmissione Leggìo a Radio Capodistria.Milly CurcioCritico e storico della letteratura, autrice di numerosi studi sulla letteratura europea contemporanea, ha curato alcuni fondamentali volumi: La fortuna del racconto in Europa (Carocci, 2012), Le forme della brevità (FrancoAngeli, 2014), M. La Cava-L-Sciascia, Lettere dal centro del mondo (Rubbettino, 2012), I fantasmi di Camilleri (L'Harmattan, 2017), Il romanzo italiano contemporaneo 1950-2021 (Presa Universitară Clujeana, 2021), Leonardo Sciascia. Confessioni di un investigatore (con L. Tassoni; Rubbettino, 2023).Monica FeketeItalianista, è autrice di saggi sulla letteratura italiana fra Medioevo e Rinascimento e sulla narrativa novecentesca.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

This week on Crack the Book, we move from Rousseau's Social Contract to his Confessions, and let's just say my opinion hasn't improved. Before we get to the books, I share some strategies for getting through a book you don't like (because I needed to take my own advice this week). Then we move on to our two books for the week.In Confession's Book One, Rousseau recounts his early life with all the self-importance of a man convinced he's unlike anyone else who's ever lived. Between tragic beginnings, cruel masters, and an overshare about his youthful “discipline” preferences, I found little humility and even less personal growth. Rousseau insists his passions still rule him—no maturity, not even irony, just Rousseau being Rousseau.Thank goodness we had Voltaire's Candide, a complete tonal shift. This whirlwind satire—part travelogue, part absurdist adventure—follows Candide and his companions through war, earthquakes, El Dorado, and endless misfortune. Yet beneath the chaos lies a sharp moral insight: life's purpose isn't in grand philosophies or endless striving, but in the quiet wisdom to “cultivate our own garden.” The cinematic pacing (that Italo Calvino helpfully points out) is an interesting development, too.Preachy Rousseau and playful Voltaire were a great combination, and Candide was the clear winner of the two. Candide's brisk storytelling and biting humor still feel modern, even cinematic. One book made me roll my eyes; the other made me laugh out loud. Next week: Descartes, Spinoza, and Kant—wish me luck.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

In Cyborg Fever, acclaimed writer Laurie Sheck brings us a probing and lyrical philosophical fiction in the spirit of Umberto Eco, Italo Calvino, and Donna Haraway's Cyborg Manifesto that enacts an incisive and moving exploration into what it means to be human in the age of AI and increasing transhumanism.Throughout Cyborg Fever, many strange, surprising facts appear: an artist clones a flower from his DNA and the DNA of a petunia, an astronaut is playing golf on the moon, a mathematician on a rest cure rethinks the life of Shakespeare, and particles and antiparticles collide at lightning speed beneath the green hills of Switzerland and France. Threaded throughout, one question lingers: in this age of AI and genetic engineering, how can we come to know more fully what it means to love and be human among the wonders and destructions we have wrought on Earth?Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

