Podcasts about James Agee

It may not have been appreciated in its time, but we appreciate it now! We're talking all about the expressionist, noir inspired, gothic, thriller about a serial killer The Night Of The Hunter. This episode has more singing than you might expect, but we also talk about religious hypocrisy, fairy tales, the loss of innocence, and Icey Spoon. Also: aptronym. It's called an aptronym. I Love This You Should Too is hosted by Samantha & Indy Randhawa The Night of the Hunter is a 1955 American Southern Gothic horror-thriller film directed by Charles Laughton and starring Robert Mitchum, Shelley Winters and Lillian Gish. The screenplay by James Agee was based on the 1953 novel by Davis Grubb. The plot is about Preacher Harry Powell (Mitchum), a serial killer who poses as a preacher and pursues two children in an attempt to get his hands on $10,000 of stolen cash hidden by their late father.

In celebration of National Poetry Month, Jesse Graves joined us at Lawson McGhee Library for a reading of his work. Jesse Graves is the author of five poetry collections, including Tennessee Landscape with Blighted Pine, Basin Ghosts, Specter Mountain, Merciful Days, the forthcoming A Little Light in the Grave, and a book of prose, Said-Songs: Essays on Poetry and Place. His work received the James Still Award for Writing about the Appalachian South from the Fellowship of Southern Writers and the Philip H. Freund Prize for Creative Writing from Cornell University, as well as two Weatherford Awards in Poetry from Berea College and the Appalachian Studies Association. Graves has served as co-editor for several collections of poetry and scholarship, including four volumes of The Southern Poetry Anthology and The Complete Poetry of James Agee. He teaches at East Tennessee State University, where he is Poet-in-Residence and Professor of English.Links:Jesse Grave's website"Jesse Graves and the Cosmic Appalachian Boogie," in Salvation SouthSix Poems by Jesse Graves in Porchlight: A Journal of Southern Literature"Two Stones" in New Verse Review"Above Johnson City" in As the Crow FliesThree poems in Cutleaf

Tres amigas ricas muy pijas que se pierden en un hotel tropical que intenta imitar el sureste asiático en el sureste español, en Alicante. Que viven de lujo, pero se lo han gastado, que tratan mal a los empleados y que terminan siendo pura estafa. Este es el contexto y  los personajes de 'Las jefas' de Esther García Llovet (Anagrama) que ha sido el libro de la semana en la Biblioteca de Hoy por Hoy. Lo mejor de este libro es empezar a leer y meterte en la cabeza de Esther García Llovet. Una vez en ese punto, todo es maravilloso. La autora, además de venir con 'Las jefas!, nos donó para nuestras estanterías otro libro maravilloso 'Elogiemos ahora a hombres famosos' de James Agee y Walker Evans (Seix Barral). Antonio Martínez Asensio, nuestro bibliotecario,  que empezó contándonos en tres munitos 'El viejo y el mar' de Ernest Hemingway (DeBolsillo), también recomendó otro libro de Esther García Llovet, que para él es uno de los libros de su vida , 'Cómo dejar de escribir' (Anagrama) y como siempre nos dejó el libro que contará en su programa 'Un libro, una hora' que fue 'Madona con abrigo de piel' de Sabahattin Ali (Salamandra). Las novedades las trajo Pepe Rubio y fueron 'XXVI' de Jesús Pérez Caballero (Sloper) y 'La traductora de haikus' de  Monika Zgustova (Galaxia Gutemberg). El libro abandonado en la redacción de la SER lo recuperó esta semana Eva Cruz y fue una maravilla 'Jane, una biografía literaria de Jane Austen' de Cristina Oñoro y Ana Jaren (Lumen) .Y terminamos con las donaciones y recomendaciones de los oyentes que fueron 'La extraña desaparición de Esme Lennox' de  Maggie O´Farrell (Salamandra), 'Jigoro y el arte de la lucha con catana' de Antonio Sande Martínez (Ediciones Arcanas) y 'Jane' de Percival Everett (De Conatus). 

This week we cover the sole directing credit for Charles Laughton, "The Night of the Hunter." We cover the development from book to screen of this film, discussing casting, production, and conception. We then dive into the film itself, and lovingly describe everything that makes this a special film. Finally, we each pair the film with another for a pair of double bills for your viewing pleasure.Thank you so much for listening! Support us at Patreon at https://www.patreon.com/DoubleBillChill Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on Instagram: @DoubleBillChillLetterboxd: FartsDomino44

For the podcast's 60th episode we are finally able to develop a lengthy and thorough discussion of The Passenger, McCarthy's penultimate novel from 2022.  I'm joined by two returning guests of the podcast: Dr. Lydia Cooper is a professor of American literature and director of the core curriculum at Seattle University. Her specializations include Native American literature, Western and southwestern literature, and gender studies, and of course Cormac McCarthy. Her most recent book is Cormac McCarthy: A Complexity Theory of Literature, published by Manchester University Press.  Other books includes Masculinities in Literature of the American West, and No More Heroes: Narrative Perspective and Morality in the Novels, those novels being the books of Cormac McCarthy.  Her work on McCarthy and on other modern and contemporary American and Native American writers has appeared in numerous academic journals such as Studies in the Novel, Studies in American Indian Literature, and Interdisciplinary Studies in Literature and the Environment . She is the Vice President of the McCarthy Society. Also returning is Dr. Brent Cline. He is an associate professor of English at Hillsdale College.  He earned his PhD at Western Michigan University, where his dissertation focused on representations of mental disability and the modern novel. He has published articles and chapters involving disability on Walker Percy, James Agee, and Daniel Keyes. His review of The Passenger/Stella Maris was published with The University Bookman. His article on The Mexican Revolution and All the Pretty Horses was published recently in the CMJ.Hawaii Travel & Vacation GuideDiscover Hawaii's Best local spots and travel tips!Listen on: Apple Podcasts SpotifySupport the showStarting in spring of 2023, the podcast began accepting minor sponsorship offers to offset the costs of the podcast. This may cause a mild disconnect in earlier podcasts where the host asks for patrons in lieu of sponsorships. But if we compare it to a very large and naked bald man in the middle of the desert who leads you to an extinct volcano to create gunpowder, it seems pretty minor...

