Podcast appearances and mentions of Janet Frame

Giovanna Scocchera"Fammi un indovinello"Tillie OlsenMarietti1820 Editorewww.mariettieditore.itPubblicati per la prima volta nel 1961, i racconti contenuti in Fammi un indovinello sono diventati un classico della letteratura nordamericana del Novecento. Un'opera snella ma potente, che per la prima volta esplorava temi vicini alle donne della working class, problemi comuni fin lì mai detti o rimasti inascoltati: la maternità delle madri single, il legame madre-figlia, il rapporto coniugale della vecchiaia, dentro un mondo narrativo che coglie senza indulgenza tutta la desolazione della realtà contemporanea, l'oppressione, la miseria, ma anche la forza positiva del ricordo, della ricerca del sé e della sua realizzazione. Con una scrittura sferzante e pungente, Tillie Olsen tratteggia con implacabile compassione e profonda pietà le storie di uomini e donne, vecchi e bambini, bianchi e neri colti nelle vicissitudini dell'esistenza. Sono storie di solitudine, pregiudizi, violenza, frustrazioni, ma anche amicizia, cura e solidarietà, scritte in una prosa densa, viva, e che spezza il cuore.Tillie Lerner Olsen (1912-2007) è figlia di ebrei russi di militanza socialista, immigrati negli Stati Uniti agli inizi del Novecento. A vent'anni, già membro della Lega dei giovani comunisti, ha la prima figlia, che chiama Karla in onore di Karl Marx, da un uomo che l'abbandona subito dopo. È costretta, quindi, a lavorare senza sosta per il sostentamento della famiglia. Fa la cameriera, la lavandaia, l'operaia, la saldatrice. Partecipa al nascente movimento sindacale nella San Francisco degli anni Trenta, dove incontra il suo futuro marito, Jack Olsen, con cui ha altre tre figlie. Sono gli anni di un intenso attivismo che le costa, nel periodo maccartista, due arresti e la sorveglianza da parte dell'FBI. Solo nel 1955 grazie a una borsa di studio a Stanford, e con le figlie ormai cresciute, può dedicarsi alla scrittura, che aveva amato da sempre ma frequentato in modo solo frammentario. Nel 1961 esce Tell Me a Riddle che la consacra al successo. Nel 1974 pubblica Yonnondio, un romanzo cominciato quarant'anni prima, e nel 1978, infine, la raccolta di saggi Silences, in cui indaga la letteratura delle donne e della classe operaia. Con una produzione attenta ai temi del lavoro, della condizione femminile e della militanza politico-sociale, Tillie Olsen diventa una voce libera, potente e pluripremiata della letteratura nordamericana del XX secolo.Giovanna Scocchera vive ad Ancona e traduce narrativa dall'inglese da oltre vent'anni (Chuck Kinder, Mavis Gallant, Richard Mason, Amanda Davis, Janet Frame, Tillie Olsen, Richard Matheson fra gli altri). Al lavoro di traduzione e revisione affianca la conduzione di seminari e laboratori in entrambi gli ambiti. Nel 2018 ha vinto il Premio Nini Agosti Castellani per la sua traduzione di Lo sport dei re di C. E. Morgan (Einaudi).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Silvia Nanclares entra en la Biblioteca de Hoy por Hoy con 'Nunca voló tan alto tu televisor'  (Lengua de Trapo y Círculo de Bellas Artes) donde nos cuenta la transición desde un barrio de Madrid, Moratalaz, y desde la televisión pública de aquellos años.  Y en el centro el Pirulí, Torrespaña, esa antena gigante, casi marciana, que se construyó en 1982 con motivo del Mundial 82 de fútbol, y se convirtió en el horizonte de un barrio obrero que se creó de la nada en los años finales del franquismo. Es una delicia de novela de una época que solo contarla es pura fantasía. La autora madrileña nos dejó además dos libros más que le han marcado en su vida: 'Un ángel en mi mesa' de Janet Frame (Seix Barral) y 'El nudo materno' de Jane Lazarre (Las Afueras). Pero los primeros libros que hoy entraron en la Biblioteca de Hoy por Hoy  han sido de Mario Vargas LLosa, cinco novelas del autor hispanoperuano que para nuestro bibliotecario Antonio Martínez Asensio son imprescindibles y todas están publicadas por Alfaguara:  'La casa verde' , 'Conversación en la catedral' , 'La tía julia y el escribidor' ,  'La guerra del fin del mundo'  y "La fiesta del chivo". Martínez Asensio , además de novelas de Vargas Llosa,  nos ha traído el libro que contará en su programa 'Un libro una hora'  que será 'El príncipe destronado' de Miguel Delibes (Destino) . Las novedades de la semana que trajo el empleado de la Biblioteca de Hoy por Hoy, Pepe Rubio, fueron 'El ataque de las cabras" de Laura Chivite (Random House) y 'Recochura' de Rosa Navarro (Bala Perdida). Pascual Donate rescató entre los libros abandonados en la redacción de la SER una joya literaria gallega y en gallego de  Rosalía de Castro,  'Cantares gallegos', en una edición especial de la Fundación Rosalía de Castro. Y por último las donaciones de los oyentes que fueron: 'Diccionario de las palabras olvidadas' de Pip Williams (Maeva),  'Los vencejos' de Fernando Aranburu (Tusquets) , 'Los Lobos' de  Hans Hellmut Kirst (Almuzara) y tocos los libros de la saga del 'Doctor Mascarell' de Jordi Sierra i Fabra , todos editados por Plaza y Janés. 

This podcast was recorded at the Janet Frame Memorial Lecture, given by the NZSA President of Honour 2024 Barbara Else in November 2024 as part of the Verb Festival, Wellington. The prestigious position of NZSA President of Honour, is bestowed on a senior writer and long-serving member in recognition of their contribution to writing and writers and the literary arts sector in Aotearoa.

Today marks 100 years since the birth of one of our most beloved authors: Janet Frame.

Writer, editor and critic Catherine Taylor joins Emile Donovan to reflect on the work and legacy of the acclaimed author.

Radical Feminist Retrospective revisits earlier episodes of Radical Feminist Perspectives now available on Spotify for the first time. Episode 54 - Of Janet Frame and Angels, discussed by Laila Namdarkhan. First broadcast 30th April 2023. Part of our webinar series Radical Feminist Perspectives, offering a chance to hear leading feminists discuss radical feminist theory and politics. Register at https://bit.ly/registerRFP.

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. 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

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Committed: On Meaning and Madwomen (Vintage, 2024) is a critical memoir about women, reading, and mental illness. When Suzanne Scanlon was a student at Barnard in the 90s, grieving the loss of her mother—feeling untethered and swimming through inarticulable pain—she made a suicide attempt that landed her in the New York State Psychiatric Institute. After nearly three years and countless experimental treatments, Suzanne left the ward on shaky legs.  In the decades after, Suzanne came to understand her suffering as part of something larger: a long tradition of women whose complicated and compromised stories of self-actualization are reduced to “crazy chick” and “madwoman” narratives. She searched for more books, more woman writers, as the journey of her life converged with her journey through the literature that shaped her. Committed is a story of discovery and of questioning linear and neat ideas of recovery. It reclaims the idea of the madwoman as a template for insight and transcendence through the works of Audre Lorde, Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Janet Frame, Shulamith Firestone, and others. Suzanne Scanlon is the author of the memoir Committed, which was recently published with from Vintage in Spring 2024. She is also the author of two works of fiction, Promising Young Women (Dorothy, 2012) and Her 37th Year, An Index (Noemi, 2015). Her writing has appeared in Granta, BOMB, Fence, The Iowa Review, Electric Literature's Recommended Reading, Los Angeles Review of Books, The Millions, and elsewhere. Scanlon has a BA from Barnard College and both an MFA and an MA from Northwestern University. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we discuss the journey of author Janet Frame in Jane Campion's biographical drama An Angel at My Table, starring Alexia Keogh, Karen Fergusson, and Kerry Fox.Plus: Season Two of The Jinx, and the time Stanley Tucci took James to a Yankees game.LINKS:Trailer for An Angel at My TableTrailer for season two of The JinxDr McCoy treats a patient in Star Trek IV: The Voyage Home

On this week's show, the hosts begin by jumping into Furiosa: A Mad Max Saga, a prequel to George Miller's 2015 Fury Road, in which Anya Taylor-Joy stars as Furiosa, an arachnid beauty who's stolen as a child and becomes a wasteland road warrior. She's a “strong, silent type,” typical of the action film genre, but does that trope mean something different with a female protagonist in 2024? The panel discusses. (Read Dana's review of Furiosa!) Then, the three chat Hit Man, Richard Linklater's latest starring Glen Powell as Gary Johnson, a college professor who moonlights as a fake gunman for hire. It's a delightful rom-com tucked within a thriller—a romantic thriller, if you will–that manages to feel like a hangout film despite its ridiculous premise. (Read Dana's review of Hat Man!) Finally, ScarJo or FauxJo? Tech journalist and author of Blood in the Machine: The Origins of the Rebellion Against Big Tech Brian Merchant joins the panel to parse through Silicon's Valley's latest scandal: Scarlett Johansson accusing ChatGPT of stealing her voice for its new interface program. (Read Brian's newsletter about it!) In the exclusive slate Plus segment, the hosts answer an excellent listener question from Michael Schulman: What fictional works of art-within-the-art would you most want to see on their own? Email us at culturefest@slate.com.  Endorsements: Dana: An interview between Richard Linklater and Skip Hollandsworth, whose stories Linklater adapted in the films Bernie and Hit Man, for Texas Monthly.  Julia: Monopoly Deal, a well-designed family card game.  Stephen: A poem by Janet Frame, “Scarlet Tanager, Saratoga Springs” which was featured on the Yumi Zouma song, “Lie Like You Want Me Back - Alternative Version.” Podcast production by Jessamine Molli. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, the hosts begin by jumping into Furiosa: A Mad Max Saga, a prequel to George Miller's 2015 Fury Road, in which Anya Taylor-Joy stars as Furiosa, an arachnid beauty who's stolen as a child and becomes a wasteland road warrior. She's a “strong, silent type,” typical of the action film genre, but does that trope mean something different with a female protagonist in 2024? The panel discusses. (Read Dana's review of Furiosa!) Then, the three chat Hit Man, Richard Linklater's latest starring Glen Powell as Gary Johnson, a college professor who moonlights as a fake gunman for hire. It's a delightful rom-com tucked within a thriller—a romantic thriller, if you will–that manages to feel like a hangout film despite its ridiculous premise. (Read Dana's review of Hat Man!) Finally, ScarJo or FauxJo? Tech journalist and author of Blood in the Machine: The Origins of the Rebellion Against Big Tech Brian Merchant joins the panel to parse through Silicon's Valley's latest scandal: Scarlett Johansson accusing ChatGPT of stealing her voice for its new interface program. (Read Brian's newsletter about it!) In the exclusive slate Plus segment, the hosts answer an excellent listener question from Michael Schulman: What fictional works of art-within-the-art would you most want to see on their own? Email us at culturefest@slate.com.  Endorsements: Dana: An interview between Richard Linklater and Skip Hollandsworth, whose stories Linklater adapted in the films Bernie and Hit Man, for Texas Monthly.  Julia: Monopoly Deal, a well-designed family card game.  Stephen: A poem by Janet Frame, “Scarlet Tanager, Saratoga Springs” which was featured on the Yumi Zouma song, “Lie Like You Want Me Back - Alternative Version.” Podcast production by Jessamine Molli. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

