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4 episodes with John Dos Passos
4 episodes with John Dos Passos
2 episodes with John Dos Passos
2 episodes with John Dos Passos
2 episodes with John Dos Passos
2 episodes with John Dos Passos
2 episodes with John Dos Passos
2 episodes with John Dos Passos
2 episodes with John Dos Passos
John J. Miller is joined by Stephen Schryer of the University of New Brunswick to discuss 'Midcentury' by John Dos Passos.
El bibliotecario de Casas Ibáñez, José Arsenio Vergara, nos ha recomendado el clásico de John Dos Passos, que este 2025 cumple 100 años, y la novela de Marto Pariente
En el episodio de hoy, nos adentramos en las páginas de "El Trasgo" de Pío Baroja, un cuento que nos transporta a otra época. Quiero expresar mi más sincero agradecimiento a todos los que han hecho posible esta colaboración: desde los talentosos narradores hasta nuestros oyentes, cuya pasión y apoyo nos inspiran cada día. ¡Gracias por ser parte de esta aventura sonora!. Han participado: 🎙 Ignacio Rengel (Actor) Xavi Villanueva (Abismo FM) Corman (Los Cuentos de la Casa de la Bruja) Alberto Martínez (Noviembre Nocturno) Olga Paraíso (Historias para ser leídas) Ensayo e ilustración de Javier Prado. Escritor español, Pío Baroja fue uno de los grandes exponentes de la llamada Generación del 98, conocido por su producción novelística, entre la que destacan títulos como Memorias de un hombre de acción (1935) y Zalacaín el aventurero (1908), que fue llevada al cine en dos ocasiones. Nacido en San Sebastián, Baroja estudió Medicina en Madrid y, tras un corto período trabajando como médico rural, volvió a la capital iniciando sus colaboraciones periodísticas en diarios y revistas como Germinal, Revista Nueva o Arte Joven, entre otras. Baroja fue un novelista influyente y entre sus admiradores se cuentan autores nacionales, como Camilo José Cela, e internacionales, como lo fueron Ernest Hemingway o John Dos Passos. Debido a su postura política y opciones personales, como su reconocido ateísmo, Baroja no disfrutó de demasiados reconocimientos en vida, aunque fue miembro de la Real Academia de la Lengua desde 1935. Afectado poco a poco por la arterioesclerosis, murió en 1956 y fue enterrado en el Cementerio Civil de Madrid (junto al de La Almudena). ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos por solo 1,49 € al mes! Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas 😵 BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Jazz, ragtime, charleston, musicals... Recull de les músiques esmentades en la gran novel·la de John Dos Passos. podcast recorded with enacast.com
Jazz, ragtime, charleston, musicals... Recull de les músiques esmentades en la gran novel·la de John Dos Passos. podcast recorded with enacast.com
Selle nädala Kuku Raadio järjejutuminutites kuuleme katkendeid John Dos Passose USA triloogia viimasest osast. Eelmise sajandi 20-ndate aastate majandusbuum toob kaasa tormilise majanduskasvu. Elu võtab üha kiiremaid pöördeid, kuid paraku liigub kõik vääramatu krahhi poole.
In this episode of Faculty Spotlight, hosts Mark DeLucas and Lauren K. Wolfe sit down with Jude Webre, cultural historian and practicing musician, to discuss the life and legacy of Dawn Powell, the urbane, acerbic, and woefully undercelebrated “lady wit” of Greenwich Village in its mid-century heyday. Attracted, as many of her generation were, by the allure of bohemia, its promise of liberation and self-realization, Powell exchanged her native midwest environs for an artist's life in the city. Known, if not unremittingly beloved, by nearly all the literary lights of 1940s New York City—Edmund Wilson, Ernest Hemingway, Diana Trilling, Dorothy Parker, John Dos Passos, e.e. Cummings, and Jean Stafford to name just a few—it is hard to reconcile Powell's social acumen, bracing wit, and the vitality of her literary output with the obscurity into which her life's work has fallen in the six decades since her burial in a pauper's grave. What were the manners, mores, and moods of mid-20th-century American bohemia? And how did Powell both share in and depart from them, both capture and censure them? What is it to follow a moral judgment and an aesthetic conviction, be they ever so slightly out of step with prevailing tastes? And what, finally, accounts for lasting literary fame? The Podcast for Social Research is produced by Ryan Lentini.
One True Podcast celebrates the publication of Volume 6 of the Letters of Ernest Hemingway by welcoming two of its editors, Sandra Spanier and Verna Kale. These letters, spanning 1934-1936, find Hemingway in Key West, fishing, publishing Green Hills of Africa, producing his Esquire dispatches, making his famous reaction to the Florida hurricane of 1935, and negotiating the competing demands of life, art, business, and celebrity.We discuss Hemingway's relationships with his correspondents: Arnold Gingrich of Esquire, Maxwell Perkins of Scribner's, Jane Mason, critic Ivan Kashkin, John Dos Passos, and more.Join us as we visit once again with the Hemingway Letters team to explore Hemingway's letters from these crucial years!
The Spanish Civil War was a brutal and maddeningly complex historical event, with enormous repercussions on Ernest Hemingway's life and career. To guide us through the many moving parts and frayed relationships, we welcome back Amanda Vaill to One True Podcast. Vaill's essential book, Hotel Florida: Truth, Love, and Death in the Spanish Civil War, guides us through the events of the war, including the private adventures of Hemingway, Martha Gellhorn, John Dos Passos, Robert Capa, Gerda Taro, and more. We discuss what the war meant to Hemingway and his writing that would follow, and how many of his relationships would never be the same.