What happens when the life you built suddenly unravels? Dan Boettcher had the degrees, the career path, and the promise of a future in diplomacy. On paper, it looked perfect. But inside, he was falling apart – and one surreal moment in an airport lounge sent his world in an entirely different direction. In this conversation, Dan shares what it means to start over when the future you planned is no longer possible. His story is not just about survival but about transformation, and how meaning can show up in unexpected places. How a mental health crisis forced him to step away from the identity he built The moment he found meaning in unexpected grace and healing Why jewelry, storytelling, and transformation became his new way forward This is a conversation about breaking open, rediscovering purpose, and finding beauty in places you never thought to look. Guest Bio Daniel Boettcher is the founder of The Intrepid Wendell and a Graduate Gemologist (GIA) with academic degrees from Yale, Georgetown, and American Universities. He began his career in law while preparing for a future in diplomacy, but a serious mental health crisis ultimately altered that path. Unable to pursue government work due to clearance restrictions, Daniel set out on a journey to rediscover meaning and passion – leading him back to a childhood love of gems and minerals. Today, he travels the globe sourcing rare gemstones and precious metals to craft custom jewelry that reflects the personal stories of his clients. A digital nomad, seasoned world traveler, and polyglot, he has visited over 100 countries and finds inspiration in every culture he encounters. Sure On This Shining Night Sure on this shining night Of star made shadows round, Kindness must watch for me This side the ground. The late year lies down the north. All is healed, all is health. High summer holds the earth. Hearts all whole. Sure on this shining night I weep for wonder wand'ring faralone Of shadows on the stars. The poem comes from a book by James Agee entitled "Permit Me Voyage," published in  1934 by Yale University Press -- Listen to this episode and more at www.thelifeshiftpodcast.com/follow Support the show on Patreon for ad-free and early-release episodes: www.patreon.com/thelifeshiftpodcast Subscribe to the newsletter for updates and reflections: Newsletter Sign-up Follow on social media: @thelifeshiftpodcast

Genesis Mata case brings parallels to landmark case of Gabriel Fernandez Investigation underway after inmate found unresponsive in Tehachapi prisonFirefighters continue to fight Gifford Fire, 120,000 acres burned Kern County firefighter James Agee continues to recover from rollover accident President Trump sending National Guard Troops to Washington D.C. streets, says crime is 'out of control' Buck Owens' Crystal Palace closes its doors after nearly 30 years Suspected gunman arrested in Austin after firing in a Target parking lot For more local news, visit KGET.com. Stream local news for free on KGET+. Visit KGET.com/plus for more information. 

Dana and Tom with returning guest, Ryan Luis Rodriguez (Host of One Track Mind, Co-Host of Reels of Justice Podcast) discuss The Night of the Hunter (1955), celebrating its 70th anniversary: directed by Charles Laughton, written by James Agee, cinematography by Stanley Cortez, music by Walter Schumann, starring Robert Mitchum, Shelley Winters, Lillian Gish, and Peter Graves.Plot Summary: The Night of the Hunter is a suspenseful drama about a dangerous man (Robert Mitchum) posing as a preacher. Set during the Great Depression, the story follows Harry Powell, a charismatic and unsettling figure who travels the countryside, claiming to be a man of God. In reality, he's a con artist and killer.When Harry hears about a man who hid $10,000 from a bank robbery, he marries the man's widow (Shelly Winters) to try to find the money. However, the only people who know its location are her two young children, John and Pearl. As Harry becomes increasingly violent and threatening, the kids flee down the river to escape him.They find safety with a kind woman named Rachel Cooper (Lillian Gish) who protects lost and abandoned children. Ultimately, Rachel stands up to Harry and helps bring him to justice.The movie mixes horror, mystery, and beautiful black-and-white visuals. It's a story about good versus evil—and how bravery can come from even the smallest and quietest people.Chapters:00:00 Introduction and Welcome Back Ryan02:37 Why The Night of the Hunter?04:25 Background for The Night of The Hunter06:27 Why Has The Night of the Hunter Become a Classic Only Recently?10:17 Relationship(s) with The Night of the Hunter17:30 Did Dana Like It?22:18 What is The Night of the Hunter About?25:34 Cinematic Villain Rankings: Harry Powell29:05 Plot Summary for The Night of the Hunter31:13 Did You Know?36:22 First Break37:13 What's Happening with Ryan Luis Rodriguez40:00 GMOAT Hall of Fame - July 202546:54 Best Performance(s)57:20 Best Scene(s)01:06:12 Second Break01:06:54 In Memoriam01:15:19 Best/Funniest Lines01:19:38 The Stanley Rubric - Legacy01:29:29 The Stanley Rubric - Impact/Significance01:32:09 The Stanley Rubric - Novelty01:36:21 The Stanley Rubric - Classicness01:40:13 The Stanley Rubric - Rewatchability01:43:28 The Stanley Rubric - Audience Score and Final Total01:45:06 Remaining Questions for The Night of the Hunter01:46:47 Thank You to Ryan and Remaining Thoughts01:51:19 CreditsGuest:Ryan Luis RodriguezHost of One Track Mind (IG, Letterboxd, Bluesky, Patreon)Co-Host of Reels of Justice Podcast (

"You're an outsider. And as you linger in that space, you start to become an insider ... but you're still an outsider. Don't forget that, even though you know more about it, you're an insider and an outsider," says Jeff Sharlet about when he's reporting on, say, far-right religious groups.OK, we've got Jeff Sharlet, which is pretty stunning when you think about it. I mean, this guy is the author of The Undertow: Scenes from a Slow Civil War, The Family, among other books. He often covers the far right and far-right fundamentalism and what's he's been able to document is scary and often unsettling. We don't dig too much into that, because mainly we just talk about doing this kind of work. It was really a fun and illuminating conversation and I'm pretty stoked.He teaches writing and creative nonfiction at Dartmouth College. That was where I desperately wanted to go to school. I was set to be their starting shortstop, but I couldn't get my goddam SATs above remedial and thus I attended good ol' UMass … back in the late 1990s, if you could funnel a beer in five seconds you got a scholarship #yoloIn this episode, Jeff and I riff about: His key influences Treating your book badly as a way of treating it well Using your outsiderness to your advantage His love of sportswriting, or interest in sportswriting, despite not following sports And real toads in imaginary gardensYou can learn more about Jeff and his work @jeffsharlet on Substack and his newsletter there called Scenes from a Slow Civil War … I admire people like Jeff who are just so damn smart in how they articulate things seemingly on the fly. Meanwhile, ya boi BO sounds about as coherent as a chimpanzee.Order The Front RunnerNewsletter: Rage Against the AlgorithmWelcome to Pitch ClubShow notes: brendanomeara.com