Eleanor Cave previews the Jane Campion movie about Kiwi author Janet Frame called An Angel at My Table, screening at State Cinemas Nelson on Wednesday May 08 at 6pm.

In questo episodio, Carla incontra Antonella Sarti Evans insegnante, scrittrice e traduttrice. Antonella ha oltre 25 anni di esperienza in traduzione letteraria specializzata di opere di scrittori e poeti neozelandesi. Ha fatto conoscere al pubblico italiano importanti autori come Hone Tuwhare, Janet Frame, Patricia Grace ed ha curato la prima raccolta in italiano di poetesse māori contemporanee: "Matariki: sciame di stelle". Di ultimissima pubblicazione è Let It Rain – E ua te ua - Tukuna ki te Mārama: pionieristica antologia poetica in traduzione multilingue (te reo, italiano, francese e giapponese) che presenta trenta autori da Aotearoa, per la maggior parte Māori e Pasifika. Antonella racconta il percorso del suo legame con NZ, dove era venuta per la prima volta nel 1994 con un incarico all'Università Victoria come tutor in italiano. Esperienza lei dice "splendida” dal punto di vista formativo, culturale, sociale dove conosce scrittori e autori contemporanei. Poi qui ci lascia il cuore e seguono 30 anni di vicende personali e professionali che vi invitiamo ad ascoltare dalla sua voce in questo episodio. https://antonellasartievans.net Ringraziamo gli sponsor di questo episodio, il MAECI, Ministero Affari Esteri e Cooperazione Internazionale  https://www.esteri.it/it/ e la Società Dante Alighieri di Auckland www.dante.org.nz

Josie tells Taylor about the life and letters of New Zealand writer Janet Frame, who was scheduled for a lobotomy when her debut book won a national prize. Plus: keeping it Kiwi with a report back from Josie and Mitchell's van life honeymoon on New Zealand's South Island.

This podcast was recorded at the Janet Frame Memorial Lecture, given by the NZSA President of Honour 2022-2023, Witi Ihimaera-Smiler in November 2023. The prestigious position of NZSA President of Honour, is bestowed on a senior writer and long-serving member in recognition of their contribution to writing and writers and the literary arts sector in Aotearoa.

Film and TV reviewer Laumata Lauano joins Kathryn to talk about season two of Kiwi comedian Pax Assadi's Raised by Refugees, The Strangest of Angels - a film by New Zealand Opera about the life of Janet Frame and Totally Killer, a time-travelling slasher movie.

A jar of quince jam is up for auction on Trade Me, and it's part of a fundraising effort to transform writer Janet Frame's childhood home into a globally recognised visitor's centre. Chloe Searle, the chief executive of the Trust looking after the property.

A campaign to convert the garage of one of New Zealand's most renowned authors into a visitor centre has got the support of former prime minister Helen Clark and filmmaker Jane Campion. The late Janet Frame's childhood home in Omaru is already a musuem - preserved like it would've been when she was a child. But now her trust wants to go a step further in preserving her legacy. Janet Frame Eden Street Trust chair Chloe Searle spoke to Ingrid Hipkiss.

Temos convidado! O Lourenço arrisca tudo num filme que nunca tinha visto e fecha FRUTA MADURA, ciclo sobre coming of age. Damos os nossos props à tia Campion pela adaptação da trilogia de autobiografias da escritora Janet Frame, e ventilamos algum ódio sobre coisas várias. Pelo bem da nossa saúde mental, claro. Há ainda recomendações para cortar filmes clássicos com obras mainstream de chachada, e acabamos a desfiar coisas sobre filmes tugas recentes. Um episódio cheio.

V senci nekaterih dreves se začenja 19. Knjižnica pod krošnjami. Koordinatorka in vodja Gaja Naja Rojec v branje priporoča delo Janet Frame z naslovom Vstopate v človeško srce.

Escritora, poeta, autora do blog “Horas extraordinárias”, editora e casada com um editor. Precisava de mais uma horas de conversa para tantas histórias que a Maria do Rosário tem para contar. Não é qualquer pessoa que pode dizer que arranjou o peixe ao Paul Auster e jantou também com a Agustina Bessa-Luís, uau. E tantas obras maravilhosas que foram faladas nesta conversa, que recomendo. Livros que a convidada desta semana escolheu: O amante, Marguerite Duras; Barragem contra o pacífico, Marguerite Duras; Nada a temer, Julian Barnes; O engano, Philip Roth; A estrada, Corman McCarthy; Lila, Marylin Robinson. O que ofereci: Amor & Compª, Julian Barnes. Poetas favoritos: Eugénio de Andrade (centenário) William Butler Yeats Outras referências: O perigo de estar no seu perfeito juízo, Rosa Montero; Um anjo à minha mesa, Janet Frame; Matilda, Roald Dahl; O paciente inglês, Michael Ondaatje; A mancha humana, Philip Roth; Olive Kitteridge, Elisabeth Strout; Lucy Barton, Elisabeth Strout; O Mar, John Banville; A cadela, Pilar Quintana. Sugestões minhas: A história de Roma, Joana Bértholo; A mais secreta memória dos homens, Mohamed MBougar Sarr; Os abismos, Pilar Quintana.

UPPLÄSNING: Monica Wilderoth ÖVERSÄTTNING: Jonas Ellerström och Elisabeth Mansén DIKTSAMLING: Hungrig bland orden (Ellerströms 2015)MUSIK: Johann Sebastian Bach: Preludium ur Solocellosvit nr 1 G-dur, arr för lutaEXEKUTÖR: Peter Croton, luta

This podcast was recorded at the Janet Frame Memorial Lecture, given by the NZSA President of Honour 2021-2022, Tessa Duder in May 2022. The prestigious position of NZSA President of Honour, is bestowed on a senior writer and long-serving member in recognition of their contribution to writing and writers and the literary arts sector in Aotearoa. Tessa Duder has been a champion of children's and young adult writing in Aotearoa for 40 years through many literary organisations, including being a past President of NZSA. She has been widely recognized for her writing and advocacy; Tessa is a Companion of the New Zealand Order of Merit, she has won the Prime Minister's Award for Literary Achievement, the Katherine Mansfield Menton Fellowship, The Storylines Margaret Mahy Medal, and numerous awards for her books and writing.

Writer Janet Frame's time at Seacliff Mental Hospital in the 1940s and 50s has provided inspiration for a new operatic work premiering in Christchurch this month. 

Nel quarto episodio della serie Appartenenza e Identità seguiamo Miriam, Francesca e Carla in una serie di riflessioni sul rapporto lingua, cultura ed identità. La capacità di parlare è una forma primaria di identità. La lingua madre è la fonte di identificazione con la persona che ci ha messi al modo e con la collettività della famiglia e della società attorno. La lingua influenza il modo in cui vediamo il mondo, come lo descriviamo e come esistiamo in quel mondo. La lingua determina come esprimiamo la nostra identità nel rapporto con gli altri e come comunichiamo la nostra individualità. Per chi compie un'emigrazione in un paese di lingua diversa da quella madre, il percorso verso una nuova competenza linguistica diventa un obiettivo importante. Non solo per l'inserimento lavorativo e sociale ma anche per il proprio senso di identità e individualità. La ridotta capacità di esprimere aspetti di sé stessi può attivare insicurezze e isolamento. Il percorso trans-culturale è complesso ma se la lingua determina la nostra visione del mondo, il bilinguismo estende la nostra capacità di vederlo e di capirlo.  Le voci di questa puntata sono: Francesca Benocci, dottorato in Scienza della Traduzione, ha curato la traduzione italiana di Wāhine, antologia di poetesse neozelandesi contemporanee e Parleranno le Tempeste poesie di Janet Frame; Miriam Sessa attivista, educatrice e psicoterapeuta; Carla Rotondo celebrante e conduttrice di Ondazzurra. Ringraziamo lo sponsor di questo episodio, il Ministry for Ethnic Communities www.ethniccommunities.govt.nz Ondazzurra è in diretta ogni domenica alle 11.20 su 104.6 FM  

Dana Stevens (Slate.com / Her new Buster Keaton biography “Cameraman”) returns to the pod to *literally* wax poetic about the literary coming-of-age story “An Angel At My Table”. The film is an intimate, often heartbreaking saga of a woman discovering her own creative voice…and yes, the woman just happens to look like Little Orphan Annie. The gang discusses the film within the context of other films that show age progression through the casting of multiple actors; the context of films that depict mental illness; and the context of small redheaded children with very curly, almost spherical hair, who may or may not have hard knock lives. Plus - possibly our most obscure box office game yet, and some genuine Janet Frame poetry reading! This episode is sponsored by: Brooklinen (CODE: BLANKCHECK) Bombas (bombas.com/check) Indeed (indeed.com/check) Join our Patreon at patreon.com/blankcheck Follow us @blankcheckpod on Twitter and Instagram! Buy some real nerdy merch at shopblankcheckpod.myshopify.com