Guest Narrator: Michael Rutland, Austin, Tx. James M. Cain (1892-1977) was an American novelist, journalist, and screenwriter best known for his hardboiled crime fiction. Born in Annapolis, Maryland, Cain began his career as a journalist, working for The Baltimore Sun and The New Yorker. His experiences as a reporter heavily influenced his writing style, which was characterized by its directness, realism, and unflinching exploration of human nature's darker aspects. Cain's life was marked by personal struggles and failed marriages, which often found their way into his fiction, adding depth and authenticity to his characters and their predicaments. Cain is considered one of the founding fathers of both the noir and hardboiled crime fiction genres. His novels, such as "The Postman Always Rings Twice" (1934) and "Double Indemnity" (1943), helped define these genres with their gritty, realistic portrayals of crime, passion, and betrayal. Cain's writing style, which favored sharp, concise prose and dialogue, set the standard for future generations of crime writers. His work also found success in Hollywood, with several of his novels being adapted into classic films noir, including "Double Indemnity" (1944) and "The Postman Always Rings Twice" (1946), further cementing his legacy in the genre. While often used interchangeably, noir and hardboiled fiction have distinct characteristics. Hardboiled fiction typically features a tough, cynical protagonist, often a private detective or a criminal, navigating a corrupt and violent world. The emphasis is on action, dialogue, and the protagonist's struggle against external forces. In contrast, noir fiction delves deeper into the psychological depths of its characters, exploring themes of moral ambiguity, existentialism, and the inescapable consequences of one's actions. Cain's work often blurred the lines between these two genres, combining the gritty realism of hardboiled fiction with the psychological complexity and fatalism of noir. Dead Man In the powerful short story "Dead Man," James M. Cain showcases his mastery of the noir genre. The story follows a desperate man who accidentally kills a railroad detective and is subsequently consumed by guilt and paranoia. As the protagonist attempts to establish an alibi and evade capture, he finds himself engaged in a psychological battle with his own conscience, which proves to be just as relentless as the authorities pursuing him. Cain's signature style is on full display in "Dead Man," with its taut, economical prose, vivid characterization, and uncompromising exploration of guilt and desperation. The story serves as a testament to Cain's ability to craft complex, emotionally charged narratives within the confines of the short story format. The figure of the rail-riding hobo has long been a staple of American fiction, representing a sense of freedom, adventure, and escape from the constraints of society. In the late 19th and early 20th centuries, as the United States underwent rapid industrialization and urbanization, many writers turned to the hobo as a symbol of resistance against the dehumanizing effects of modern life. Authors such as Jack London, John Dos Passos, and Jack Kerouac celebrated the hobo's unconventional lifestyle and spirit of rebellion. In "Dead Man," James M. Cain offers a darker take on this iconic figure, depicting the protagonist's life as a rail-riding hobo as a desperate, precarious existence. By placing his character in this context, Cain not only taps into a rich literary tradition but also subverts it, exposing the harsh realities and psychological toll of life on the margins of society. James M. Cain's paternal grandfather, P. W. Cain, worked as a superintendent for the Hartford Railroad. This connection to the railway industry likely influenced James M. Cain's writing, giving him at least an interest in the railroads and those who lived on and around them. Learn more about your ad choices. Visit megaphone.fm/adchoices
This episode will focus on the Spanish Civil War and how one particular incident – the murder of accused Fascist spy José Robles – ruptured the relationship between Ernest Hemingway and John Dos Passos.To sort out the many moving parts to this chapter of Hemingway's life, we welcome Stephen Koch, the author of The Breaking Point: Hemingway, Dos Passos, and the Murder of José Robles. Koch takes us through the complicated relationship between Hemingway and Dos Passos, what ended it, and how it ended. Koch also explores Robles's role in Spain, Martha Gellhorn's presence, and the legacy of this intricate web of relationships.Join us as we discuss Hemingway, Dos Passos, and the Robles Affair!
Querem convencer-nos de que estamos encurralados na estação morta e que daqui não há saída, que não nos resta alternativa senão seguir adiante e acatar os maus modos e destratos da época que nos calhou viver. Enquanto isso, enquanto prosseguem na sonegação dos melhores espíritos desta geração, garantem-nos que o problema é que nos falta o génio e a invenção ou o grau de empenho necessário. Pintam-nos como um bando omisso, ou então assemelhando-nos a uma multidão de palhaços miseráveis, abandonados na ponte, olhando para baixo, para o nosso circo submerso. E alguns acreditam que somos só isto. O retrato degradante que nos fazem. Querem-nos trancados diante de espelhos que deformam cada gesto, servindo-nos como eco e reflexo essa forma fantasmagórica que se ergue dentro de alguma jaula. Se abrimos a boca os velhos olham-nos como se tivéssemos disparado uma arma contra o seu silêncio. Conseguimos ouvir a ferrugem a descascar os ossos deles, e a chuva e o frio a atravessar-lhes as correntes sanguíneas, deixando por vezes que irrompa por um momento nos seus olhares moribundos. Continuam a censurar-nos considerando que não estamos adequadamente vestidos para um funeral. E tudo por aqui são funerais. Parece que estão ali desde sempre, colados aos bancos de madeira. Ninguém se lembra sequer de os ter visto de pé, andando por aí. Estão ali todos os dias, todas as semanas, todos os anos, fumando ou mascando seja o que for, tagarelando invariavelmente sobre as politiquices e fingindo que decidem o que fazer com o país. Do país só ouvimos rangidos, como os de um imenso navio fantasma atravessando vagas que nem lá estão. Encalhou há muito. E o tal mar português também deixou de existir. Ninguém o olha e consegue acreditar que seja ainda uma criatura viva, lembrando apenas um fóssil imperturbado pelo desenrolar da eternidade. Para nos distraírem, muitas vezes têm lojas perto dos cafés com letreiros afixados onde se pode ler: "Vendem-se canários". Mas, entrando, damo-nos conta de que o pipilar que se ouve não passa de uma gravação. Passa-se algo semelhante com todos os sinais de vida que exibem. E é a partir disto que é suposto que cada nova geração recomponha o passado. Ora, como nos diz John Dos Passos, que tinha antepassados lusos, "em tempos fáceis, a história é uma espécie de arte ornamental, mas em tempos de perigo somos levados ao registo escrito por uma necessidade premente de encontrar respostas para os mistérios de hoje. Em tempos de mudança e de perigo, quando há uma areia movediça de medo sob a racionalidade humana, uma sensação de continuidade desde gerações passadas pode estender-se como tábua de salvação através do presente assustador e levar-nos a ultrapassar esse engano idiota, que bloqueia o bom pensamento, que é o de que o 'Agora' é incomum". Roubam-nos o dia de amanhã aldrabando os registos sobre o que se passou ontem. Por isso insistimos em criar um catálogo de exemplares raros e que eles tentam por todos os meios fumigar e exterminar. E desta vez, com José Smith Vargas, deixamo-nos levar pelo seu traço nervoso e mordaz, pelo seu modo de se esquivar a impressões gastas, captando a incerteza ao desenhar e escrever uma crónica das transformações a que têm sido sujeitas as próprias cidades onde vivemos, rejeitando conclusões apressadas, agarrando os elementos espectrais de vidas interrompidas ou sufocadas pelo triunfo dos valores especulativos e a fragilidade que da própria existência fez apenas os termos de um negócio.