The thirteenth episode of our season on the awesome movie year of 1941 features our future cult classic pick, H.C. Potter's Hellzapoppin'. Directed by H.C. Potter and starring Ole Olsen, Chic Johnson, Martha Raye, Hugh Herbert, Jane Frazee, Robert Paige and Mischa Auer, Hellzapoppin' was based on Olsen and Johnson's hit Broadway revue.The contemporary reviews quoted in this episode come from T.S. in The New York Times (https://www.nytimes.com/1941/12/26/archives/hellzapoppin-makes-its-film-appearance-at-the-rivoli-youre-in-the.html), James Agee in Time (https://content.time.com/time/subscriber/article/0,33009,849764-2,00.html), and Variety.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for

The eleventh episode of our season on the awesome movie year of 1941 features the Academy Awards Best Picture winner, John Ford's How Green Was My Valley. Directed by John Ford from a screenplay by Philip Dunne and starring Roddy McDowall, Walter Pidgeon, Maureen O'Hara, Anna Lee, Sara Allgood and Donald Crisp, How Green Was My Valley was nominated for 10 Academy Awards and won five, including Best Picture.The contemporary reviews quoted in this episode come from Bosley Crowther in The New York Times (https://www.nytimes.com/1941/10/29/archives/a-beautiful-and-affecting-film-achievement-is-how-green-was-my.html), James Agee in Time (https://content.time.com/time/subscriber/article/0,33009,801343,00.html), and The London Times (https://www.thetimes.com/tto/archive/article/1942-04-24/6/7.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on...

"This Shining Night" is a choral concert from the Berkshire Concert Choir bookended by two different settings of James Agee's poem, "Sure on this Shining Night." Beginning at sunset and ending at sunrise, the program plunges deep into the human condition using the phases of the night as an extended metaphor for the complex topic of aging and memory loss.Berkshire Concert Choir will perform “This Shining Night” on Sunday May 18th at St Mark's Catholic Church in Pittsfield (Saturday Night Performance at Tanglewood's Linde Center is sold out.)

In this episode, I spoke with film critic Jonathan Rosenbaum about his latest book "Travel In The Cities of Cinema". Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for theChicago Reader. Hailed as "one of the best" by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema.

Buy Travels in the Cities of Cinema: Conversations with Ehsan Khoshbakht here. Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for the Chicago Reader. Hailed as “one of the best” by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema.Distinguished by his equal investment in both contemporary cinema and film history, his work offers a rich dialogue between the past and present of moving images. In this wide-ranging conversation with film scholar Ehsan Khoshbakht, Rosenbaum reminisces about his childhood in Florence, Alabama, where his family ran a chain of cinemas, and follows that journey to New York, Paris, London and Chicago. Each city marks a chapter in his evolution as a critic, filled with encounters and experiences that together reveal the life of an indefatigable cinephile and cultural commentator.“An engaging history of the esteemed critic's career and a survey of the cinephilic landscape. Rosenbaum proves a frank, expansive interviewee, telling curator Ehsan Khoshbakht about his childhood in Alabama and his work as a critic in Paris, New York, London, Chicago and elsewhere.” — Pamela Hutchinson, Sight and Sound Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Buy Travels in the Cities of Cinema: Conversations with Ehsan Khoshbakht here. Jonathan Rosenbaum stands as one of the most eminent film critics in the English-speaking world. After working for Sight and Sound and Monthly Film Bulletin in London in the 1970s, he served for two decades as chief film critic for the Chicago Reader. Hailed as “one of the best” by Jean-Luc Godard, who compared him to James Agee and André Bazin, Rosenbaum is known for his incisive, thought-provoking polemics, which have inspired generations of writers while reshaping how we think about cinema. Distinguished by his equal investment in both contemporary cinema and film history, his work offers a rich dialogue between the past and present of moving images. In this wide-ranging conversation with film scholar Ehsan Khoshbakht, Rosenbaum reminisces about his childhood in Florence, Alabama, where his family ran a chain of cinemas, and follows that journey to New York, Paris, London and Chicago. Each city marks a chapter in his evolution as a critic, filled with encounters and experiences that together reveal the life of an indefatigable cinephile and cultural commentator. “An engaging history of the esteemed critic's career and a survey of the cinephilic landscape. Rosenbaum proves a frank, expansive interviewee, telling curator Ehsan Khoshbakht about his childhood in Alabama and his work as a critic in Paris, New York, London, Chicago and elsewhere.” — Pamela Hutchinson, Sight and Sound Learn more about your ad choices. Visit megaphone.fm/adchoices