Paula is back for the last regular episode of the year and we talk about biography, books from the backlist, and books from countries we don't know much about.Download or listen via this link: Reading Envy 235: Nature of Humanity Subscribe to the podcast via this link: FeedburnerOr subscribe via Apple Podcasts by clicking: SubscribeOr listen through TuneIn Or listen on Google Play Or listen via StitcherOr listen through Spotify Or listen through Google Podcasts Books discussed:Wrestling with the Angel by Michael KingOpen Water by Caleb Azumah NelsonThe Owl Service by Alan GarnerSovietistan by Erika Fatland, translated by Kari DicksonChronicle in Stone by Ismaeil Kedare, translated by Arshi Pipa and David BelowOther mentions: Braiding Sweetgrass by Robin Wall KimmererAn Angel at My Table by Janet FrameFaces in the Water by Janet FrameNormal People by Sally RooneySmall Island by Andrea LevyThe Swing in the Summerhouse by Jane LongtonThe Border by Erika FatlandThe Unwomanly Face of War by Svetlana AlexievichLolly Willowes by Sylvia Townsend WarnerA Walk in the Woods by Bill BrysonEmbers by Sandor MaraiRelated episodes: Episode 045 - Worlds Collide with Ross O'BrienEpisode 119 - Bread and Butter Writing with Paula Episode 154 - Is If If with PaulaEpisode 187 - Sentient Snails and Spaceships with PaulaEpisode 210 - Reading Goals 2021Episode 231 - Psychological Terrorism with Reggie Episode 234 - Punctuation Marks with NadineStalk us online:Jenny at GoodreadsJenny on TwitterJenny is @readingenvy on Instagram and Litsy Paula is @centique on Litsy All links to books are through Bookshop.org, where I am an affiliate. I wanted more money to go to the actual publishers and authors. I link to Amazon when a book is not listed with Bookshop.

Idag bjuder vi på ett porträtt av filmregissören Jane Campion, en mästare på att skildra tystnad i film. Vi har också sett hennes senaste film, "The power of the dog". BOKEN OM HILDEBRAND BESKRIVER EN TYSTNADSKULTURI den nya boken "G som i gärningsman" av Sören Karlsson och Deanne Rauscher framkommer att filmregissören Staffan Hildebrand utnyttjat unga pojkar sexuellt. P1 Kulturs kritiker Felicia Frithiof har läst boken och berättar hur författarna tecknar en bild av en tystnadskultur som möjliggjorde övergreppen.INGET NYTT I DOKUMENTÄREN "PRIZE OF SILENCE" OM JEAN-CLAUDE ARNAULT OCH SVENSKA AKADEMIENHösten 2017 vittnade 18 kvinnor i Dagens Nyheter om att de kränkts sexuellt av den s k kulturprofilen. En publicering som ledde till såväl rättsliga följder som att Svenska Akademien rämnade av inre motsättningar. På söndag är det premiär för en ny dokumentärserie om händelseförloppet, "Prize of silence", som visas på Viaplay. Vår kritiker Gunnar Bolin har tjuvtittat och är inte imponerad.VI ÅKER TILL OSLO OCH LUKTAR PÅ KONSTENKan man lukta sig fram till konstnärlig kvalitet? På konstmuseet Astrup-Faernley i Oslo visas just nu en utställning som kretsar kring luktsinnet. Det är konstnären Sissel Tolaas som utforskat dofternas värld i nästan 30 års tid och nu fått sin hittills största utställning här. P1 Kulturs konstkritiker Mårten Arndtzén åkte till Oslo för att sniffa kultur. SKRIVANDET VAR HENNES BILJETT UT FRÅN MENTALSJUKHUSETDagens klassikeressä handlar om författaren Janet Frame och hennes självbiografiska trilogi "En ängel vid mitt bord", tecknad av Anneli Dufva. Där beskrivs bl a filmregissören Jane Campions möten med Janet Frame, och hur Campion efter Janet Frames död 2004 beskrev henne med orden: "Hon var inte ensam, hon var fri."

Känd blev Janet Frame med sin självbiografiska trilogi som brukar kallas En ängel vid mitt bord. Hon skrev den i början av 80-talet när hon återvänt till Nya Zeeland efter en tid i Europa. Lyssna på alla avsnitt i Sveriges Radio Play. "En ängel vid mitt bord" har också filmatiserats av Jane Campion 1990. Framgången för filmen är en förklaring till att Janet Frames liv nästan är mer känt än hennes verk.Författaren Janet Frame föddes 1924 på Nya Zeeland och växte upp under enkla omständigheter. Hon var studiebegåvad och fick stipendium för att studera till lärare, blev färdig med studierna men fick aldrig något lärarjobb.Istället blev hon felaktigt diagnostiserad med schizofreni och kom att tillbringa åtta år på mentalsjukhus. Under den tiden skrev hon sin första novellsamling - "Lagunen" - vilken också gav henne ett litterärt pris, något som i sin tur bidrog till att hon så småningom blev utskriven från sjukhuset.Hon nämndes ofta som en kandidat till Nobelpriset i litteratur, men hon dog 2004 och hann aldrig få det.Anneli Dufva har gjort dagens Klassiker, där vi bland annat hör Janet Frame själv i en intervju gjord av radion på Nya Zeeland på 80-talet.En Klassiker från 2010.

Känd blev Janet Frame med sin självbiografiska trilogi som brukar kallas En ängel vid mitt bord. Hon skrev den i början av 80-talet när hon återvänt till Nya Zeeland efter en tid i Europa. Lyssna på alla avsnitt i Sveriges Radio Play. "En ängel vid mitt bord" har också filmatiserats av Jane Campion 1990. Framgången för filmen är en förklaring till att Janet Frames liv nästan är mer känt än hennes verk.Författaren Janet Frame föddes 1924 på Nya Zeeland och växte upp under enkla omständigheter. Hon var studiebegåvad och fick stipendium för att studera till lärare, blev färdig med studierna men fick aldrig något lärarjobb.Istället blev hon felaktigt diagnostiserad med schizofreni och kom att tillbringa åtta år på mentalsjukhus. Under den tiden skrev hon sin första novellsamling - "Lagunen" - vilken också gav henne ett litterärt pris, något som i sin tur bidrog till att hon så småningom blev utskriven från sjukhuset.Hon nämndes ofta som en kandidat till Nobelpriset i litteratur, men hon dog 2004 och hann aldrig få det.Anneli Dufva har gjort dagens Klassiker, där vi bland annat hör Janet Frame själv i en intervju gjord av radion på Nya Zeeland på 80-talet.En Klassiker från 2010.

Känd blev Janet Frame med sin självbiografiska trilogi som brukar kallas "En ängel vid mitt bord". Hon skrev den i början av 80-talet när hon återvänt till Nya Zeeland efter en tid i Europa. "En ängel vid mitt bord" har också filmatiserats av Jane Campion 1990. Framgången för filmen är en förklaring till att Janet Frames liv nästan är mer känt än hennes verk.Författaren Janet Frame föddes 1924 på Nya Zeeland och växte upp under enkla omständigheter. Hon var studiebegåvad och fick stipendium för att studera till lärare, blev färdig med studierna men fick aldrig något lärarjobb.Istället blev hon felaktigt diagnostiserad med schizofreni och kom att tillbringa åtta år på mentalsjukhus. Under den tiden skrev hon sin första novellsamling - "Lagunen" - vilken också gav henne ett litterärt pris, något som i sin tur bidrog till att hon så småningom blev utskriven från sjukhuset.Hon nämndes ofta som en kandidat till Nobelpriset i litteratur, men hon dog 2004 och hann aldrig få det.Anneli Dufva har gjort dagens Klassiker, där vi bland annat hör Janet Frame själv i en intervju gjord av radion på Nya Zeeland på 80-talet.En Klassiker från 2010.

Secondo episodio della serie Appartenenza e identità, alla scoperta di “cosa significa essere italiani in Aotearoa”. Questo episodio tratta di emozioni e cultura, ovvero di come le emozioni vengono espresse ed interpretate in contesti culturali diversi. Le emozioni sono espressioni del proprio stato interiore, che comprende sensazioni, sentimenti, cambiamenti d'umore, aspetti psicologici e fisiologici….un complesso insieme che influenza il pensiero e il comportamento. Ogni persona ha una struttura emotiva che si forma nel contesto della sua cultura d'origine e che può eventualmente cambiare, evolversi, adattarsi ai codici espressivi di un contesto culturale diverso. Andando a vivere in un paese nuovo si affrontano, più o meno consciamente, molte di queste transizioni emotive. Possono riguardare la percezione dello spazio personale, l'intensità opportuna nel discutere opinioni, la fisicità dei contatti, il modo di esprimere l'affetto e l'amicizia, l'enfasi linguistica nell'esprimere emozioni. Queste e altre riflessioni emergono da una vivace conversazione a tre voci tra Miriam Sessa, psicoterapeuta, educatrice e attivista, Francesca Benocci, traduttrice letteraria in italiano di Janet Frame e poetesse māori, e Carla Rotondo, voce ufficiale di Ondazzurra, Celebrante e specialista di nuoto a lunga distanza in mare aperto. Ringraziamo lo sponsor di questo episodio, il Ministry for Ethnic Communities www.ethniccommunities.govt.nz Ondazzurra è in diretta ogni domenica alle 11.20 su 104.6 FM

Critics Inkoo Kang and Daniel Schroeder are joined by The Wrap's Alonso Duralde to discuss An Angel at My Table, Jane Campion's 1990 biopic of New Zealand writer Janet Frame. We discuss the changing nature of biopics, the ways "madwomen" have been silenced in past and present, and very dirty children.Email us at allaboutfilmpod@gmail.com

Foxton-born author Meg Mason would be forgiven for feeling like the last 12 or so months have passed in a blur. Although it was her second novel (and third book overall), the release of Sorrow and Bliss in September 2020 launched Mason into the international literary stratosphere. 