Alfred Döblin begründete seinen Weltruhm mit dem Roman "Berlin -Alexanderplatz" (1929), einem Großstadtepos vom Leben eines Transportarbeiters in Berlin, der nach der Entlassung aus dem Gefängnis "anständig" werden will. Franz will sich eine neue Existenz aufbauen, dort am „Alexanderplatz“ - trotz aller Widrigkeiten in der modernen Großstadt. Anfangs geht alles gut, aber die Zeiten sind schlecht… In „Berlin - Alexanderplatz“ vollzieht sich stilistisch der Durchbruch der von Joyce und Dos Passos begründeten neuen Romanform in Deutschland, Döblin etablierte darin moderne Erzähltechniken wie Montage, innerer Monolog und Bewusstseinsstrom. Mit Walter Richter, Sigurd Lohde, Siegfried Wischnewski, Katja Kessler, Gerd Fricke, Lieselotte Bettin u.a. Hörspielbearbeitung: Wolfgang Weyrauch Musik: Heinz Jahr Regie: Fränze Roloff hr 1958 (Audio verfügbar bis 03.12.2024) Noch mehr Hörspiele und Hörbücher finden Sie im Podcast-Pool des Hessischen Rundfunks: https://www.hr2.de/podcasts/hoerspiel/index.html
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. 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
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices
Before email, when long distance telephone calls were difficult and expensive, people wrote letters, often several each day. Today, those letters provide an intimate and revealing look at the lives and loves of the people who wrote them. When the author is a brilliant writer who lived an exciting, eventful life, the letters are especially interesting. Martha Gellhorn was a strong-willed, self-made, modern woman whose journalism, and life, were widely influential at the time and cleared a path for women who came after her. An ardent anti-fascist, she abhorred "objectivity shit" and wrote about real people doing real things with intelligence and passion. She is most famous, to her enduring exasperation, as Ernest Hemingway's third wife. Long after their divorce, her short tenure as "Mrs. Hemingway" from 1940 to 1945 invariably eclipsed her writing and, consequently, she never received her full due. Gellhorn's work and personal life attracted a disparate cadre of political and celebrity friends, among them, Sylvia Beach, Ingrid Bergman, Leonard Bernstein, Norman Bethune, Robert Capa, Charlie Chaplin, Chiang Kai-shek, Madame Chiang, Colette, Gary Cooper, John Dos Passos, Dorothy Parker, Maxwell Perkins, Eleanor and Franklin D. Roosevelt, Antoine de Saint-Exupéry, Orson Welles, H.G. Wells -- the people who made history in her time and beyond. Yours, for Probably Always: Martha Gellhorn's Letters of Love and War 1930-1949 (Firefly Books, 2022) is a curated collection of letters between Gellhorn and the extraordinary personalities that were her correspondents in the most interesting time of her life. Through these letters and the author's contextual narrative, the book covers Gellhorn's life and work, including her time reporting for Harry Hopkins and America's Federal Emergency Relief Administration in the 1930s, her newspaper and magazine reportage during the Spanish Civil War, World War II and the Vietnam War, and her relationships with Hemingway and General James M. Gavin late in the war, and her many lovers and affairs. Gellhorn's fiction of the time sold well: The Trouble I've Seen (1936) -- her Depression-Era stories based on the FERA activities, with an introduction by H.G. Wells; A Stricken Field (1940) -- a novel inspired by the German-Jewish refugee crisis and set in 1938 Czechoslovakia; The Heart of Another (1941) -- stories edited by Maxwell Perkins; and The Wine of Astonishment (1948) -- her novel about the liberation of Dachau, which she reported for Collier's. Gellhorn's life, reportage, fiction and correspondence reveal her passionate advocacy of social justice and her need to tell the stories of "the people who were the sufferers of history." Renewed interest in her life makes this new collection, packed with newly discovered letters and pictures, fascinating reading. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism
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BÊN NÀY ĐỊA ĐÀNG là câu chuyện về nhân vật chính Amory Blaine, người đại diện cho phần lớn thanh niên Mỹ cùng thời, một nhân vật đầy triển vọng, có “điểm xuất phát” khá ổn: vẻ ngoài khôi ngô tuấn tú, gia đình trung lưu khá giả, đặc biệt được trời ban cho tư chất thông minh và năng khiếu văn chương vượt trội. Amory Blaine được hưởng một nền giáo dục tốt, trải qua những năm tháng học hành dưới những ngôi trường nổi tiếng và là sinh viên ưu tú ở Đại học Princeton. Cuộc sống của chàng sinh viên tại một trong những trường đại học danh giá bậc nhất nước Mỹ là những tháng ngày an lạc, vô lo, yêu đương, trượt dài trong sa sút, thất bại của việc học hành, những sai lầm nối tiếp, con đường tất yếu của tuổi trẻ không mục đích nào rõ ràng, không động lực nào đáng kể, không lý tưởng nào đủ mạnh… là sự thất vọng sau khi ra trường, đối mặt với bao biến động từ gia đình, xã hội và bản thân. Một cú trượt dài đến thất bại của một trong những người trẻ - những người trẻ của nước Mỹ trước bình minh của “Thế hệ Nhạc Jazz”. Với cuốn tiểu thuyết này, Fitzgerald đã trở thành nhà văn đầu tiên hướng sự chú ý của toàn nước Mỹ đến thế hệ mang tên “Thế hệ Nhạc Jazz” (Trái ngược với “Thế hệ Lạc lối” mà Fitzgerald cùng với nhiều văn nghệ sĩ tên tuổi khác thuộc về như: Ernest Hemingway, S. Eliot, John Dos Passos, Waldo Peirce, Alan Seeger, Erich Maria Remarque…). “Thế hệ Nhạc Jazz” là