Who are the most symbolic mid 20th century American Jews? In Eminent Jews, New Yorker staff writer David Denby tells the remarkable stories of Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. He explains how each embodied a new Jewish confidence after WWII, contrasting with earlier generations' restraint. Each figure pushed boundaries in their own way - Bernstein through his musical versatility, Brooks through his boundary-pushing humor about Jewish experiences, Friedan through her feminist theories, and Mailer through his provocative writing style. Five key takeaways * Post-WWII Jewish Americans displayed a newfound confidence and willingness to stand out publicly, unlike previous generations who were more cautious about drawing attention to their Jewishness.* The four figures in Denby's book (Bernstein, Brooks, Friedan, and Mailer) each embraced their Jewish identity differently, while becoming prominent in American culture in their respective fields.* Mel Brooks used humor, particularly about Jewish experiences and historical trauma, as both a defense mechanism and a way to assert Jewish presence and resilience.* Each figure pushed against the restraint of previous Jewish generations - Bernstein through his expressive conducting and openness about his complex sexuality, Friedan through her feminist activism, and Mailer through his aggressive literary style.* Rejecting the notion that a Jewish "golden age" has ended, Denby believes that despite current challenges including campus anti-Semitism, American Jews continue to thrive and excel disproportionately to their population size.David Denby is a staff writer at The New Yorker. He served as a film critic for the magazine from 1998 to 2014. His first article for The New Yorker, “Does Homer Have Legs?,” published in 1993, grew into a book, “Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World,” about reading the literary canon at Columbia University. His other subjects for the magazine have included the Scottish Enlightenment, the writers Susan Sontag and James Agee, and the movie directors Clint Eastwood and the Coen brothers. In 1991, he received a National Magazine Award for three of his articles on high-end audio. Before joining The New Yorker, he was the film critic at New York magazine for twenty years; his writing has also appeared in The Atlantic, The New York Review of Books, and The New Republic. He is the editor of “Awake in the Dark: An Anthology of Film Criticism, 1915 to the Present” and the author of “American Sucker”; “Snark”; “Do the Movies Have a Future?,” a collection that includes his film criticism from the magazine; and “Lit Up,” a study of high-school English teaching. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre ‘poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. The Endo/Exo Writers Project. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu 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

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre ‘poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. The Endo/Exo Writers Project. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre ‘poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. The Endo/Exo Writers Project. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre ‘poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. The Endo/Exo Writers Project. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:30:02 - Les Nuits de France Culture - par : Albane Penaranda - "Les Nuits magnétiques" tracent le parcours de la vie trop brève de James Agee, reporter, critique de cinéma, scénariste, écrivain. Auteur du livre "Louons maintenant les grands hommes" à la suite d'un reportage avec le photographe Walker Evans chez des métayers pauvres d'Alabama en 1936. - réalisation : Virginie Mourthé - invités : Jean Malaurie Géographe spécialisé en géomorphologie, fondateur de la collection "Terre humaine"; Pierre Lepape Écrivain, biographe, essayiste

Josh and Drusilla recorded this the day before the election. Yikes! From wiki: “The Night of the Hunter is a 1955 American film noir thriller directed by Charles Laughton and starring Robert Mitchum, Shelley Winters and Lillian Gish. The screenplay by James Agee was based on the 1953 novel of the same name by Davis Grubb. The plot involves a serial killer (Mitchum) who poses as a preacher and pursues two children in an attempt to get his hands on $10,000 of stolen cash hidden by their late father.”Also discussed: Conclave (2024), 12 Angry Men, dad movies, Gentlemen Prefer Blondes, Anora, Scream (2022), Promising Young Woman, A Series of Unfortunate Events, Lilian Gish, busy bodies of cinema, The Dark Crystal, Cape Fear, King of the Hill, Don Bluth kids, Over the Garden Wall, NEXT WEEK: Green Room (2015)Follow them across the internet:Bloodhaus: https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. 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

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions.  In Poor Things: How Those with Money Depict Those Without It (Duke UP, 2024), Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

In this episode, I talk to author, critic, and film educator Rich Johnson about the 1955 American gothic drama, written by James Agee and starring Robert Mitchum, from one-time director Charles Laughton. We discuss the impact of post-colonial American storytelling, religious symbolism in the film, and the careers of Laughton, Mitchum, and Lillian Gish.for more info on Rich visit richpieces.comfollow and subscribe to the show on your favorite platform via the link below:https://linktr.ee/martynstrange Hosted on Acast. See acast.com/privacy for more information.

Your leech lovin' hosts embark on a therapy journey as they talk about the movie THE AFRICAN QUEEN (1951) starring Humphrey Bogart and Katherine Hepburn, written by John Huston and James Agee, directed by John Huston and based on a novel by C.S. Forester. This is pure Unsane therapy of the tropical kind. (No leeches … Continue reading "Unsane Radio 0275 – The African Queen"

This week we're excited to present an archival conversation from 2020 with Academy Award-nominated filmmaker RaMell Ross, moderated by Academy Award-nominated filmmaker Garrett Bradley (Time). The two discuss Ross's documentary Hale County This Morning, This Evening, which was a 2018 New Directors/New Film selection. Ross's next feature, Nickel Boys, an adaptation of Colson Whitehead's Pulitzer Prize–winning novel, will open the 62nd New York Film Festival on September 27.  “The American stranger knows Blackness as a fact—even though it is fiction,” says writer-director RaMell Ross. For his visionary and political debut feature, Ross spent five years intimately observing African-American families living in Hale County, Alabama. It's a region made unforgettable by Walker Evans and James Agee's landmark 1941 photographic essay, Let Us Now Praise Famous Men, which documented the impoverished lives of white sharecropper families in Alabama's Dust Bowl during the Great Depression. Ross's poetic return to this place shows changed demographics and depicts people resilient in the face of adversity and invisibility. An Oscar nominee for Best Documentary Feature, Hale County This Morning, This Evening introduces a distinct and powerful new voice in American filmmaking.