Die neuseeländische Autorin Janet Frame steht heute im Zentrum unserer Erinnerungsreihe "Die Überlesenen". Janet Frame führte ein zurückgezogenes Leben. Vor 30 Jahren allerdings stand sie plötzlich im besonderen Licht der Öffentlichkeit, weil ihre Autobiographie "Ein Engel an meiner Tafel" prominent für das Kino verfilmt wurde. Manuela Reichart stellt die Autorin vor.

Music and poetry are almost always part of the opening night of Going West, and this performance from 2017 brought the two together in a remarkable set of spoken and sung poetry and jazz - Small Holes In The Silence. The poems performed, in order are: Rain by Hone Tuwhare Warehouse Curtains by Bill Manhire Wild Iron by Allen Curnow - By kind permission of Tim Curnow Blue Rain by Alistair Campbell - Copyright © the Estate of Alistair Campbell I Met a Man by Janet Frame - By kind permission of the copyright owner The Janet Frame Literary Trust. Buddhist Rain by David Mitchell Yellow Room by David Mitchell 1950s by Bill Manhire Making Baby Float by Norman Meehan Live on stage in Henderson, Bill Manhire reads a selection of classic New Zealand poems with accompaniment by a jazz ensemble including Norman Meehan on piano, Hannah Griffin on vocals and Blair Latham on saxophone. While the performance takes its name, Small Holes In The Silence, from Hone Tuwhare's beloved poem Rain, Bill Manhire notes that “New Zealand's most famous, most loved, poem, owes itself to Spike Milligan”, as Tuwhare drew inspiration for the line from Milligan's poem There Are Holes In The Sky. -- Permission to set to music the poem I Met a Man from The Goose Bath (2006) by Janet Frame was granted courtesy of the copyright owner The Janet Frame Literary Trust. The Goose Bath has been reprinted in Storms Will Tell: Selected Poems by Janet Frame (Bloodaxe Books, 2008).

A collection of rare books is going under the hammer after a once-in-a-lifetime discovery by a New Zealand auctioneer. The books belonged to Lawrence Baigent and Robert Erwin, two pivotal figures in the country's mid-century cultural scene. Baigent was editor of the Caxton Press - the publisher of important poets and novelists like Janet Frame and James K Baxter. More than 100 lots are being bid for in an online auction which closes tonight. Charles Ninow is the head of art at Webb's Auction House. He spoke to Corin Dann.

A collection of rare books is going under the hammer after a once-in-a-lifetime discovery by a New Zealand auctioneer. The books belonged to Lawrence Baigent and Robert Erwin, two pivotal figures in the country's mid-century cultural scene. Baigent was editor of the Caxton Press - the publisher of important poets and novelists like Janet Frame and James K Baxter. More than 100 lots are being bid for in an online auction which closes tonight. Charles Ninow is the head of art at Webb's Auction House. He spoke to Corin Dann.

History is being made with a new collection of contemporary Maori women's poetry. Alongside the reo and English versions, the poems have been translated into Italian, Translation is a delicate and nuanced task. Get it wrong and it changes not just the words but the whole meaning of the original piece. But Antonella Sarti Evans has 25 years experience translating works by New Zealand authors - including Hone Tuwhare, Janet Frame and Patricia Grace - for Italian audiences. The new collection of translated poems by Aotearoa and Cook Island Maaori is called Matariki and it's published by a company in Rome. Lynn Freeman talks with Antonella Sarti Evans, and invites her to read one of the poems. Matariki, Sciame di Stelle (constellation swarm of stars): Poetesse Maori Contemporanee is translated by Antonella Sarti and published by Edizioni Ensemble, Rome.

An episode of 14:32 mins on the  comforts of poetry being read aloud and listening to poets reading their own poetry.The episode is a reading of three poems mentioned in the first part of the autobiographical trilogy by Janet Frame's 'An Angel at My Table'.'Out of the Cradle Endlessly Rocking ' -  the beginning, and into a little of the 'Once Paumanok' section, by Walt Whitman 'Meg Merrilies' by John Keats'The Old Grey Squirrel' by Alfred NoyesPlease see chapter markers to skip to each, if you'd like x**New** - just adding the donate button on 'Buy me a coffee' as recently found out about this! Any contributions towards coffees, pencils and cat treats... (& of course podcast/audio costs!) gratefully received x...............................................................................................................................................................................Please see more artwork, articles and info at www.rowenascotney.com Music by Chad Crouch www.soundofpicture.com - 'Wavy Glass'Artwork by Rowena ScotneyEpisode cover - 'Charley' - pastel sketchPodcast cover - 'Garden Robin' - feltingSupport the show (https://www.buymeacoffee.com/rowenascotney)

Hollywood leading man Gabriel Byrne has played some memorable roles in his prolific film career, but his new autobiography, Walking With Ghosts, could be considered his boldest and most dramatic work yet. 

Hollywood leading man Gabriel Byrne has played some memorable roles in his prolific film career, but his new autobiography, Walking With Ghosts, could be considered his boldest and most dramatic work yet. 

Ciclos de conferencias: ¿Por qué las Islas Baleares? (II). Ibiza: entre viajeros y turistas. Vicente Valero. En los primeros años 30 del siglo XX la isla de Ibiza sale de su anonimato para convertirse en un destino turístico internacional con unas características propias que han venido conformando, a lo largo de las décadas siguientes, un espacio singular y atractivo, bien diferenciado de otros destinos turísticos. Hasta los años 80, esta imagen singular de la isla se debe en gran parte al fruto del trabajo de numerosos escritores, pintores, arquitectos y fotógrafos que la visitaron y dieron su visión personal de ella. Entre estos viajeros destacan los nombres de Walter Benjamin, Albert Camus, Rafael Alberti, Emil Cioran, María Teresa León, Pierre Drieu La Rochelle, Jacques Prévert, Raoul Hausmann, Tristan Tzara, Josep Lluís Sert, Ignacio Aldecoa, Rafael Azcona, Harry Mulish, Wols, Janet Frame, Gisèle Freund... Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Do you ever feel like a failure? Enter widely acclaimed observer of daily life Professor Joe Moran, not to tell you that everything will be OK in the end, but to reassure you that failure is an occupational hazard of being human. 

Do you ever feel like a failure? Enter widely acclaimed observer of daily life Professor Joe Moran, not to tell you that everything will be OK in the end, but to reassure you that failure is an occupational hazard of being human. 

The art of translation as it relates to poetry is an intimate practice that varies from person to person, but still borrows certain precepts and common principles from other types of translation. This event, created in collaboration between write4word, La Libélula Vaga, Red Door and Kultivera, gathers translators, authors and lovers of poetry in translation to dig deeper into the subject. What is the purpose of translation? Why is it important in our time? Contributing to the discussion: Jonas Ellerström, Elizabeth Torres, Bengt Berg, clare e potter, Maria E Blanco; moderated by Aleisa Ribalta Guzmán and Dominic Williams. Bengt Berg was born and raised in Torsby, Sweden, in the forest and lake province of Varmland, near the Norwegian border and the 60th parallel, where he also lives and works. Bengt made his debut in 1974 with the poetry collection "Where the Dream Ends". He has written more than 30 books, mostly poetry. Poems by Bengt Berg have been translated into Nordic languages as well as Arabian, Hebrew, English, German, Dutch, Greek, Spanish, Turkish, Polish, Russian, Latvian, Vietnamese and Hindi. Since 1990 his publishing house Heidruns Forlag, has published 135 works -novels, books of poetry and art, translations of other works and reference books. Clare E. Potter is a Welsh speaking writer and performer who studied an MA in Afro-Caribbean literature in Mississippi and taught in New Orleans for a decade. Awards include two Literature Wales writing bursaries, the John Tripp Award for Spoken Poetry, and the Jim Criddle prize for celebrating the Welsh language. spilling histories (Cinnamon Press, 2006) will be followed by A Certain Darkness. clare has translated for the National Poet of Wales, was a Hay Festival Writer at Work, enjoys facilitating community projects and collaborating with jazz musicians. She’s currently researching the creative process for Threshold, a new poetry collection thanks to a Literature Wales bursary. Elizabeth Torres (Madam Neverstop) is a Colombian poet, multimedia artist, translator and speaker. Elizabeth resides in Copenhagen, where she works as a writer and translator, edits and published the Red Door magazine and curates the Red Door Gallery. She is host to the Red Transmissions Podcast, as well as project coordinator for other initiatives in Europe and abroad. 'Det usynlige sår/La herida invisible' (The invisible wound), a selection of her poetry was translated to Danish by Malene Boeck Thorborg and released by Det Poetiske Bureaus Forslag in November, 2019. Previous to that, 'En las Fauces del Olvido' (In the Jaws of Oblivion) was published in Puerto Rico by La Impresora, and then launched in Mexico and Guatemala, with additional presentations in Sweden, Finland, Germany and Denmark during 2017. The ways of the Firefly (German / English) (2020) Would You Like to Come Home? (German/English) (2021) Jonas Ellerström is an author, translator and publisher. He has most recently published 'Under tidens yta. En annorlunda svensk poesihistoria' (ellerströms, 2014)/A different Swedish poetry history (ellerströms, 2014) and Homesickness from the world. Essays on poetry/Hemlängtan ur världen. Essäer om poesi (Ariel, 2015). He regularly participates in Lyrikvännen and has translated poetry by, among others, Arthur Rimbaud, T S Eliot, William Blake, Richard Brautigan, Sylvia Plath, Joyce Carol Oates, Margaret Atwood and Janet Frame. Maria Elena Blanco is a Cuban poet, essayist and translator. Besides her activity as literature researcher, lecturer and critic, she has worked as U.N. translator since 1983, presently freelance. Poetry translator from English, French, Italian and German. Poetry: 'Posesión por pérdida' (1990), 'Alquímica memoria' (2001), 'Mitologuías. Homenaje a Matta' (2001), 'danubiomediterráneo /mittelmeerdonau' (2005), 'El amor incontable' (2008), 'Sobresalto al vacío' (2015) and several poetry anthologies. Essays: 'Asedios al texto literario' (literary analysis,1999) and 'Devoraciones. Ensayos de período especial' (Cuban culture and politics, 2016). Lives mainly in Vienna with seasonal stays in Chile.