những người Mỹ trẻ lớn lên giữa Thế chiến thứ Nhất, phần lớn không bị ảnh hưởng bởi sự đấu tranh tư tưởng cũng như những nỗi kinh hoàng thực tế. “Bên này địa đàng” đã khiến toàn nước Mỹ phải chú ý đến những hành vi an lạc của thế hệ trẻ thuộc chủ nghĩa khoái lạc, và làm dấy lên những tranh cãi xã hội về tính phi luân lý của họ. Một thế hệ với những xung đột tình cảm, những mâu thuẫn trong tâm hồn, một chút manh nha trong cuộc đấu tranh giữa những lựa chọn đạo đức, giá trị và lí tưởng, được phơi bày một cách ngậm ngùi, đau xót trước những hư ảo, trí trá của lòng tham và sự tìm kiếm địa vị, sự phù phiếm và vô trách nhiệm của tuổi trẻ. Được sự cho phép của Rainbow Books, Trạm Radio xin trích đọc chương 1 tiểu thuyết BÊN NÀY ĐỊA ĐÀNG. Bản quyền bản dịch thuộc về dịch giả và đơn vị phát hành. __________ Để cam kết với bạn nghe đài dự án Trạm Radio sẽ chạy đường dài, chúng tôi cần sự ủng hộ của quý bạn để duy trì những dịch vụ phải trả phí. Mọi tấm lòng đều vô cùng trân quý đối với ban biên tập, và tạo động lực cho chúng tôi tiếp tục sản xuất và trau chuốt nội dung hấp dẫn hơn nữa. Mọi đóng góp cho Trạm Radio xin gửi về: Nguyen Ha Trang STK 19034705725015 Ngân hàng Techcombank. Chi nhánh Hà Nội.
Welcome to another episode of the Bowie Book Club, where wild speculation and grasping for straws about Bowie's favorite books has reigned supreme since 2016. This time we read we read The 42nd Parallel by John Dos Passos, a big sweeping tale of America at the turn of the 20th century, including getting chased by a farmer with a shotgun, which happened all the time back then.
Joyce, Proust, Woolf och Eliot präglar modernismens gyllene år 1922. Men allt fokus på detta år har varit skadligt och gjort litteraturen mindre än vad den är, menar litteraturvetaren Paul Tenngart. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det är ett välkänt faktum att flera av huvudfigurerna under modernismens viktigaste år, 1922, aldrig fick Nobelpriset i litteratur: James Joyce, Marcel Proust och Virginia Woolf – alla saknas de på listan över stockholmsprisade världsförfattare. Det är väl egentligen bara T.S. Eliot som både bidrog till de legendariska litterära experimenten 1922 och belönades av Svenska Akademien, även om han fick vänta i tjugofem år efter det att The Waste Land publicerades innan han fick priset 1948.Dessa luckor har gett upphov till stark kritik genom årens lopp, ibland rentav föraktfullt hån. Oförmågan att belöna Joyce, Proust och Woolf har setts som belägg för att Svenska Akademien är en inskränkt och obsolet sammanslutning långt ute – eller långt uppe – i den kulturella och geografiska periferin som aldrig borde ha fått uppdraget att dela ut världens viktigaste litterära pris.Vem var det då som fick Nobelpriset 1922? Jo, det gick förstås inte till någon modernist, utan till ett av de idag allra mest bortglömda författarskapen i prisets historia, den spanske dramatikern Jacinto Benavente. Benaventes realistiska dramatik förhåller sig på ett direkt sätt till samtidens sociala frågor och strävar efter en naturlig, icke-teatral dialog. Författarskapet ligger med andra ord långt ifrån högmodernismens eruption av formella experiment.Den litteraturhistoria som Nobelpriserna tecknar är en annan än den vanliga. Men det innebär inte att den är felaktig eller destruktiv. Tvärtom: Nobelprisets parallella historia ger ett lika uppfriskande som konstruktivt – ja, kanske rentav nödvändigt relativiserande – alternativ till den litteraturhistoriska normen.Det är ju faktiskt inte givet att den litteratur som Joyce, Proust, Woolf och Eliot producerade 1922 är bättre än all annan litteratur. Litterära värden är ju knappast naturgivna. Det blir inte minst tydligt när man tittar på vilka Nobelpris som har hyllats och vilka som har kritiserats genom åren. Beslutet att ge schweizaren Carl Spitteler 1919 års pris har i efterhand kritiserats i flera omgångar av internationella bedömare. Men på åttiotalet framstod detta överraskande val som ett av Svenska Akademiens allra bästa. Ett av de pris som de flesta har tyckt om men som enstaka kritiker har fnyst åt är T.S. Eliots. ”Framtiden kommer att skratta”, menade litteraturprofessorn Henri Peyre från Yale University 1951, ”åt det brist på perspektiv i vår tid som gör att vi uppfattar Eliot som en litterär talang av högsta rang.”Den västeuropeiska modernismen – med året 1922 som kronologiskt epicentrum – har under en lång tid lagt sig som en gigantisk blöt filt över hela den internationella litteraturhistorieskrivningen. Vad som hände under det tidiga 20-talet i Paris och London har blivit en grundmurad norm: då och där skrevs det bästa av det bästa. Aldrig tidigare och aldrig senare har litteraturen varit så modern. Hmm.Som inget annat år i världshistorien har universitetskurser och läroböcker tjatat sönder 1922 och dess litterära utgivning. Denna historieskrivning är inte bara slö och slentrianmässig, den är också ordentligt förminskande av en hel modern världshistoria där det skrivits litteratur på alla platser, på alla språk och i alla genrer.Denna kronologiska normativitet har också med all önskvärd tydlighet hjälpt till att gång på gång bekräfta och upprätthålla den västerländska kulturella hegemonin. Som den franska världslitteraturforskaren Pascale Casanova skriver: Västeuropa och USA har kommit att äga det moderna. Moderniteten har kommit att definieras som västerländsk, och det som definierats som modernt har betraktats som per definition bra. De få texter och