Episode 52 is a round table considering the impact of Ernest Hemingway's writing on the works of Cormac McCarthy.  Joining us for this discussion are Dr. Olivia Carr Edenfield, Professor of English at Georgia Southern University.  She is a founding member of the Society for the Study of the American Short Story and Director of the American Literature Association.  She has recently published a defense of the mother in The Road  in the CMJ.     Dr. Brent Cline is an associate professor of English at Hillsdale College.  He has published articles and chapters involving disability on Walker Percy, James Agee, and Daniel Keyes. His review of The Passenger/Stella Maris was published with The University Bookman. His article on The Mexican Revolution and All the Pretty Horses was just published in the CMJ.   Dr. Bryan Giemza is an Associate Professor of Humanities and Literature in the Honors College at Texas Tech University. He  is author or editor of  numerous books on American literary and cultural history, ten book chapters, and more than thirty published articles and reviews. His books include Irish Catholic Writers and the Invention of the American South, and more recently Science and Literature in Cormac McCarthy's Expanding Worlds (2023), and the forthcoming Across the Canyons: Transdisciplinary Approaches to Divisive Communications in West Texas and Beyond, Texas Tech UP.   Dr. Allen Josephs joined us for a discussion of All the Pretty Horses.  A past president of the Ernest Hemingway Foundation and Society and the South Atlantic Modern Language Association in 2008, where he was awarded the continuing honorary membership.  He is the author of some 15 books, including On Hemingway and Spain: Essays and Reviews 1979 – 2013; White Wall of Spain: The Mysteries of Andalusian Culture; and For Whom the Bell Tolls: Ernest Hemingway's Undiscovered Country. He is the author of four critical editions of the poetry of Federico García Lorca and a book of translations of Lorca's poetry and prose, Only Mystery: Federico García Lorca's Poetry in Word and Image. . His book On Cormac McCarthy: Essays on Mexico, Crime, Hemingway and God, was published in 2016. Dr. Josephs is professor emeritus from the University of West Florida where has taught for more than five decades and now resides in Spain.  As always, readers are warned: there be spoilers here.  Thanks to Thomas Frye, who composed, performed, and produced the music for READING MCCARTHY.  The views of the host and his guests do not necessarily reflect the views of their home institutions or the Cormac McCarthy Society, although in our hearts we hope they'll someday see the light.  If you enjoy this podcast you may also enjoy the GREAT AMERICAN PODCAST, hosted by myself and Kirk Curnutt. To contact me, please reach out to readingmccarthy(@)gmail.com. Despite the evening redness in the west Reading McCarthy is nominally still on Twitter/X.  The website is at readingmccarthy.buzzsprout.com.Support the Show.Starting in spring of 2023, the podcast will accept minor sponsorship offers to offset the costs of the podcast. This may cause a mild disconnect in earlier podcasts where the host asks for patrons in lieu of sponsorships. But if we compare it to a very large and naked bald man in the middle of the desert who leads you to an extinct volcano to create gunpowder, it seems pretty minor...

Like yesterday's KEEN ON guest, Batya Ungar-Sargon, Dale Maharidge believes that liberals are “equally to blame” for what he calls, in his new collection of essays, America's Doom Loop. Maharidge, whose Pulitzer prize winning writing about the gutting of the industrial midwest, inspired Springsteen's iconic 1995 song “Youngstown”, barely recognizes the America of the 2020s. It was a different reality in 1980, he says, arguing that Americans of both left and right have written off the center of the country over the last half century. This is the tragic story of our age and there are few Americans who tell it straighter than Maharidge. For nearly four decades, Dale Maharidge has been one of America's leading chroniclers of poverty. Alongside photographer Michael S. Williamson, his book And Their Children After Them won the Pulitzer Prize for General Non-Fiction in 1990, revisiting the places and people of Depression-era America, depicted in Walker Evans's and James Agee's Let Us Now Praise Famous Men. Also with Williamson, Maharidge produced Journey to Nowhere: The Saga of the New Underclass, which Bruce Springsteen has credited as an influence for songs such as "Youngstown" and "The New Timer."Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Episode 47 of READING MCCARTHY considers the author's references to and uses of disability in its many forms.  My guest DR BRENT CLINE.  He has published articles and chapters involving disability on Walker Percy, James Agee, and Daniel Keyes. His review  of The Passenger/Stella Maris was published with The University Bookman. He teaches a seminar on McCarthy every two years.As always, readers should beware: there be spoilers here.Thanks to Thomas Frye, who composed, performed, and produced the music for READING MCCARTHY.  The views of the host and his guests do not necessarily reflect the views of their home institutions or the Cormac McCarthy Society, although in our hearts we hope they'll someday see the light.  We appreciate favorable reviews on your favorite podcasting platform.  If you enjoy this podcast you may also enjoy the GREAT AMERICAN PODCAST, hosted by myself and Kirk Curnutt. To contact me, please reach out to readingmccarthy(@)gmail.com. Despite the evening redness in the west Reading McCarthy is also on Twitter.  The website is at readingmccarthy.buzzsprout.com, and if you'd like to support the show you can click on the little heart symbol at the top of the webpage to buy the show a cappuccino. Support the showStarting in spring of 2023, the podcast will accept minor sponsorship offers to offset the costs of the podcast. This may cause a mild disconnect in earlier podcasts where the host asks for patrons in lieu of sponsorships. But if we compare it to a very large and naked bald man in the middle of the desert who leads you to an extinct volcano to create gunpowder, it seems pretty minor...

Let me tell you the story of Right Hand/Left Hand. For it was with the right hand (LOVE) that actor Charles Laughton directed Robert Mitchum in one of his scariest performances in a film based on a controversial book and it was the left hand (HATE) that critics struck down the first time director's directing career. But wait a minute! As time went on, 1955's The Night of the Hunter became a beloved classic by filmmakers and movie lovers everywhere.But who does Mike and Trevor agree with? With the lovers or the haters?This might be the most controversial episode of Cinephilia to date!