This podcast was recorded at the 2020 Janet Frame Memorial Lecture, given by the NZSA President of Honour 2020-2021, Paula Morris. The prestigious position of NZSA President of Honour is bestowed on a senior writer and long-serving member in recognition of their contribution to writing and writers and the literary arts sector in Aotearoa. Paula Morris holds senior roles across the book industry and is generous in her mentoring and support for writers. She champions diverse voices and has many mentoring roles across groups of emerging and developing writers.

An episode of 7:34 mins, and a morning poem written in a few quiet moments after reading the short story, 'You are now entering the human heart' by Janet Frame.An intro and then the poem begins at 4 mins 47 secs**New** - just adding the donate button as recently found out about this! Any contributions towards coffees, pencils and cat treats (and podcast/audio costs) gratefully received :) if you like x...............................................................................................................................................................................Please see more artwork, articles and info at www.rowenascotney.com Music by Podington Bear www.soundofpicture.com - 'Marsh Wrens (Instrumental)'Artwork by Rowena ScotneyEpisode cover - 'Love Within' - intuitive paintingPodcast cover - 'Garden Robin' - feltingSupport the show (https://www.buymeacoffee.com/rowenascotney)

The author of Black Rabbit and co-owner of Sappho Books reads from and talks about his latest novel and its quirky characters, about the impact of 2020, about themes and his writing style, the inherent beauty of writing for oneself, the value of small publishers, his work-in-progress, the book he's reading and loving (Janet Frame's An Autobiography), and lots more. Angus' website: https://www.angusgaunt.com/ Facebook: https://www.facebook.com/angus.gaunt Sappho Books: https://www.sapphobooks.com.au/

An episode of 8:15 mins, and a poem just after midnight, whispering to me to get out of bed, put on the light, find a pencil and start writing x (Audio voice a little coldy/fluey!)This one wrote itself, too, beginning with words that emerged last Friday which inspired an intuitive painting - 'Leaping alive - into the green space'.Then two beautiful phrases and imagery by Janet Frame, a writer I've recently discovered and love - her short stories in 'The Daylight and the Dust' are luminous and beautiful, subtle, poignant and tender... 'Mr Paget's lawn shone like fur in the sun' &'The green minus-marks of grass' (after being cut with an old mower)both from the story 'The Winter Garden'.The poem is also about creativity, as a wild, warm-hearted and gentle creature... and how, if we can hear, we must listen in and honour and celebrate xNone of this was 'thought out' but I love how it flowed and was determined to be written, in the night hours. :)Poem begins at 4:24....................................................................................................Please see more artwork, articles and info at www.rowenascotney.com Music by Podington Bear www.soundofpicture.com - 'Wavy Glass'Artwork by Rowena ScotneyEpisode cover - 'Leaping alive - into the green space' - intuitive paintingPodcast cover - 'Garden Robin’ feltingSupport the show (https://www.buymeacoffee.com/rowenascotney)

The poems performed, in order, are: Rain by Hone Tuwhare  Warehouse Curtains by Bill Manhire Wild Iron by Allen Curnow - By kind permission of Tim Curnow Blue Rain by Alistair Campbell - Copyright © the Estate of Alistair Campbell I Met a Man by Janet Frame - By kind permission of the copyright owner The Janet Frame Literary Trust. Buddhist Rain by David Mitchell Yellow Room by David Mitchell 1950s by Bill Manhire Making Baby Float by Norman Meehan Music and poetry are almost always part of the opening night of Going Wets, and this performance from 2017 brought the two together in a remarkable set of spoken and sung poetry and jazz - Small Holes In The Silence. Live on stage in Henderson, Bill Manhire reads a selection of classic New Zealand poems with accompaniment by a jazz ensemble including Norman Meehan on piano, Hannah Griffin on vocals and Blair Latham on saxophone. While the performance takes its name, Small Holes In The Silence, from Hone Tuwhare's beloved poem Rain, Bill Manhire notes that “New Zealand's most famous, most loved, poem, owes itself to Spike Milligan”, as Tuwhare drew inspiration for the line from Milligan's poem There Are Holes In The Sky. -- Permission to set to music the poem I Met a Man from The Goose Bath (2006) by Janet Frame was granted courtesy of the copyright owner The Janet Frame Literary Trust.  The Goose Bath has been reprinted in Storms Will Tell: Selected Poems by Janet Frame (Bloodaxe Books, 2008).

In 1999 historian Michael King updated his earlier book Being Pākehā (1985)  with a new publication - Being Pākehā Now: Reflections and Recollections of a White Native. No one had written anything like it. It was a controversial and ground-breaking publication and like most of King's books, hugely popular. Twenty years on, the conversation started by King is just as relevant today. The session is introduced by Michael King's friend and colleague the pioneering broadcaster Tainui Stephens. Michael King's contribution to the study of NZ Aotearoa history is enormous. He was one of New Zealand's leading historians and biographers. In 2006 he was named one of 100 most important New Zealanders that have ever lived. He published more than 34 books and won a wider range of awards for his books, journalism and television work,  than any other New Zealand writer. His awards include: The Prime Minister's Award for literary achievement, Montana Medal for non-fiction (twice), The MontanaBook Awards Reader' Choice (twice), Review of the Year (twice). He was a Robert Burns Fellow and held the Katherine Mansfield Memorial Fellowship. His last publication, The Penguin History of New Zealand, has sold more than 200,000 copies and is widely considered to be the definitive history of New Zealand. His work in literary biography, particularly Wrestling With the Angel, his Janet Frame book received great critical acclaim. He was a frequent commentator on bicultural relations and helped Pākehā to understand what it is to be Pākehā and to understand, appreciate and value tikanga Māori. At the very pinnacle of his career he and his wife were killed in a car accident.   Michael was a stalwart supporter of Going West appearing in multiple sessions throughout our first decade.   In this session King laments that New Zealand history is not compulsory in schools, something that is only just happening 20 years later. “Michael King's contribution to New Zealand society and culture has been incomparable. In his recording of the history of our country and its people he leaves us all a legacy of lasting worth.”  - William Taylor “Michael King - through his writings, his scholarship and his generous spirit - has made us understand more clearly what it is to be a New Zealander. And ultimately, his life has made us better New Zealanders. We all mourn his passing.”  - Peter Biggs, former Chair of Creative New Zealand.

C.K. Stead chats about his second memoir You Have a Lot to Lose, his relationships with foes and friends including Janet Frame and his infidelity.

Jane Campion’s filmed adaptation of the memoirs of celebrated New Zealand poet and author Janet Frame offers a desperately poignant and often devastating account of childhood and womanhood in the twentieth century.  Played by three different actors at three different periods of her life, Frame’s tender spirit and social anxieties make for a life of modestly monumental triumphs and gut-wrenching personal tragedies.   We are joined by AJ and Richard of Cult Popture to help us understand the New-Zealand-of-it-all. If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Jun Fukuda’s Son of Godzilla (1967).

Ship of Trouble, Janet Frame and After Hours Drinking

Owls Do Cry - Red Leap Theatre artistic director Julie Nolan previews the production inspired by Janet Frame's iconic New Zealand novel.

The work of celebrated New Zealand author Janet Frame is about to experience a world first.Never before has her writing been adapted for stage but that is all about to change, with Red Leap Theatre premiering her novel Owls Do Cry in Frame's childhood hometown of Oamaru this week.It is the first time the Janet Frame Literary Trust has granted permission for one of Frame's novels to be adapted for stage.Director Julie Nolan joins Francesca Rudkin in the studio.Owls Do Cry will premiere in Oamaru this Friday before heading to Auckland for a season at the Q Theatre from 17 October.LISTEN TO THE INTERVIEW ABOVE

Welcome to NZSA Live! where we share audio recorded at a variety of New Zealand Society of Authors events. Today’s podcast was recorded at the 2019 Janet Frame Memorial Address given by NZSA President of Honour 2019 - 2020, David Hill.

Etgar Keret joins Deborah Treisman to read and discuss "You Are Now Entering the Human Heart," by Janet Frame, from a 1969 issue of the magazine. Keret has published several short-story collections, including "The Bus Driver Who Wanted to Be God," "The Girl on the Fridge," "Suddenly, a Knock on the Door," and "Fly Already." His memoir, "The Seven Good Years," was published in 2015.