författarskap som lyfts in i den moderna världslitteraturen från andra delar av världen har fått sin plats där för att de påminner om fransk, brittisk eller amerikansk modernism.Den här normativa litteraturhistorieskrivningen ger också en väldigt sned uppfattning om hur litteratur existerar i världen, och hur den utvecklas och förändras. Det var ju knappast så att läsarna 1922 hängde på låsen till bokhandlarna för att skaffa Joyces nya 900-sidiga experiment Ulysses och T.S. Eliots notförsedda friversdikt The Waste Land så fort dessa texter anlände från trycket. Nä, 1922 var de flesta läsande människor upptagna med andra författare, till exempel sådana som fick Nobelpriset under den perioden: den franske sedesskildraren Anatole France, den norska författaren till historiska romaner Sigrid Undset eller den italienska skildraren av sardiniskt folkliv Grazia Deledda.Än mer brett tilltalande var den litteratur som prisades på trettiotalet, då många kritiker i efterhand har tyckt att Svenska Akademien borde ha kunnat ha vett och tidskänsla nog att ge de inte helt lättillgängliga modernisterna Paul Valéry eller John Dos Passos priset. Då belönades istället Forsythe-sagans skapare John Galsworthy, då fick Roger Martin du Gard priset för sin stora realistiska romansvit om familjen Thibault, och då belönades Erik Axel Karlfeldt – som inte var någon gigant ute i världen, det medges, men mycket omtyckt av många svenska läsare.Det är också under den här tiden som det mest hånade av alla litterära Nobelpris delas ut, till Pearl S. Buck. Men Buck har fått en renässans på senare år. Hon var visserligen från USA, men levde stora delar av sitt liv i Kina och förde med sina lantlivsskildringar in det stora landet i öster i den prisvinnande litteraturen. Och i sin motivering lyfte Nobelkommittéen fram just dessa världsvidgande egenskaper: den amerikanska författarens romaner är ”avgjort märkliga genom äkthet och rikedom i skildringen och sällsynt kunskap och insikt i en för västerländska läsare föga känd och mycket svårtillgänglig värld”. Buck ger inblick i nya kulturella sammanhang, berikar den kulturellt sett högst begränsade västerländska litteraturen med motiv och tematik från en mångtusenårig kultur med en minst lika gedigen litterär tradition som den europeiska.Vad hade hänt om Nobelpriset istället hade gett postuma pris till Rainer Maria Rilke och Marcel Proust, och hunnit belöna Joyce och Woolf innan de dog i början av fyrtiotalet? Rilke, Proust, Joyce och Woolf hade ju knappast kunnat vara större och mer centrala än de redan är. Ingen skillnad där alltså. Men det hade varit mycket svårare för oss att hitta fram till Buck, du Gard, Galsworthy, Deledda, France – och till 1922 års stora litterära namn när det begav sig: Jacinto Benavente. Utan pris hade de alla varit helt undanskymda, osynliga, bortglömda. Nu ser vi dem fortfarande, tack vare den alternativa historieskrivning som Nobelprisets löpande och oåterkalleliga kanonisering skapar. Paul Tenngart, litteraturvetare och författareModernismåret 192227.1 Kafka påbörjar "Slottet".2.2 James Joyces "Ulysses" publiceras.Rainer Maria Rilke får feeling. På tre veckor skriver han hela "Sonetterna till Orfeus" samt avslutar "Duino-elegierna".18.5 Proust, Joyce, Stravinsky, Picasso, Satie med flera äter middag.18.10 BBC Startar26.10 Virginia Woolfs "Jacob's room" publiceras.18.11 Proust dör.15.12 T S Eliots "The waste land" utkommer i bokform.Andra händelser: Karin Boyes debutdiktsamling "Moln" utkommer; Katherine Mansfields "The garden party and other stories" publiceras; Birger Sjöbergs "Fridas bok" utkommer; F Scott Fitzgerald har ett produktivt år (det är också under 1922 som "Den store Gatsby", publicerad 1925, utspelar sig); Prousts "På spaning efter den tid som flytt" börjar publiceras på engelska; i december blir Hemingways portfölj med flera års skrivande stulen på Gare de Lyon.FototVirginina Woolf: https://commons.wikimedia.org/wiki/File:Virginia_Woolf_1927.jpgJame Joyce: https://commons.wikimedia.org/wiki/File:James_Joyce_by_Alex_Ehrenzweig,_1915_cropped.jpgT S Eliot:https://commons.wikimedia.org/wiki/File:T_S_Elliot_-_Mar_1923_Shadowland.jpg
Wohl nie waren so viele berühmte Schriftsteller und Reporterinnen aus aller Welt unter einem Dach versammelt wie in Nürnberg 1946. Sie kamen, um zu berichten: von den Gräueln des Krieges und des Holocaust, die dort vor Gericht verhandelt wurden. Sie wohnten und schrieben auf Schloss Faber-Castell, diskutierten, tanzten, verzweifelten, tranken. Uwe Neumahr erzählt ihre Geschichte in seinem aufregenden und bewegenden Buch. Erich Kästner war in Nürnberg und Erika Mann, John Dos Passos und Martha Gellhorn, Willy Brandt und Markus Wolf. Augusto Roa Bastos kam aus Paraguay, Xiao Qian aus China. Im Gerichtssaal blickten sie den Verbrechern ins Angesicht, im Press Camp auf dem Schloss versuchten sie, das Unfassbare in Worte zu fassen. Dabei trafen im Mikrokosmos des Faber-Schlosses Exil-Rückkehrer auf Überlebende des Holocaust, Kommunisten auf Vertreter westlicher Medienkonzerne, Frontberichterstatter auf extravagante Starreporter. Und während sie in den Abgrund der Geschichte sahen, während sie über Schuld, Sühne und Gerechtigkeit nachdachten, veränderten sich nicht nur sie, sondern auch die Art, wie sie schrieben. Uwe Neumahr ist promovierter Romanist und Germanist. Er arbeitet als Literaturagent und freier Autor. Bei C.H.Beck ist von ihm erschienen: “Miguel de Cervantes. Ein wildes Leben. Biografie” (2015).