你听到的是跳岛「读懂金钱」付费系列节目的第四期试听片段，「读懂金钱」付费专题目前只在小宇宙app和网易云音乐上线。如果你对我们的内容感兴趣，欢迎你在这两个平台付费支持我们！ 你有没有关注过女装的口袋？ 研究显示，女装口袋平均只有男装口袋的一半大小，很多裙子甚至根本没有口袋。这一个历史遗留问题：在传统社会，女性被认为没有随身携带钱物的必要，因为她们的生活理所当然地依附于男性。没有口袋，意味着没有独立支配金钱的空间；而没有钱包，就没有经济自主权。 本期节目，文学研究者、作家张秋子将带领我们追溯19世纪文学中三个关于钱包的细节——从《包法利夫人》中那个潘多拉魔盒般的画中钱包，到女性主义文学经典《黄色墙纸》作者夏洛特·吉尔曼笔下象征着独立的口袋，以及伍尔夫《达洛维夫人》中可以暂时安放婚戒的荷包。钱包在她们的手中，是金钱的容器，也是权力与自由的隐喻。 但今天，当“全职女儿”成为流行词汇，当年轻女性因就业困境退回家庭、失去收入来源，理想躺平生活的表象背后，是依附与寄生之间愈加模糊的界限。正如金爱烂《滔滔生活》中那个觉得自己在“吞咽母亲”的女孩——文学让我们看见，女性的寄生困境从未远去。关于金钱、劳动与女性独立的沉重议题，还在延续。 【本期主播】 张秋子 云南昆明人，云南师范大学文学院教师、写作者，南开大学比较文学与世界文学博士，著有《小说榫卯》《与达洛维夫人共度一天》《堂吉诃德的眼镜》等。 【时间轴】 00:00 什么是“全职女儿”？“全职女儿”背后的女性困境 07:27 作为“奖品”的女性形象：《荷马史诗》里的女奴与童话中的公主 16:33 《包法利夫人》：画中少女的钱包，何以成为艾玛宿命的诅咒？ 23:00 《如果我是一个男人》：没有口袋的裙子，如何装下金钱与自由 28:00 《达洛维夫人》：痛苦时，可以把婚戒放进钱包 32:25 成为“全职女儿”真的是一种解脱吗？ 41:30 儿子享受蜜月时，女儿在清理母亲的排泄物 51:53 金爱烂：“每吞下一个饺子，都感觉是在吞咽妈妈” 54:00 为什么越中产的父母，被寄生后越焦虑？ 61:00 文学无法开处方，但能让模糊的痛苦现形 【节目中提到的人名和作品】 人物 伊塔洛·卡尔维诺（Italo Calvino）：意大利当代作家。主要作品有小说《分成两半的子爵》《树上的男爵》《不存在的骑士》《命运交叉的城堡》等。 尼古拉·果戈理（Nikolai Gogol）：俄国批判主义作家，代表作有《死魂灵》《钦差大臣》。节目中提到的《圣诞节前夜》《鼻子》为其短篇小说作品。 伊娃·易洛思（Eva Illouz)：法国社会学家，巴黎社会科学高等研究学院研究主任，耶路撒冷希伯来大学社会学和人类学教授。曾被德国《时代周刊》评选为世界上最有影响力的 12 位思想家之一。著有《爱，为什么痛？》《冷亲密》《爱的终结》等。 简·奥斯丁（Jane Austen）：英国小说家，代表作《傲慢与偏见》《理智与情感》。她的小说表面是爱情故事，核心却是经济安排，揭示了金钱、婚姻与阶层的紧密勾连。 居斯塔夫·福楼拜（Gustave Flauber）：法国小说家，现实主义文学代表人物，著有《包法利夫人》《情感教育》。 巴尔扎克（Honoré de Balzac）：法国小说家、剧作家、评论家与记者，欧洲现实主义文学奠基人。 夏洛特·吉尔曼（Charlotte Gilman）：美国作家、女性主义先锋。著有《黄色墙纸》《她的国》。 弗吉尼亚·伍尔夫（Virginia Woolf）：英国作家，二十世纪现实主义文学、意识流文学与女性主义文学先锋。著有《达洛卫夫人》《到灯塔去》《奥兰多》《海浪》《一间自己的房间》。 皮埃尔·布尔迪厄（Pierre Bourdieu）：法国哲学家、社会学家、人类学家，著有《区分：判断力的社会批判》《世界的苦难》。 林雪虹：马来西亚作家，现居中国。代表作《林门郑氏》《别处的月光》。 克莱尔·吉根（Claire Keegan）：爱尔兰短篇小说家。以精致动人的短篇小说见长，代表作有《南极》《走在蓝色的田野上》《寄养》。节目中提到的《唱歌的收银员》收录于短篇小说集《水最深的地方》。 金爱烂：韩国作家。作品反映了当代韩国青年生活处境，代表作有《你的夏天还好吗》《外面是夏天》《滔滔生活》。 书籍 《荷马史诗》《见树又见林》《爱，为什么痛？》《包法利夫人》《保尔和维吉尼》《云朵的道路》《黄色墙纸》《达洛卫夫人》《大学生》《林门郑氏》《水最深的地方》《滔滔生活》 出品方 | 中信书店 出品人｜李楠 策划人｜蔡欣 制作人 | 何润哲 广岛乱 运营编辑 | 黄鱼 运营支持｜李坪芳 设计｜王尊一 后期剪辑 | KIMIU 公众号：跳岛FM Talking Literature 跳到更多：即刻|微博|豆瓣|小红书