I share my perceptions and concepts as a way for you to compare them to your own. To de-mystify psychic phenomena and experiences. To embrace not only the ways in which you might recognize yourself in what I’m describing, but also the ways in which in you’re different. Talking about it can help others locate it within themselves. MENTIONED ON THE SHOW An Angel at My Table film about Janet Frame Frances film about Frances Farmer The Hours film partly about Virginia Woolf Iris film about Iris Murdoch HOST LINKS - SLADE ROBERSON Slade's Books & Courses Get an intuitive reading with Slade Automatic Intuition FACEBOOK GROUP Shift Your Spirits Community BECOME A PATRON patreon.com/shiftyourspirits Edit your pledge on Patreon TRANSCRIPT Doing what the voices in your head tell you to. It’s THE #1 disparaging joke you hear all the time that might sometimes be referring to phenomena we would categorize as clairaudience. So, har har. In a lot of cases, hearing voices is synonymous with the absolute deepest depths of mental illness. It was the one thing through my teens and twenties that kept me from ever, ever acknowledging the psychic phenomena I experienced. I feared being committed against my will. I don't fear it so much lately but it's still a fear that I can access if I needed to. Like, I could drag that out and be like, yeah, I remember what it feels like to worry about that and I can see how I can put myself in a situation where everything could go horribly wrong. It's more of a horror movie screen playing out in my mind than actual real anxiety. But when I was younger, there was definitely a real fear. And then growing up there were all these movies about voices and craziness, and a lot of times they were about authors. There was a movie in 1990 called An Angel at my Table that was about the New Zealander poet Janet Frame who was committed at the time that she won her country's highest literary honor. Obviously it's been 30 years since I've seen that movie, but there are a few images that haunt me. Like, I remember them bringing her a volume of her work that had just been published in hardcover and wanting her to sign it, to autograph it. She was heavily sedated in a mental ward and didn't really.. it wasn't even conscious of the fact that her book had just come out and that was like, the first time she held it. And it won the equivalent of a Pulitzer or a Booker. And there was another scene where they put her in a padded cell and she literally writes poetry on the walls of the padded cell. That's how much she needed to get those words out. And then there was a movie Jessica Lange starred in in the 80s about Frances Farmer, who was famously lobotomized basically for being too willful and outspoken for a woman in the 1950s. She was sort of a political activist I guess, or would've been by today's standards. Nobody plays crazy like Jessica Lange, by the way. I mean it's a great performance. But yeah, that feeds into all your horrors about being committed against your will, medicated, and then it all unravels, right? You lose your agency. You literally lose your rights as an adult. Of course, Virginia Woolf, who is one of my hugest literary heroes in the whole world, who was famously so depressed for so long that she finally walked into the river with stones in her pockets. Gotta been hearing that story since I was in junior high school. And it's been dramatized in a lot of different places and shared and reshared. Most recently, Nicole Kidman's performance in the Hours, which is an incredible performance and a great movie. But again, all this stuff about these people going nuts, especially writers. After I watched the movie Iris, which was Judi Dench starred as Iris Murdoch who lost the faculty for words. She was technically suffering from dementia and Alzheimer's, so it wasn't craziness necessarily, but they did very distinctly dramatize the fact that this woman who was known for her phenomenal vocabulary literally lost her ability to access words slowly and was conscious that it was happening to her as an author. This is like the worst horror ever. I get it. It's Sophie's Choice. It's these amazingly emotionally triggering dramatizations that happen in movies, but I just, at that point, was like, you know what? I'm never watching another movie about an author suffering from mental illness, addiction, alcoholism, nothing. Just forget it. Ever. Why are there so many of those anyway? There are too many! But back to hearing voices. Conversing with them. Listening to what they say. Talking back to them. Asking them questions. I do it in my car all the time. We stare at crazy people who do it in the streets who are homeless and obviously suffering maybe from schizophrenia or something like that. It's something that we've all witnessed. I doubt I look anything like that in my car. As a matter of fact, I think I probably look like I'm just talking on hands-free. But I am aware of the connection there. It does always make me wonder, well who are they talking to? What are they saying? Because it depends on which voices. They do seem to be arguing and there are combative situations going on so that is not what we practice around here, as far as accessing clairaudient intuition, chanelling, automatic writing, mediumship. All these things are not about screaming at invisible assailants. Hearing voices and doing what they tell you to do could be a really helpful thing. Again, depending on the voice: the still small voice within you that I think we all can find a conceptual space for in our consciousness the voice of the spirit angels, spirit guides the deceased, people who have passed on, your ancestors your conscience. Some of those are accessible by anyone. Some of them are deeply woo woo. And none of them are crazy, by the way. None of those things are mental illness, and I honestly today don't fear that if I went to a therapist and spoke to them the way I'm speaking to you right now that I'd be committed. I think we'd have an understanding about the phenomenon that I'm talking about. And I would have no problem placing this within a purely clinical context and talking about archetypes and programming and kind of the different channels of the mind and consciousness. It doesn't have to be woo woo for me. Or it can be. Sometimes it depends on who I'm talking to. I'm not going to correct anyone who tells me that their message came from their guide or from one of their guardians or someone who tells me it comes from a muse. I never question how other people choose to label their voices but I do like to offer the concept of labelling and categorizing and analyzing to everyone and I offer my own little compartmentalizations for people to borrow and use as a starter kit if they're new to this. Then there are those external voices that become programmed as your own. Those are the really troublesome ones. They're just as insidious as invisible people who are following you and out to get you. They're dangerous because they're something that you heard, that you picked up from someone else and took on, and have been accessing and repeating on a loop, on an internal mental loop, for so long that you probably have forgotten the original source, the voice itself has morphed over time to impersonate your own inner voices. Like, your own internal voice of yourself. Negative, self-sabotaging critical voices, someone telling you about yourself you chose to believe. You may have chose to believe it because you didn't know any better, or you were a child, or you were bullied, or you were afraid. There are a lot of different reasons why you would choose to take that on. But it is a choice, even if it was kind of forced on you. And it is something that you can get rid of later. If nothing else, you can learn to access and acknowledge, okay wait a minute, where's that voice coming from? Who is that? That sounds like something my mother said to me a really long time ago. Oh yeah, I remember now where that came from, therefore when I hear that come up again, I can dismiss it. No, not listening to you. I know who you are. Sit down and go shut up. So there's all of that, within the concepts of clairaudience and hearing voices. There's also a question of internal source versus external. For the sake of separating what comes from within versus what comes from outside… I use a big box for the voices coming from within. To me, it's all a bit like being logged onto some network of information. It’s different than the voices I might create. For instance, the notes I’m writing down here to speak to you from, the character dialog in fiction, although sometimes, some of that is a little bit channelled in a way that overlaps and many authors will have the experience of having books dictated to them or have fictional characters they invented take over on the page and run the story. And there's a spectrum of how that's viewed. A lot of creative people who don't view that as a psychic phenomenon nevertheless still view it as a magical creative experience. And a lot of people will acknowledge that happening to them and simply think of it as a profound mystery of the artistic process. I know Alice Walker famously said that the Color Purple was dictated to her. She heard the voice of that character and basically transcribed it. And I have that experience writing character. Sometimes that's the initial impulse to write fiction. To give an example of this internal versus external thing, so there’s a song you’re humming this morning because it’s been used on a commercial you keep seeing on TV. T-Mobile or whatever has had this commercial on for a month and you've heard it every day and now you're singing it in the shower. That’s external. You can identify where that came from. But then there are songs that come untriggerred, unbidden, they surface from the subconscious like this silent Spotify within your brain. The Spotify radio station that's on shuffle and it pulls things up that are stored in the mind. But it's still coming up internally. It's not triggered by something external like hearing it on the radio. You may not have heard it in years. Actual real songs I'm talking about, from artists who created and recorded them externally. At some point you have downloaded them. Maybe you burned the album out on repeat when it came out years ago and you haven't heard it in a long time but sometimes it might resurface. One of those songs will come to you. I do read that experience these as intuitive. Just the same way that you read a feather on the ground, or a number on a license plate, or a digital display, or finding a playing card on the ground and interpreting it as a Tarot message. All those kinds of things. I read music that comes internally that way, especially snatches of lyrics because you'll notice when this happens, when you get like an earwig, a song stuck in your head that came from nowhere, it's a particular snatch of lyrics that is looping. It's not the whole song from start to finish, intro to fade out. It's usually one or two parts that you keep looping over and over again. So one of the best things you can do is either stop and really speak those words outside the melody as if it is just a message written down on a piece of paper, or actually write it down and see it in print. They look different on paper. They sound different when they're spoken not sung, and sometimes that will help you have an aha moment about what is that saying? Sometimes it's really literal. I keep saying this thing to myself over and over and over again, and I didn't realize it's a message! Now where it's a message from... Maybe it's your guides triggering it. Maybe it's your Higher Self pulling it out and waving it in front of you. Maybe it's some other kind of mechanism. Maybe you've been asking a question and it's your subconscious just kind of retrieving that from some internal library and presenting it as an answer, but it comes in the form of music. You know, music happens in a different part of the brain than spoken language and reading and all that kind of stuff. We listen to a lot of music and we learn a lot of music by heart in a way that people used to learn and recite poetry. You watch those historical films and TV shows and there are people wandering around in the garden reading from a book of verse and they can recite this stuff off the top of their heads and I always thought, damn! But I think the modern equivalent of that is me being able to bust out a Missy Elliot rap from 2004 at any given moment just because I've heard it a million times and it's stored in my brain, right? So it's kind of like that. So the first thing you want to do is say, hey, you know what? If this was a telegram, is it a message? And maybe the next thing you ask, what emotions come with that song? What emotions are attached to it? What feelings is it invoking or dragging with it? Maybe it's the context of when the song first entered your consciousness. Something about the time and place of your personal history. What was going on in your world when that song came out, that kind of thing? So maybe the message isn't the song. Maybe the message is about you returning to something from that time period. Was there something going on then that you need to reconsider, pull back out, reconnect with. I remember as a kid or maybe a pre-teen or something, overhearing adults talking about Barbra Streisand claiming that she hears music. I don't know if this was being repeated anecdotally, or if there'd been some 60 Minutes interview or something had happened at that time that they were talking about it. I just remember overhearing it. I understood that what they were saying was that she had made some claim that she hears music within. Psychically. Internally. Of course, even though she’s a vocalist, she’s not necessarily a composer right? I don't even know that she writes a lot of her music necessarily. I think she is primarily a vocalist, but claims to hear music all the time. Now I am neither a singer or a composer, but I remember when I overheard that, my first thought, because I heard the adults’s wonder and the skepticism and how intrigued they were by the concept, the judgments there were probably all varied and mixed, but I remember wanting to say “I hear music too.” But I didn’t. Because I feared what that might be admitting to. And at the time, you have to remember, for years, as a teenager, you’re hearing things like this and thinking, “OH SHIT. What if I’m insane? What if these are early stages of what we see with the person arguing with the invisible assailant on the street?” It's kind of not unlike being gay. The psychic closet. As a really young child, I would get up late at night and I would go and find my Daddy because he usually stayed up later than anyone else watching TV. He's a famous insomniac. I would go and find him and tell him that I couldn't turn my brain off. It was like someone left a TV and a radio station on in a crowded airport terminal. I was just laying there listening to everything. I think a lot of that was probably partly anxiety, for sure. But I would cry, just totally frustrated and say, I can’t stop thinking. I can't stop thinking. I really felt like, as a child when you were told, okay it's time to go to sleep, go to bed, turn down the light, go to sleep, that you should be able to willfully choose to be unconscious. To just turn yourself off. And remember, I'm not a big dreamer. So it wasn't about even dreaming for me. Dreaming probably would've been a little bit too close to what I was already experiencing, so I just wanted to be shut down like artificial intelligence, being put to sleep and then restarted in the morning. That's what I wanted. I couldn't have that and it drove me nuts. I think about all this this because of my nephew, who's 2 1/2, has these kind of night terrors where he's just completely inconsolable. I definitely think that that is anxiety. So I was talking about that with my mother and my dad at my 50th birthday dinner, which was actually the night after my birthday because my nephew and my brother were here on my birthday and the next night I went out just with my parents and my stepmother. That sort of started the conversation about this anxiety experienced as kids and I brought up to my dad, reminding him about how I was when I was little, how that manifested for me as this information that wouldn’t turn off. Of course, everyone has thoughts that keep them up at night. But I bet most of those worries about THEIR actual lives. Their identifiable triggers. They're worried about their kids. They're worried about their job. They're worried about bills. Their bank account. That kind of stuff. And then there is anxiety about existential stuff. The world going to hell, anxiety about death, or what happens when we die? The end of the earth, global extinction events. The very actual reality that one day the sun will swallow the entire system of planets around this part of the universe. Stuff like that. That’s probably still all anxiety by the way and it's part of the human condition - to worry about all those things. But I’m talking about information that has no life triggers, has no external source, has no evidence meaning you can't say, Yeah, that’s a Bing Crosby song. Like you can't. Something else... I went into more detail with my mother about what I experienced a few days ago. She made some other comment about some celebrity or some medium on TV or someone talking about experiencing internal hearing of voices and music and information. She was maybe prompting me to explain the phenomena to her, somewhat like I’m trying to do now. It was a different conversation but part of our conversation was me very bluntly describing how I hear so much more than voices. The voices are a job unto themselves — cataloguing them, labelling, learning to police some, reframe others, block a lot of them, suppress some. And then also to call them in, to invoke them. That’s all the clairaudient intuition stuff and the work of being an intuitive. Every day kind of practice producing. And i'm not even mentioning the rabbit hole of listening in for a CLIENT, and wondering, am I hearing their thoughts, is it their guides I'm hearing, is that considered external, or am I receiving that information internally, through the network, the psychic internet, through the records? That’s a separate show. I think there might even be some of that in the Automatic Intuition audio programming. I hear music all the time. Orchestral, symphonies. movie scores, opera in multiple languages — italian, french, german. I hear musicals in english. I don't even like musicals. I don't consider them musicals but there are some that play in my brain that no one else has even heard Not external music that exists somewhere in the world. Imagined music. Received from another dimension it seems. Just to give you an example, I hear songs from a German Children’s show — I sing these to my cats, just to be silly. Because I actually think it's sort of funny and annoying, the way Teletubbies are funny and annoying and haunting. I hear advertising jingles for products that just don’t even remotely exist. I hear pop songs, country music songs, singers voices that are identifiable to me. I don't know who they are, I don't have names for them but I recognize the voices. But I can't tell you if they're actual, real people somewhere. Maybe they're somewhere on the other side of the country and there really is this person who's singing all these songs and maybe I'm picking up on them somehow. Or they're coming from an alternate reality. Or they're coming from some deep well of my imagination that I can't even explain. Let’s just call all of that my psychic Spotify account. I have songs and lyrics and all those snatches of the kinds of things that you end up humming… but they just don’t exist in this world that I'm aware of. I’m used it to. I catch myself singing a rock song from a band that’s never existed. A song I’ve been singing for years. And if I think about it really hard sometimes, I can even identify when it came through internally, on this internal station. Like wow, you know what? That's been in my internal station now since I was in college or something. And a lot of the songs that I did write when I was in college and when I was in a band and sort of writing music. I did attempt to pull from those, and so then that even further solidified them because then they became something external. And I still sing them as if they're real songs, because they are now. The commercial jingles were interesting because they will last for months and it seems like they have a shelf life that's very similar to real commercial runs. They'll run for several weeks or several months and then kind of fade away and you don't hear them again. I hear old black and white movie songs that sound like maybe they're from the 1930s when almost everything on the radio came from a movie—pop music back then was kind of like MTV in reverse. And that’s why you hear all these people with less than stellar voices from back then and you think, Why was that such a huge hit? This person can barely carry a tune. It's just an ordinary voice. A lot of times they were actors who sang a song in a film. Hollywood movies, even that weren't really considered full blown musicals, even though there were a lot of them, would sometimes have some kind of song built in to them. Seth and I share earwigs and the phenomenon of song synchronicities, especially things that are chosen by shuffle. You're in your iTunes library or now it's even bigger and more vast with Spotify and Pandora and stuff like that. We call that the ghost in the machine and we have an ongoing kind of conversation about that. And we can always add to it and share little moments as they happen. I messaged him the other day that my earwig of the day was Cher’s cover of Journey’s Open Arms — Cher has never covered that song that I know of. But she should. Because I heard it very clearly for about 36 hours and I was thinking, this is a Cher cover! I heard it in my mind as if Cher had recorded Journey's Open Arms and I've got it stuck in my brain. I hear mashups a lot too. I kind of think that probably people who make mashups obviously experience this phenomenon. But I was wondering out loud to my mother, if i had been trained to play piano at a really early age, would I be able to sit down and write all this music? I can pick out a simple melody out on a guitar or a piano and I can read sheet music. I played a few different instruments here and there throughout different parts of my life, but I don’t know how to write all the different instruments in a symphony or in an orchestra, even though I can hear them, I don't understand that process that someone goes through to compose something like that. It's something you have to be trained in, and it's something people dedicate our whole lives to. It's a little late for me to be doing that. But sometimes I’ll daydream about what it would be like to do that… And I'll think, Maybe I’m really a musician and I just didn't execute my creativity in that form. Or I chose from multiple creative formats to work within and certain mediums stuck with me more than others. I mean, I have been in bands. I’ve written a lot of songs. I even have a songwriting credit for a Nashville band from when I was 17. It's technically the second thing I ever published. That I have an actual copyright for. It's called the Girl with the Orange Hair. I forgot about that. I can't even remember the name of the band but I know the name of the singer. I could probably find out. When I wrote songs in college though, I didn’t write lyrics, weirdly. I only wrote music. Usually, guitar, bass. I programmed percussion and synthesizer. I love playing with drum machines and that's a kind of composing that technology makes it very easy for you to do. It's kind of tedious but it's super satisfying and I can never be someone who's super into computer games or video games, because I get the same kind of satisfaction I think from playing with tech. Like sounds, recording equipment, and mixing and also sometimes things like Illustrator, Photoshop, stuff like that, I can get lost in those in a way that I think is similar to what people experience with gaming. And then just, you know what? After all these daydreams, I realize I don’t have time for any of that. It would be fun. I have a To Do list of other projects and I will never finish all of those as it is. The ones I know I can execute, so I'd need a whole other lifetime for that whole world of music and the idea of composing. Here, doing this, what you're listening to, it's like I’ve found a space between music and books — storytelling, narrative non-fiction, audiobook narration, podcasting. It's an interesting thing that emerged within my lifetime along with technology that I would not necessarily have been able to predict. But I do weirdly have a short story that I wrote in 1989 about someone who was podcasting from their house. At the time, it was written kind of as magical realism more than, say, science fiction. I wasn't writing in detail about a technology that I foresaw. I kind of just didn't really explain the technology but I explained sort of the profession of someone being a shut-in and living in a room, very much like this room right now. Ohmygod. I've got sound tiles and sound dampening blankets hanging over the windows. It's this cave of dead space that I'm broadcasting from within. It wasn't a major part of the story. It was just kind of like the character in that story... it was about agoraphobia, I guess. Somebody who was suffering from that. But that was his profession. Weird. All of that happened before I became a shut in myself. When I had a stroke and I started doing all this kind of work because I didn't want to leave my house. Interesting. Okay, weird. Little circles within circles. I do wonder if other people experience this, what I'm talking about, more than we talk about it. Maybe as I'm describing this, you recognize it. Or you're beginning to notice it. Maybe after listening to this episode, you will start to realize, ohmygod, that's happening to me too! Is it something like intuition that everyone has access to if they just don’t repress it? How is it useful? I don’t know that it is useful. But I do feel engaging it is part of connecting in a general way. Practicing. Honing the connection. Allowing it. For me. And maybe for you too. What are the earwigs trying to tell you? Yes, of course, that’s one useful thing that you can do with all this. But maybe it’s more basic than that. You hear the muffled snatch of a song and you say Hey, turn that up! If you tune in, acknowledge this is happening, allow it, give it permission. If you let yourself listen. If you turn it up, what else do you hear?