There were approx 15000 plus films (15858) submitted to Sundance 2023. More than half of them were made by first-time directors. There were 4,061 feature-length films,1,662 were from the U.S., and 2,399 were international. Out of this, only 101 feature films had to be selected for the final competition section of the festival. With this rush for making a movie, what are the chances that a worthy film will go unnoticed? Our guest for this episode is Film critic Jonathan Rosenbaum. Mr.Rosenbaum was the head film critic for The Chicago Reader from 1987 to 2008. He has published and edited numerous books about cinema and has contributed to such notable film publications as Sight and sound, Cahiers du cinéma, and Film Comment. Regarding Mr. Rosenbaum, French New Wave director Jean-Luc Godard said, "I think there is a very good film critic in the United States today, a successor of James Agee, and that is Jonathan Rosenbaum. He's one of the best; we don't have writers like him in France today. He's like André Bazin."Digs:1) 40 years plus in the landscape of movie-making- what are the most significant changes besides the OTT?2) Being a part of Sight and sound polls of the best 100 films- what are the criteria for choosing the best for 100-plus years?3) 15000 plus films got submitted to Sundance, what defines a movie being selected, and with the rush, how many worthy films can go unnoticed? Chances are many!!4) When we say South Asian Cinema what are the few things that come to your mind?5) David Cronenberg's Spider and the times of piecing together- Cinema.6) On Godard and A Woman is a Woman. 7) On the adaptation of literary works (Dostoevsky and Chekhov) for films like Winters Sleep- what does the future hold?Enjoy!! TUNE IN. Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization.The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Bookwaves Suzy McKee Charnas, in the 1980s. Suzy McKee Charnas (1939-2023), in conversation with Richard Wolinsky, recorded over Halloween Weekend, 1981 at the World Fantasy Convention in the Claremont Hotel in Berkeley. Suzy McKee Charnas, who died on January 2nd, 2023 at the age of 83, was a novelist and short story writer focusing on fantasy and science fiction. Over a career that began in 1974 with her first novel, Walk to the End of the World, she wrote eleven novels and several short stories, winning both the Hugo and Nebula Awards for Best short stories. She is best known for her tetralogy of novels, The Holdfast Chronicles, beginning with the aforementioned Walk to the End of the World and concluding with The Conquerer's Child in 1999. In 1981, she had just written three novels, focusing on feminist issues in a field that was still dominated by men. Her second novel, Motherlines, which featured no male characters at all, was decades ahead of its time. A lot has changed since 1981, and the interview also serves as a time capsule in terms of both questions and answers, and in regard to feminist writing, publishing and genre writing. She continued to work steadily after 1981, but she wrote no more novels after 1999, though short stories continued to be published. None of her works were adapted for television or film, though she did adapt The Vampire Tapestry for the stage in 2001. The interview aired once shortly after the recording, and was digitized, remastered and edited on January 4, 2023. Complete 29-minute interview.   Artwaves Richard Wolinsky and Frank Galati, 2019. Frank Galati (1943-2023), who died on January 2, 2023 at the age of 79, was a giant in American theatre. A long-time member of the legendary Steppenwolf Theatre Company in Chicago, Frank Galati was winner of Tony Awards for the adaptation and direction of The Grapes of Wrath in 1990, was nominated for an Oscar for co-adapting The Accidental Tourist for the screen, and was the director of Ragtime and The Pirate Queen on Broadway. Frank Galati is also known for adapting several other works for stage and screen. Frank Galati was in the San Francisco Bay Area to direct a production of “Rhinoceros” by Eugene Ionesco at ACT's Geary Theatre, and it was in ACT's offices that this interview took place on May 22, 2019. “Rhinoceros” is considered to be one of the greatest works of political theatre of the absurd. Originally produced in the late 1950s, the play hearkens back to the origins of fascism and how propaganda infects the minds of citizens. At the end of the interview, Frank Galati discusses his upcoming project, a musical version of James Agee's “A Death in the Family,” with music and lyrics by Lynn Ahrens and Stephen Flaherty (Ragtime, A Man of No Importance). The show, titled “Knoxville” made its world premiere at the Asolo Repertory Company in Sarasota Florida in April 2022, and an original cast album was released digitally in October and on disc in November, 2022. First posted as a Bay Area Theater podcast on June 2, 2019. Photos: Richard Wolinsky Complete 42-minute interview.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. All times Pacific Standard Time. Book Stores Bay Area Book Festival  Highlights from this year's Festival, May 7-8, 2022 and upcoming calendar. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.   Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. Upcoming: Snag by Tara Moses, Pueblo Revolt by Dillon Chitto American Conservatory Theatre  The Headlandsl February 9 – March 5 by Christopher Chen, Toni Rembe Theater. Aurora Theatre Paradise Blue by Dominique Morisseau, Opens January 27, 2023, streaming February 21-26. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Clydes, by Lynn Nottage, January 20 – February 28, Peets Theatre. Boxcar Theatre. See website for events. Brava Theatre Center: See website for events. BroadwaySF: The Simon & Garfunkel Story, January 18, Golden Gate; Bluey's Big Play, January 21 – 22, Golden Gate; Dear Evan Hanson, January 24 – February 19, Orpheum; Mean Girls, January 31 – February 26, Golden Gate. Bill Maher, live on stage, March 12, 2023. Broadway San Jose: Annie, January 10-15, 2023. California Shakespeare Theatre (Cal Shakes). 2023 Season to be announced. Center Rep: Red Bike, by Carldad Svich, directed by Jeffrey Lo. February  4 – 25, 2023. Central Works Mondragola by Gary Graves, March 18 – April 16, 2023. Cinnabar Theatre. Daddy Long Legs,  January 6 – 22, 2023. Contra Costa Civic Theatre To Master the Art by William Brown and Doug Frew, April 21 – May 21, 2023. Curran Theater: Into The Woods, direct from Broadway, June 20-25, 2023. Custom Made Theatre. Tiny Fires by Aimee Suzara, February 3 – 36, 2023. 42nd Street Moon. Anything Goes, February 23 – March 12, Gateway Theatre. Golden Thread  See website for upcoming productions. Landmark Musical Theater. See website for upcoming shows. Lorraine Hansberry Theatre. Next show to be announced. Magic Theatre. The Travelers by Luis Alfaro, February 15 – March 5, 2023. See website for other theatre events at the Magic. Marin Theatre Company Justice: A New Musical by Lauren Gunderson, February 16 – March 12, 2023. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) Getting There, Jan. 20 – Feb. 26. Tick, Tick … Boom March 3 – April 1, 2023. Oakland Theater Project.  Exodus to Eden by Michael Socrates Moran, in theater, February 3-26, 2023. Pear Theater. In Repertory, Frankenstein by Mary Shelley, a new physical adaptation, Dontrell Who Kissed The Sea by Nathan Alan Davis, February 3-26. 2023. PianoFight. Calendar of shows. PlayGround. See website for upcoming shows. Presidio Theatre. See website for upcoming productions Ray of Light: See website for upcoming productions. San Francisco Playhouse.  As You Like It, a musical adaptation of the play by William Shakespeare, November 17, 2022 – January 14, 2023. Cashed Out by Claude Jackson, Jr., January 28 0 February 25. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: Strange Courtesies by L. Peter Callender February 1 – 26, 2023. Shotgun Players. Natasha, Pierre & the Great Comet of 1812 by Dave Malloy. Extended to February 25, 2023. South Bay Musical Theatre: The Spitfire Grill, January 28-February 18, 2023. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. In Every Generation, by Ali Viterbi, January 18 – February 12, Mountain View Center for the Arts. Word for Word. Staged Reading: Two Stories by Toni Cade Bambara, January 23, 7 pm, Z Below. See schedule for additional live and streaming works. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Playbill List of Streaming Theatre: Updated weekly, this is probably the best list you'll find of national and international streaming plays and musicals. Each week has its own webpage, so scroll down. National Theatrical Streaming: Upcoming plays from around the country. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org             The post Bookwaves/Artwaves – January 12, 2023: Suzy McKee Charnas – Frank Galati appeared first on KPFA.