Area membri - Il Salotto Italiano: https://bit.ly/4f8cJvJ _ _ _ _Impara la lingua italiana in contesto. Grazie alle letture di Italo Calvino puoi vedere la lingua italiana in contesto e usare l'italiano per pensare in italiano.Entra nell'area membri per il materiale di apprendimento e per entrare in una community di persone che amano l'italiano e vogliono parlare di argomenti più significativi - Il Salotto Italiano: https://bit.ly/4f8cJvJ Per i corsi di "grammatica per la storia" e di conversazione, esplora il mio sito: https://www.italiantimezone.comGiulia Borelliwww.italiantimezone.com

Oggi ricordiamo l'anniversario della morte di uno degli scrittori italiani più amati e importanti del Novecento, avvenuta 40 anni fa: Italo Calvino..Support the project on Tipeee or Patreon and receive transcriptions of each episode, complete with translations of the most challenging words:https://it.tipeee.com/italian-stories-with-davide/news/237769.https://www.patreon.com/posts/reading-le-citta-139639121.Donation - Paypal:https://www.paypal.com/donate/?hosted_button_id=HJF6KQ4BY27Y2.Hope you enjoy and...Ci vediamo presto!Music by Davide Emanuelli

durée : 01:11:44 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Antoine Dhulster - En 1976, Italo Calvino retrace son parcours littéraire, lui l'écrivain passé du réalisme vers une littérature du fantastique. Il expose ses réflexions sur l'écriture : ce qui l'attire dans les contes de fées, son idéal de parvenir à un "je" anonyme et les rapports entre littérature et politique. - réalisation : Virginie Mourthé - invités : Italo Calvino écrivain italien

RtB loves the present-day shadows cast by neglected books, which can suddenly loom up out of the backlit past. So, you won't be shocked to know that John has also been editing a Public Books column called B-Side Books. In it, around 50 writers (Ursula Le Guin was one) have made the case for un-forgetting a beloved book. Now, there is a book that collects 40 of these columns. Find it as your local bookstore, or Columbia University Press, or Bookshop, (or even Amazon). Like our podcast, B-Side Books focuses on those moments when books topple off their shelves, open up, and start bellowing at you. The one that enthralled Merve Emre (Wesleyan professor and author ofsuch terrific works as The Personality Brokers) was a novella by the luminous midcentury Italian pessimist, Natalia Ginzburg. And if you think you know precisely why a mid-century Italian writer would have a dark and bitter view of the world (already thinking of the Nazi shadows in work by Italo Calvino, Primo Levi and Giorgio Bassani) Ginzburg's The Dry Heart will have you thinking again. Merve Emre, Ginzburg fan and B-Side author Merve started her piece, and we started this 2023 conversation, by asking that age-old question: “When should a woman kill her husband?” Mentioned in This Episode J. W. Goethe, Sorrows of Young Werther (1774) Michael Warner, “Uncritical Reading” Natalia Ginzburg. The Little Virtues (personal essays that do not stage an excessive evacuation of the self, but instead triangulate between reader, writer and object of concern…) Elena Ferrante, The Neapolitan Novels Fleur Jaeggy, Sweet Days of Discipline and These Possible Lives Rachel Ingals Mrs. Caliban (1982) Read transcript here 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

RtB loves the present-day shadows cast by neglected books, which can suddenly loom up out of the backlit past. So, you won't be shocked to know that John has also been editing a Public Books column called B-Side Books. In it, around 50 writers (Ursula Le Guin was one) have made the case for un-forgetting a beloved book. Now, there is a book that collects 40 of these columns. Find it as your local bookstore, or Columbia University Press, or Bookshop, (or even Amazon). Like our podcast, B-Side Books focuses on those moments when books topple off their shelves, open up, and start bellowing at you. The one that enthralled Merve Emre (Wesleyan professor and author ofsuch terrific works as The Personality Brokers) was a novella by the luminous midcentury Italian pessimist, Natalia Ginzburg. And if you think you know precisely why a mid-century Italian writer would have a dark and bitter view of the world (already thinking of the Nazi shadows in work by Italo Calvino, Primo Levi and Giorgio Bassani) Ginzburg's The Dry Heart will have you thinking again. Merve Emre, Ginzburg fan and B-Side author Merve started her piece, and we started this 2023 conversation, by asking that age-old question: “When should a woman kill her husband?” Mentioned in This Episode J. W. Goethe, Sorrows of Young Werther (1774) Michael Warner, “Uncritical Reading” Natalia Ginzburg. The Little Virtues (personal essays that do not stage an excessive evacuation of the self, but instead triangulate between reader, writer and object of concern…) Elena Ferrante, The Neapolitan Novels Fleur Jaeggy, Sweet Days of Discipline and These Possible Lives Rachel Ingals Mrs. Caliban (1982) Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices

RtB loves the present-day shadows cast by neglected books, which can suddenly loom up out of the backlit past. So, you won't be shocked to know that John has also been editing a Public Books column called B-Side Books. In it, around 50 writers (Ursula Le Guin was one) have made the case for un-forgetting a beloved book. Now, there is a book that collects 40 of these columns. Find it as your local bookstore, or Columbia University Press, or Bookshop, (or even Amazon). Like our podcast, B-Side Books focuses on those moments when books topple off their shelves, open up, and start bellowing at you. The one that enthralled Merve Emre (Wesleyan professor and author ofsuch terrific works as The Personality Brokers) was a novella by the luminous midcentury Italian pessimist, Natalia Ginzburg. And if you think you know precisely why a mid-century Italian writer would have a dark and bitter view of the world (already thinking of the Nazi shadows in work by Italo Calvino, Primo Levi and Giorgio Bassani) Ginzburg's The Dry Heart will have you thinking again. Merve Emre, Ginzburg fan and B-Side author Merve started her piece, and we started this 2023 conversation, by asking that age-old question: “When should a woman kill her husband?” Mentioned in This Episode J. W. Goethe, Sorrows of Young Werther (1774) Michael Warner, “Uncritical Reading” Natalia Ginzburg. The Little Virtues (personal essays that do not stage an excessive evacuation of the self, but instead triangulate between reader, writer and object of concern…) Elena Ferrante, The Neapolitan Novels Fleur Jaeggy, Sweet Days of Discipline and These Possible Lives Rachel Ingals Mrs. Caliban (1982) Read transcript here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

durée : 00:54:35 - Les Nuits de France Culture - par : Mathilde Wagman - En 1976, Italo Calvino revient sur ses débuts littéraires, son engagement comme maquisard et ses influences, notamment Elio Vittorini et Cesare Pavese. Il évoque aussi la parution de son premier roman, "Le Sentier des nids d'araignées", avant de rompre avec le réalisme italien de l'époque. - réalisation : Virginie Mourthé - invités : Italo Calvino écrivain italien

A rare club mix from the ever-evolving artist, with 90 minutes of shadowy, atmospheric pressure. Music's therapeutic value is often linked to relaxation—gongs, singing bowls and the like. Dense passages of foggy droning and eerie static aren't traditionally considered restorative, but Laurel Halo makes a pretty good case for it. The Detroit-born, Los Angeles-based musician's abstract, often improvised productions are heavy on sound design and emotional climax. Driven by atmosphere rather than rhythm, they push listeners to grapple with their innermost insecurities, fears and dreams. "I'm lucky my music has helped people through crises," Halo once told Discwoman. It's easy to see why. Since her 2010 debut King Felix, Halo has built a stunningly diverse catalogue of classically-informed records. A multi-instrumentalist—piano, violin, guitar, keys—her sharpest instrument is arrangement. Inspired by the surrealism of Italo Calvino and Apichatpong Weerasethakul, her releases, from Atlas to Behind The Green Door, unfold with slow-burning narrative and dense emotional weight. Her soundworlds are layered and labyrinthine—an architectonic space where self-reflection happens almost by force. Even in the club, the sought-after composer excels in immersion. Her sets extend the expressionist palette of her records, trading traditional rhythm for tension, space and surprise. It's no wonder she takes a genre-agnostic approach to the dance floor—her deep roots in freeform radio began at WCBN-FM in Michigan, followed by Berlin Community Radio, Rinse FM, and now a regular show on NTS. RA.992 stitches foggy ambient loops, propulsive techno, mutant percussion and heady left turns with care. Tracks from DJ Rush, Octave One and Eddie Fowlkes nod to her Midwestern heritage, balanced out by deeper, psychedelic fare from the likes of Polygonia and Cousin. It's the mark of an artist revealing both deep curiosity and a precise hand as a selector. Rare, indeed. @laurelhalo Find the full interview at ra.co/podcast/992