Ruth Dallas was a poet and children’s author. She worked side-by-side with the famous New Zealand editor, Charles Brasch at Landfall and had a long time friendship with Janet Frame. So why, when she began writing, did she do so in solitude and secret? Michael King asked Ruth this as part of their interview in 2000.

Karen and Louisa share some of their favourite recordings from the celebrated 'New Zealand Poets in Performance' series (AUP), including many NZ Poet Laureates, with a cameo from Janet Frame and a driving finale from current NZ Poet Laureate Selina Tusitala Marsh. Read more on the Auckland Libraries blog: https://aucklandlibrariesblog.blogspot.com/2018/08/books-and-beyond-national-poetry-day.html Auckland Libraries' radio show Books and Beyond explores the world of books with guest authors, recommended reads, gems from the Central City Library basement and… beyond. Catch us on Planet FM 104.6, Sundays at 9.35pm. This episode originally aired on Planet FM 104.6 on 26 August 2018.

In this special episode, Hans, Chris, and I discuss Janet Frame's strange, mind-boggling novel The Carpathians. Since I found reading it like looking into opaque glass, Hans and Chris discuss the novel at length before we veer off into a larger discussion of language, the technological singularity, and forms of life.

I chat with Sharon about writing her novel The Handsworth Times and her forthcoming novel, Should I Fall Behind, process, confidence, social media, empathy, appropriation, Nick Cave, music playlists, swearing and more...We mention writers: Janet FrameKit de Waal(check out their work if you haven't already)Sharon's book is available here:http://www.bluemoosebooks.com/books/handsworth-times

Welcome back to Looks and Books with Cat & Olly, and to episode four of our READING IS FUNDAMENTAL bookclub! Next week, our episode count is going to be in double digits... *Jonathan Van Ness voice* can you believe? Join us this week as we conclude the fortnight of indulging Olly's vanity by discussing one of his favourite books of all time: Faces in the Water by Janet Frame. Fair warning - Olly talks a lot in this one. We literally dare you to count how many words Cat says in the entire episode. Do it. We implore you, even. Find us on Twitter: @looksandbooksco Cat's Twitter/Instagram: @catandtheodore Olly's Twitter: @ollypenderghast | IG: oliverwearing Want to get in contact? Email us: looksandbooksco@gmail.com Cover artwork by the wonderful @laurelmaeart on Instagram.