Rosinante to the Road Again
Tous à Zanzibar est-il le roman le plus visionnaire de l'histoire de la SF ? Rarement un livre de science-fiction se déroulant dans les années 2010 aura été aussi prophétique. Entre 1968 à 1975, John Brunner va dessiner une fresque effrayante de l'avenir. Cette tétralogie noire traitera de la surpopulation (Tous à Zanzibar), du racisme et de la militarisation de la société (L'Orbite Déchiquetée) sans oublier la destruction de l'environnement et le changement climatique (Le Troupeau Aveugle) ainsi que la surveillance généralisée et l'informatique (Sur l'Onde de Choc). Tous à Zanzibar a également marqué les esprits par la forme de son roman. John Brunner va s'inspirer de John Dos Passos et de sa trilogie USA. Il reprend ce mode de narration éclatée. Il y a 121 séquences qui sont divisées en quatre séries. Les Contextes racontent les contours de cette société en se basant sur des documents d'un sociologue imaginaire (Chad Mulligan). Le Monde en Marche évoque à travers des articles de multiples détails sur la société. Les Jalons et les Portraits brossent des portraits des différents personnages du roman ou personnalités. Enfin, la partie Continuité permet de suivre l'intrigue qui mêle espionnage industriel, complot, manipulation et néo-colonialisme. Ancêtre du Cyberpunk, Tous à Zanzibar reste un texte majeur à (re)découvrir. Spécialiste de John Brunner, Patrick Moran, revient sur ce classique ! Il a préfacé et dirigé les deux intégrales de l'auteur aux éditions Mnémos : https://mnemos.com/livres/les-planetaires-integrale/
O jornal americano "The Herald News" dedica um artigo a John dos Passos, um notável romancista luso-americano, filho de madeirenses.
1918 – Ese año, uno de los integrantes de la llamada generación perdida: John Dos Passos, amigo de Scott Fitzgerald y Hemingway, les escribe una carta desde parís dándole consejos a Rumsey Marvin.
The Big Money (Volume Three of the USA Trilogy) by John Dos Passos--- Welcome and Introduction - 00:24 Henry Ford and The Tin Lizzy - 01:00 Dissecting Leadership Like Gossamer - 15:45 Little Mary French - 18:15 The Past is a Different Country - 23:15 The Practical Engineers at Kitty Hawk - 27:30 Leadership Isn't Supposed to Make You Happy - 37:15 The Prairie House Style Architect - 43:04 Where Are All the Grown-Ups?- 52:25 Staying on the Path - 59:35 --- Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON! Check out the Leadership Lessons From the Great Books podcast reading list! --- Check out HSCT Publishing at: https://www.hsctpublishing.com/. Check out LeadingKeys at: https://www.leadingkeys.com/ Check out Leadership ToolBox at: https://leadershiptoolbox.us/ Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members. --- HSCT Publishing: https://www.hsctpublishing.com/. HSCT LinkedIn: https://www.linkedin.com/company/hsct/. HSCT YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/. HSCT Twitter: https://twitter.com/hsctpublishing/. HSCT IG: https://www.instagram.com/hsctpublishing/. HSCT FB: https://www.facebook.com/HSCTPublishing/.
American Sublime discuss John Dos Passos' Manhattan Transfer, Great Man history, propaganda, geriatric drivers, Christopher Columbus. FOR THE FULL EP: https://www.americansublime.today/p/manhattan-transfer?r=1e8cy&utm_campaign=post&utm_medium=web
1919 (Volume Two of the USA Trilogy) by John Dos Passos--- Welcome and Introduction - 00:30 Joe Wiliams's Second-Hand Suit - 01:00 I Believe in America - 04:00 John Dewey's Hunchback - 11:00 The Boundaries of History - 17:00 Benny Wasn't a Jew - 22:33 Leadership is Not Designed to Make You Happy - 27:24 Eveline Hutchins Swam Better Than Anyone - 31:00 Leaders Should Become Watchmakers - 36:00 Staying on the Path - 43:00 --- Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON! Check out the Leadership Lessons From the Great Books podcast reading list! --- Check out HSCT Publishing at: https://www.hsctpublishing.com/. Check out LeadingKeys at: https://www.leadingkeys.com/ Check out Leadership ToolBox at: https://leadershiptoolbox.us/ Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members. --- HSCT Publishing: https://www.hsctpublishing.com/. HSCT LinkedIn: https://www.linkedin.com/company/hsct/. HSCT YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/. HSCT Twitter: https://twitter.com/hsctpublishing/. HSCT IG: https://www.instagram.com/hsctpublishing/. HSCT FB: https://www.facebook.com/HSCTPublishing/.
The 42nd Parallel (Volume One of the USA Trilogy) by John Dos Passos--- Welcome and Introduction - 00:30 Fainy Lived 10 Years in Chicago - 01:30 On Being Unremarkable to the Future - 05:00 "Big" Bill Haywood - 10:45 On Viewing Every Event Through A Political Lens - 16:45 Eleanore Stoddard Hated Everything When She Was Young - 24:15 The Tension Between The Masses and the Elite - 30:07 The Life and Times of Minor C. Keith - 33:00 You Become A Legend With An Ideal - 38:00 Staying on the Path - 45:00 --- Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON! Check out the Leadership Lessons From the Great Books podcast reading list! ---Music: Joplin Wall Street Rag, performed by Constantin Stephan. Courtesy of MuseOpen.org.--- Check out HSCT Publishing at: https://www.hsctpublishing.com/. Check out LeadingKeys at: https://www.leadingkeys.com/ Check out Leadership ToolBox at: https://leadershiptoolbox.us/ Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members. --- HSCT Publishing: https://www.hsctpublishing.com/. HSCT LinkedIn: https://www.linkedin.com/company/hsct/. HSCT YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/. HSCT Twitter: https://twitter.com/hsctpublishing/. HSCT IG: https://www.instagram.com/hsctpublishing/. HSCT FB: https://www.facebook.com/HSCTPublishing/.