Frank Galati (1943-2023), who died on January 2, 2023 at the age of 79, was a giant in American theatre. A long-time member of the legendary Steppenwolf Theatre Company in Chicago, Frank Galati was winner of Tony Awards for the adaptation and direction of The Grapes of Wrath in 1990, was nominated for an Oscar for co-adapting The Accidental Tourist for the screen, and was the director of Ragtime and The Pirate Queen on Broadway. Frank Galati is also known for adapting several other works for stage and screen. Frank Galati was in the San Francisco Bay Area to direct a production of “Rhinoceros” by Eugene Ionesco at ACT's Geary Theatre, and it was in ACT's offices that this interview took place on May 22, 2019. “Rhinoceros” is considered to be one of the greatest works of political theatre of the absurd. Originally produced in the late 1950s, the play hearkens back to the origins of fascism and how propaganda infects the minds of citizens. At the end of the interview, Frank Galati discusses his upcoming project, a musical version of James Agee's “A Death in the Family,” with music and lyrics by Lynn Ahrens and Stephen Flaherty (Ragtime, A Man of No Importance). The show, titled “Knoxville” made its world premiere at the Asolo Repertory Company in Sarasota Florida in April 2022, and an original cast album was released digitally in October and on disc in November, 2022. First posted as a Bay Area Theater podcast on June 2, 2019. Photos: Richard Wolinsky.   The post Frank Galati (1943-2023), theatre director and librettist, 2019 appeared first on KPFA.

Dr. James Agee knows fire and is one of the nation's leading minds, voices, and advocates for its ecological use on the landscape. He's an emeritus professor of forest ecology at the College of Forest Resources at the University of Washington, Seattle. Before that, he was a forest ecologist and research biologist for the National Park Service in Seattle and San Francisco. Agee received his Ph.D. from the University of California, Berkeley, in 1973. He is the author of more than 100 technical reports and professional papers in forest and fire ecology, and he's got extensive experience with fire research and management in the Pacific Coast states. Today Dr. Agee makes a cogent argument for why — despite the incredible wildfires we've experienced in recent years — we are actually suffering from an under-sufficiency of fire on the North American landscape. Though these wildfires have taken many lives and caused unprecedented damage to people's homes, work, and health, they're caused, in part, by many decades of intentional fire suppression. While fire suppression, at first glance, seems like an obvious choice, counter-intuitively, it's actually out of synch with North American ecology, which developed in tandem with both wildfire and intentionally set and managed fires used by the continent's indigenous population for everything from warfare, to forest management to improving harvest and hunting grounds. The evidence is written into the life history of fire-adapted plants native to North America, and the evidence of these managed fires is a part of our ethnographic and archeological record. But, the Eurocentric mind, set loose upon this continent had other designs, and wild or intentionally set fire wasn't part of that. So, for decades, fires were suppressed even as fuel, once routinely burned off in large-scale fires, or gathered for use in campfires, has been allowed to accumulate. The result has been changes to the landscape that have diminished ecological productivity while at the same time becoming a recipe for disaster-level fires once they exceed our ability to suppress them. Experts like James Agee see fire as integral to a healthy, well-managed landscape, though — unfortunately — the public, policymakers, and the circumstances created by our modern culture of land ownership and use are slow to accept or allow this time-proven method. When we think about what really makes human beings different from other animals, we inevitably arrive at the domestication of fire. Ironic then, that we are destroying our own ecosystems, in part, by depriving them of it. Yet, this is the very situation we find ourselves in. And it's a topic we'd like to continue exploring here on this podcast. And who better to lead us into this conversation than Dr. James Agee. Someone who's spent their career studying fire ecology. View full show notes, including links to resources from this episode here: https://www.wild-fed.com/podcast/146

Welcome to the Season 4 finale! Our guest is Jean Thompson, author of many novels, former National Book Award finalist, and most recently the author of The Poet's House. This book explores the sordid lives and falsehoods of poets in California through the eyes of a young admirer, a woman entrenched in blue-collar life but fascinated by poetry. The book takes on the blurred lines of mentorship, the elitism of poetry, and the differences between loving writing and writers themselves. Jean chose a book first and foremost for its prose style, so unique and unlike a great deal of contemporary writing. James Agee's A Death in the Family, his posthumous Pulitzer prize winning masterpiece, takes the simple and magnifies it to Biblical proportions. The death of a family patriarch shatters the suburban ideals within, and we witness the internal and external carnage in one way or another. This is our season finale, but Your Favorite Book will be back in mid-august with more interviews. Stay tuned! Follow the show on instagram and twitter @yfbpodcast Buy Jean's book: https://bookshop.org/books/the-poet-s-house-9798200880980/9781643751566

A religious fanatic marries a gullible widow whose young children are reluctant to tell him where their real daddy hid the $10,000 he'd stolen in a robbery. Directed by Charles Laughton Written by James Agee @thedeadlightspod

The Earth Dies Streaming: Film Writing, 2002-2018 (N+1 Books, 2018) collects the best of A. S. Hamrah's film writing for n+1, The Baffler, Bookforum, Harper's, and other publications. Acerbic, insightful, hilarious, and damning, Hamrah's aphoristic capsule reviews and lucid career retrospectives of filmmakers and critics have taken up the mantle of serious American film criticism—pioneered by James Agee, Robert Warshow, and Pauline Kael—and carried it into the 21st century. Taken together, these reviews and essays represent some of the best film criticism in the English language. The Earth Dies Streaming showcases a remarkable critical intelligence while offering a cultural history of the cinema of our times. In this conversation with host Annie Berke, A. S. Hamrah discusses his influences as a critic, lays out the challenges and shortcomings of film criticism today, and explains the differences between film and television. Currently the film critic for The Baffler, A. S. Hamrah was n+1's film critic from 2008 to 2019, as well as the editor of the magazine's film review supplement. He has worked as a movie theater projectionist, a semiotic brand analyst, a political pollster, a football cinematographer, a zine writer, and for the film director Raúl Ruiz. He lives in New York. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. 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