'I Met a Man' by Janet Frame, from the show Small Holes in the Silence. Here is the groups' interpretation of this wonderful Janet Frame poem: I Met a Man. Sung by Hannah Griffin with composer Norman Meehan on piano and Blair Latham on sax. The piece is introduced by Bill Manhire. Permission to set to music the poem 'I Met a Man' from The Goose Bath (2006) by Janet Frame was granted courtesy of the copyright owner The Janet Frame Literary Trust. The Goose Bath has been reprinted in Storms Will Tell: Selected Poems by Janet Frame (Bloodaxe Books, 2008). Ref: Going West Writers Festival Archive, Auckland Libraries.

Welcome back to Looks and Books with Cat & Olly! Today, the 26th of July, is Olly's birthday - YAY! Join us for another decidedly self-indulgent episode as we cast our minds back on all of the birthdays that Olly has celebrated with Cat, and some of the questionable outfits that the two of us thought were a good idea. How naive we were. DON'T FORGET that the book we'll be discussing in next week's 'Reading Is Fundamental' bookclub is Faces in the Water by Janet Frame! It's one of Olly's favourite books so if you don't read along, he'll probably cry. Find us on Twitter: @looksandbooksco Cat's Twitter/Instagram: @catandtheodore Olly's Twitter: @ollypenderghast | Olly's IG: oliverwearing Want to get in contact? looksandbooksco@gmail.com Cover artwork by the ridiculously talented @laurelmaeart on Instagram.

Jane Campion adapts Janet Frame's depressing yet triumphant life story.

After studying Spanish literature and embarking on a career as a lawyer, Matthew Lansburgh found fulfillment in writing. He won the Iowa Short Fiction Award for his linked short short story collection, OUTSIDE IS THE OCEAN. He and James discuss the spiritual fulfillment of writing, the need for dissatisfaction, the joys of close reading, and their shared love of outsiders in fiction. Plus, agent Christopher Rhodes.  - Matthew Lansburgh: http://www.matthewlansburgh.com/ Matthew and James discuss: Princeton University Middlebury College  POET IN NEW YORK by Federico Garcia Lorca  RESIDENCIA EN LA TIERRA by Pablo Neruda  WISE BLOOD by Flannery O'Connor  TOWARDS ANOTHER SUMMER by Janet Frame  92nd Street Y  "The Bear Came Over the Mountain" by Alice Munro  Darin Strauss  Hannah Tinti Josh Weil  Carmen Maria-Machado  Iowa Short Fiction Award  - Christopher Rhodes: https://christopherrhodes.net/ Christopher & James discuss: Borders Books at World Trade Center  Simon & Schuster  Michael Selleck  The Carol Mann Agency  Paul Auster  University and North Carolina at Wilmington  Emily Smith  ECOTONE  James Fitzgerald  BRASS by Xhenet Aliu  Random House  Gwendolyn Knapp  The Stuart Agency  Andrew Stuart  Scottie Jones  Taylor Brown  Garth Risk Hallberg  Emma Cline  MARLENA by Julie Buntin  THE NIX by Nathan Hill  W.B. Belcher  Jared Yates Sexton  LAY DOWN YOUR WEARY TUNE by W.B. Belcher  Beth Staples   THE SCAMP by Jennifer Pashley  ONE STORY  "World's End" by Clare Beams   - http://tkpod.com / tkwithjs@gmail.com / Twitter: @JamesScottTK Instagram: tkwithjs / Facebook: https://www.facebook.com/tkwithjs/

Francesca ritorna per la seconda intervista per parlarci del libro appena uscito e intitolato Parleranno le Tempeste, un antologia di 53 poesie di Janet Frame che lei ha tradotto assieme alla collega Eleonora Bello. Poesie profonde di non facile traduzione. La raccolta è pubblicata per la prima volta in italiano dall'editore ticinese Gabriele Capelli. Ondazzurra è in diretta ogni domenica alle 11.20 su 104.6 FM  

Jim Flynn and Wallace Chapman discuss Australasian literature. Wallace takes on Jim over Eleanor Catton's The Luminaries - too long, says Jim. Not so, says Wallace. Jim says Catton can write but she needs to get her talent under control - "too much good material". He says Janet Frame also can write "but a lot of it is spoiled by schoolgirl emotive prose". Among Australian writers Jim rates Thomas Keneally with Schindler's Ark, Peter Carey and Hannah Kent - a writer with an impressive first novel, Burial Rites, that has won nine literary awards. "Watch for Kent's next novel."

This week on StoryWeb: Janet Frame’s memoir “An Angel at My Table.” If you haven’t read Janet Frame’s work and if you haven’t seen Jane Campion’s film An Angel at My Table, you must rectify these oversights immediately. You’ve likely heard of New Zealand film director Jane Campion – or at least seen one of her films. Probably the best known of them is The Piano, starring Holly Hunter. It won Campion the Oscar for Best Original Screenplay in 1994. And you may have seen Campion’s adaptation of Henry James’s novel The Portrait of a Lady, a film that starred Nicole Kidman. But to my mind and sensibility, An Angel at My Table – based on New Zealand writer Janet Frame’s three-volume memoir – is a too-often-overlooked masterpiece. Reading Janet Frame’s work – whether the three-volume memoir or her short fiction – is a treat in and of itself. But Jane Campion’s film brings New Zealand to vivid life and immerses us viscerally in Frame’s difficult but ultimately triumphant and redemptive life. Three actresses play Frame at various ages, from her childhood in a poor, working class family in Dunedin to her adolescence marked by devastating loss to her adult years, which take Frame to a psychiatric hospital, to England and Spain, and eventually back to New Zealand. I won’t give away any more of Frame’s life story – you must watch Campion’s film or read Frame’s memoirs (or both!). But I will tell you this. Since An Angel at My Table is one of my favorite films (along with Walt Disney’s Mary Poppins and Julie Dash’s Daughters of the Dust), I insisted that my book and movie club watch it. As we watched the film together, my friend Karin kept exclaiming as Janet Frame endured one tragedy after another. Karin felt the film was unrelenting in its bleakness and sorrow. But for me, Janet Frame’s story is ultimately one of triumph, redemption, and even celebration. The ending is my favorite part of the film: Janet Frame dancing in her father’s shoes, typing her work in a small trailer outside her sister’s house, and most of all, remembering how she and her sisters would sing the Robert Burns poem “Ah, ah! the wooing o’it.” Just typing those words – “Ah, ah! the wooing o’it” – makes me smile, as I reflect on what Janet Frame made of her life. To learn more about this wonderful writer, visit the website of the Janet Frame Literary Trust or the multipage exhibit about Frame at the Encyclopedia of New Zealand website. You also might want to read Michael King's book-length biography, Wrestling with the Angel: A Life of Janet Frame, or The Oxford Companion to New Zealand Literature’s biography of her. The Guardian published an excellent obituary of Frame when she died in 2004, as did the New York Times. Visit thestoryweb.com/frame for links to all these resources and to watch a six-part New Zealand television documentary about Janet Frame. It features interviews with this wonderful writer. You’ll also want to watch the trailer to Jane Campion’s film and the short 30-second scene when the young Janet and her sisters sing “Ah, ah! the wooing o’it.”  

Den palestinska författaren Susan Abulhawa fick ett stort genombrott med romanen "Morgon i Jenin". Nu är hon tillbaka med en ny bok, och Marie Lundström hälsar på henne hemma i Philadelphia. - Jag heter Riad. 1980 var jag två år gammal, och ett alldeles perfekt barn. Långt blont hår, tjockt och blankt, väluppfostrad och känslig, storögd och nervös blick.Så börjar Riad Sattoufs självbiografiska serieroman Framtidens arab, som blivit en internationell braksuccé. Vår reporter Anna Tullberg har träffat honom i Paris.Rasism, migration, hjärta & smärta, kärleken till sin egen kropp - allt ryms och allt blir till dikt på poesifestivalen Poetry Africa i Durban. Vår kulturkorrespondent Lisa Bergström målar en bild av festivalen, och lyfter fram poeten Nii Parks.Den nyzeeländska författaren Janet Frame är älskad av många. Hennes självbiografi En ängel vid mitt bord blev också film. Nu kommer ett urval av hennes dikter på svenska, Hungrig bland orden heter boken. Vi läser tre dikter tillsammans med författaren och översättaren John Swedenmark.

Miranda July joins Deborah Treisman to read and discuss Janet Frame’s “Prizes,” from a 1962 issue of the magazine.

Författaren Janet Frame föddes 1924 på Nya Zealand och växte upp under mycket enkla omständigheter. Hon var studiebegåvad och fick stipendium för att studera till lärare, blev färdig med studierna, fast fick aldrig något lärarjobb. Istället blev hon felaktigt diagnostiserad med schizofreni och kom att tillbringa 8 år på mentalsjukhus. Under den tiden skrev hon sin första novellsamling - Lagunen - vilken också gav henne ett litterärt pris, något som i sin tur bidrog till att hon så småningom blev utskriven från sjukhuset. Riktigt känd blev Janet Frame med den självbiografiska trilogi som brukar kallas En ängel vid mitt bord, (som egentligen är titeln på mittenboken av de tre, men de har också ofta publicerats i en volym). Hon skrev de tre böckerna i början av 80-talet när hon återvänt till Nya Zealand efter en tid i Europa. En ängel vid mitt bord har också med stor framgång filmatiserats av Jane Campion (som senare gjort bland annat Pianot och Porträtt av en dam). Framgången för filmen är antagligen också en naturlig förklaring till att Janet Frames liv nästan är mer känt än hennes verk. Men hennes litterära arv är i nobelprisklass; hon nämndes ofta som en kandidat till nobelpriset, men hon dog 2004, och hann aldrig få det. Anneli Dufva har gjort dagens Klassiker, där vi bland annat hör Janet Frame själv i en intervju gjord av radion på Nya Zealand på 80-talet.