durée : 00:26:59 - Les Nuits de France Culture - "Pages arrachées à la correspondance de Tolkien". Dernière émission, sur cinq, consacrée au créateur du "Seigneur des anneaux" avec Vincent Ferré, traducteur de J.R. Tolkien, dont nous découvrons la correspondance grâce à des lectures des comédiens Jérôme Kircher et Odile Grosset-Grange. Dans l'émission Pages arrachées à la correspondance de Tolkien, diffusée en 2013, Vincent Ferré servait de guide aux auditeurs. Spécialiste du roman européen et américain de la première partie du vingtième siècle, notamment de Marcel Proust, Hermann Broch et John Dos Passos, Vincent Ferré est également connu du grand public pour son travail d'édition de l'oeuvre de l'écrivain britannique John Ronald Reuel Tolkien pour les éditions Bourgois, collaborant à la traduction de plusieurs de ses livres inédits en français, comme les Lettres, ou, supervisant leur traduction. Ses travaux portent aussi sur la littérature du Moyen Âge et le médiévalisme dont il a contribué à introduire le terme en France. Il explique comment, dans sa jeunesse, il a rencontré l'oeuvre de Tolkien : Pour Tolkien il y a une fascination et une rencontre littéraire vers quinze ans, j'aimais beaucoup les récits arthuriens et Tolkien est une forme de reprise du Moyen Âge, il donne vie à un héritage littéraire. (...) Il y a la fois un plaisir de lecture et une fascination devant des ouvres qui nous dépassent. Choix de textes par Vincent Ferré - Lecture par Jérôme Kircher Réalisation Jacques Taroni Pages arrachées à la correspondance de Tolkien - Le seigneur des anneaux (1ère diffusion : 05/07/2013) Rédaction web : Sandrine England, Documentation sonore de Radio France
Attilio Brilli"La più bella pittura del mondo"PIero della Francesca nelle parole e nello sguardo di scrittori, poeti, artistiAboca Edizionihttps://abocaedizioni.it/In questo saggio, Attilio Brilli offre un modo nuovo di confrontarsi con l'opera di Piero della Francesca attraverso le parole di narratori, saggisti, poeti, artisti, scienziati, filosofi appartenenti a nazionalità e a tradizioni culturali diverse – come Aldous Huxley, Albert Camus, John Dos Passos, Iris Murdoch, Giorgio Bassani, Giuseppe Ungaretti, Piero Calamandrei, Mario Luzi, Fernando Botero, Yves Bonnefoy, John Berger e molti altri.Le loro riflessioni mettono in luce aspetti dei capolavori dell'artista che hanno poco a che fare con la storia dell'arte. In questo volume, infatti, Piero non è più un oggetto di analisi, bensì un soggetto capace di interagire con il mondo contemporaneo. Mentre non avrebbe alcun senso parlare di viaggio o pellegrinaggio con riferimento a Raffaello, Michelangelo, o Caravaggio, l'unico modo per conoscere Piero è sempre stato quello di andare a cercarlo nella sua terra. Piero rappresenta proprio il caso di un artista le cui opere sono comprese nell'ambito di un percorso breve e circoscritto che ha come baricentro Sansepolcro ecome terminali Arezzo a ovest, Urbino e Rimini a est. Muoversi lungo questo asse – definito a livello internazionale “The Piero della Francesca Trail” – significa ricalcare i passi del pittore che soleva viaggiare presso le cortidei Montefeltro e dei Malatesta.Un itinerario che ci remunera con il ciclo della Leggenda della vera Croce di Arezzo, con la Madonna del parto di Monterchi, con la Resurrezione, la Madonna della Misericordia e il frammento del San Giuliano di Sansepolcro, con le tavole della Flagellazione e della Madonna di Senigallia di Urbino e con l'affresco malatestiano di Rimini come Aldous Huxley, Albert Camus, John Dos Passos, Iris Murdoch, Giorgio Bassani, Giuseppe Ungaretti, Piero Calamandrei, Mario Luzi, Fernando Botero, YvesBonnefoy, John Berger e molti altri. Le loro riflessioni mettono in luce aspetti dei capolavori dell'artista che hanno poco a che fare con la storia dell'arte. In questo volume, infatti, Piero non è più un oggetto di analisi, bensì un soggetto capace di interagire con il mondo contemporaneo. Mentre non avrebbe alcun senso parlare di viaggio o pellegrinaggio con riferimento a Raffaello, Michelangelo, o Caravaggio, l'unico modo per conoscere Piero è sempre stato quello di andare a cercarlo nella sua terra.Piero rappresenta proprio il caso di un artista le cui opere sono comprese nell'ambito di un percorso breve e circoscritto che ha come baricentro Sansepolcro e come terminali Arezzo a ovest, Urbino e Rimini a est. Muoversi lungo questo asse – definito a livello internazionale “The Piero della Francesca Trail” – significa ricalcare i passi del pittore che soleva viaggiare presso le corti dei Montefeltro e dei Malatesta.Un itinerario che ci remunera con il ciclo della Leggenda della vera Croce di Arezzo, con la Madonna del parto di Monterchi, con la Resurrezione, la Madonna della Misericordia e il frammento del San Giuliano di Sansepolcro, con le tavole della Flagellazione e della Madonna di Senigallia di Urbino e con l'affresco malatestiano di Rimini.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