The Earth Dies Streaming: Film Writing, 2002-2018 (N+1 Books, 2018) collects the best of A. S. Hamrah's film writing for n+1, The Baffler, Bookforum, Harper's, and other publications. Acerbic, insightful, hilarious, and damning, Hamrah's aphoristic capsule reviews and lucid career retrospectives of filmmakers and critics have taken up the mantle of serious American film criticism—pioneered by James Agee, Robert Warshow, and Pauline Kael—and carried it into the 21st century. Taken together, these reviews and essays represent some of the best film criticism in the English language. The Earth Dies Streaming showcases a remarkable critical intelligence while offering a cultural history of the cinema of our times. In this conversation with host Annie Berke, A. S. Hamrah discusses his influences as a critic, lays out the challenges and shortcomings of film criticism today, and explains the differences between film and television. Currently the film critic for The Baffler, A. S. Hamrah was n+1's film critic from 2008 to 2019, as well as the editor of the magazine's film review supplement. He has worked as a movie theater projectionist, a semiotic brand analyst, a political pollster, a football cinematographer, a zine writer, and for the film director Raúl Ruiz. He lives in New York. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Earth Dies Streaming: Film Writing, 2002-2018 (N+1 Books, 2018) collects the best of A. S. Hamrah's film writing for n+1, The Baffler, Bookforum, Harper's, and other publications. Acerbic, insightful, hilarious, and damning, Hamrah's aphoristic capsule reviews and lucid career retrospectives of filmmakers and critics have taken up the mantle of serious American film criticism—pioneered by James Agee, Robert Warshow, and Pauline Kael—and carried it into the 21st century. Taken together, these reviews and essays represent some of the best film criticism in the English language. The Earth Dies Streaming showcases a remarkable critical intelligence while offering a cultural history of the cinema of our times. In this conversation with host Annie Berke, A. S. Hamrah discusses his influences as a critic, lays out the challenges and shortcomings of film criticism today, and explains the differences between film and television. Currently the film critic for The Baffler, A. S. Hamrah was n+1's film critic from 2008 to 2019, as well as the editor of the magazine's film review supplement. He has worked as a movie theater projectionist, a semiotic brand analyst, a political pollster, a football cinematographer, a zine writer, and for the film director Raúl Ruiz. He lives in New York. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Earth Dies Streaming: Film Writing, 2002-2018 (N+1 Books, 2018) collects the best of A. S. Hamrah's film writing for n+1, The Baffler, Bookforum, Harper's, and other publications. Acerbic, insightful, hilarious, and damning, Hamrah's aphoristic capsule reviews and lucid career retrospectives of filmmakers and critics have taken up the mantle of serious American film criticism—pioneered by James Agee, Robert Warshow, and Pauline Kael—and carried it into the 21st century. Taken together, these reviews and essays represent some of the best film criticism in the English language. The Earth Dies Streaming showcases a remarkable critical intelligence while offering a cultural history of the cinema of our times. In this conversation with host Annie Berke, A. S. Hamrah discusses his influences as a critic, lays out the challenges and shortcomings of film criticism today, and explains the differences between film and television. Currently the film critic for The Baffler, A. S. Hamrah was n+1's film critic from 2008 to 2019, as well as the editor of the magazine's film review supplement. He has worked as a movie theater projectionist, a semiotic brand analyst, a political pollster, a football cinematographer, a zine writer, and for the film director Raúl Ruiz. He lives in New York. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Three episodes left! Whoa! In our third-to-last episode, Rachel gets in a little Twitter fight, but shows some personal growth. Walls has some exciting career news that has her both relieved and nervous at the same time. Walls shares the ways she's realized she likes to be comforted. Rachel fantasizes about what she'd do with an obscene amount of money. Walls recommends some towels that will have you feeling like heaven at an accessible price. Rachel recommends two pieces of art (one poem, and one poem set to an orchestral piece) that just might have you feeling something grand. What would you do with an obscene amount of wealth? Have you figured out yet how you like to be comforted? Let us know on Instagram and Twitter. Emails and voice memos are welcome at withrachelandwalls@gmail.com! Supporters! THANK YOU! To join them, tap the "Support" button here. Music by Royer Bockus LINKS Get your very own comfy and quick drying Casaluna waffle towels from Target Read "The Windhover," a beautiful poem by Gerard Manley Hopkins Listen to Dawn Upshaw perform Samuel Barber's orchestral adaptation of the James Agee poem, "Knoxville: Summer of 1915" Follow along to the words in the libretto for "Knoxville: Summer of 1915," excerpted from James Agee's prose poem of the same name --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/withrachelandwalls/support

"Everything that is is holy." Translation: CLAIRE IS BACK!!!!!!

A risky kayak portion of the Te Araroa up the Waikare Inlet in the Bay of Islands leaves the Blissful Hiker wondering if, in the words of James Agee, kindness watches for her.In this episode: The Blissful Hiker takes her first "zero" day – walking no miles – in Kaeo and tries green-lipped mussels and Whangaroa oysters for the first time. She gets care for her infected pink eye picked up on "Conjunctivitis Coast," the Ninety Mile Beach in straight line winds.Nervous on her first day hiking alone, she immediately loses her trail notes.In Pahia, she rents a kayak and paddles with four hikers who take off, leaving her behind and bereft. A night of star-filled wonder and new creatures humming and buzzing in the bush remind her she came here to challenge herself and that includes being vulnerable to fear and rejection.Sure on this shining nightOf starmade shadows round,Kindness must watch for meThis side the ground. –James AgeeMUSIC: Suite by Ernst Krenek as played by Alison Young, flute and the Bohuslav Martinu Philharmonic and Charles Johnsonavailable on iTunesSupport the show (https://www.patreon.com/blissfulhiker)