Joyce, Proust, Woolf och Eliot präglar modernismens gyllene år 1922. Men allt fokus på detta år har varit skadligt och gjort litteraturen mindre än vad den är, menar litteraturvetaren Paul Tenngart. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det är ett välkänt faktum att flera av huvudfigurerna under modernismens viktigaste år, 1922, aldrig fick Nobelpriset i litteratur: James Joyce, Marcel Proust och Virginia Woolf alla saknas de på listan över stockholmsprisade världsförfattare. Det är väl egentligen bara T.S. Eliot som både bidrog till de legendariska litterära experimenten 1922 och belönades av Svenska Akademien, även om han fick vänta i tjugofem år efter det att The Waste Land publicerades innan han fick priset 1948.Dessa luckor har gett upphov till stark kritik genom årens lopp, ibland rentav föraktfullt hån. Oförmågan att belöna Joyce, Proust och Woolf har setts som belägg för att Svenska Akademien är en inskränkt och obsolet sammanslutning långt ute eller långt uppe i den kulturella och geografiska periferin som aldrig borde ha fått uppdraget att dela ut världens viktigaste litterära pris.Vem var det då som fick Nobelpriset 1922? Jo, det gick förstås inte till någon modernist, utan till ett av de idag allra mest bortglömda författarskapen i prisets historia, den spanske dramatikern Jacinto Benavente. Benaventes realistiska dramatik förhåller sig på ett direkt sätt till samtidens sociala frågor och strävar efter en naturlig, icke-teatral dialog. Författarskapet ligger med andra ord långt ifrån högmodernismens eruption av formella experiment.Den litteraturhistoria som Nobelpriserna tecknar är en annan än den vanliga. Men det innebär inte att den är felaktig eller destruktiv. Tvärtom: Nobelprisets parallella historia ger ett lika uppfriskande som konstruktivt ja, kanske rentav nödvändigt relativiserande alternativ till den litteraturhistoriska normen.Det är ju faktiskt inte givet att den litteratur som Joyce, Proust, Woolf och Eliot producerade 1922 är bättre än all annan litteratur. Litterära värden är ju knappast naturgivna. Det blir inte minst tydligt när man tittar på vilka Nobelpris som har hyllats och vilka som har kritiserats genom åren. Beslutet att ge schweizaren Carl Spitteler 1919 års pris har i efterhand kritiserats i flera omgångar av internationella bedömare. Men på åttiotalet framstod detta överraskande val som ett av Svenska Akademiens allra bästa. Ett av de pris som de flesta har tyckt om men som enstaka kritiker har fnyst åt är T.S. Eliots. Framtiden kommer att skratta, menade litteraturprofessorn Henri Peyre från Yale University 1951, åt det brist på perspektiv i vår tid som gör att vi uppfattar Eliot som en litterär talang av högsta rang.Den västeuropeiska modernismen med året 1922 som kronologiskt epicentrum har under en lång tid lagt sig som en gigantisk blöt filt över hela den internationella litteraturhistorieskrivningen. Vad som hände under det tidiga 20-talet i Paris och London har blivit en grundmurad norm: då och där skrevs det bästa av det bästa. Aldrig tidigare och aldrig senare har litteraturen varit så modern. Hmm.Som inget annat år i världshistorien har universitetskurser och läroböcker tjatat sönder 1922 och dess litterära utgivning. Denna historieskrivning är inte bara slö och slentrianmässig, den är också ordentligt förminskande av en hel modern världshistoria där det skrivits litteratur på alla platser, på alla språk och i alla genrer.Denna kronologiska normativitet har också med all önskvärd tydlighet hjälpt till att gång på gång bekräfta och upprätthålla den västerländska kulturella hegemonin. Som den franska världslitteraturforskaren Pascale Casanova skriver: Västeuropa och USA har kommit att äga det moderna. Moderniteten har kommit att definieras som västerländsk, och det som definierats som modernt har betraktats som per definition bra. De få texter och författarskap som lyfts in i den moderna världslitteraturen från andra delar av världen har fått sin plats där för att de påminner om fransk, brittisk eller amerikansk modernism.Den här normativa litteraturhistorieskrivningen ger också en väldigt sned uppfattning om hur litteratur existerar i världen, och hur den utvecklas och förändras. Det var ju knappast så att läsarna 1922 hängde på låsen till bokhandlarna för att skaffa Joyces nya 900-sidiga experiment Ulysses och T.S. Eliots notförsedda friversdikt The Waste Land så fort dessa texter anlände från trycket. Nä, 1922 var de flesta läsande människor upptagna med andra författare, till exempel sådana som fick Nobelpriset under den perioden: den franske sedesskildraren Anatole France, den norska författaren till historiska romaner Sigrid Undset eller den italienska skildraren av sardiniskt folkliv Grazia Deledda.Än mer brett tilltalande var den litteratur som prisades på trettiotalet, då många kritiker i efterhand har tyckt att Svenska Akademien borde ha kunnat ha vett och tidskänsla nog att ge de inte helt lättillgängliga modernisterna Paul Valéry eller John Dos Passos priset. Då belönades istället Forsythe-sagans skapare John Galsworthy, då fick Roger Martin du Gard priset för sin stora realistiska romansvit om familjen Thibault, och då belönades Erik Axel Karlfeldt som inte var någon gigant ute i världen, det medges, men mycket omtyckt av många svenska läsare.Det är också under den här tiden som det mest hånade av alla litterära Nobelpris delas ut, till Pearl S. Buck. Men Buck har fått en renässans på senare år. Hon var visserligen från USA, men levde stora delar av sitt liv i Kina och förde med sina lantlivsskildringar in det stora landet i öster i den prisvinnande litteraturen. Och i sin motivering lyfte Nobelkommittéen fram just dessa världsvidgande egenskaper: den amerikanska författarens romaner är avgjort märkliga genom äkthet och rikedom i skildringen och sällsynt kunskap och insikt i en för västerländska läsare föga känd och mycket svårtillgänglig värld. Buck ger inblick i nya kulturella sammanhang, berikar den kulturellt sett högst begränsade västerländska litteraturen med motiv och tematik från en mångtusenårig kultur med en minst lika gedigen litterär tradition som den europeiska.Vad hade hänt om Nobelpriset istället hade gett postuma pris till Rainer Maria Rilke och Marcel Proust, och hunnit belöna Joyce och Woolf innan de dog i början av fyrtiotalet? Rilke, Proust, Joyce och Woolf hade ju knappast kunnat vara större och mer centrala än de redan är. Ingen skillnad där alltså. Men det hade varit mycket svårare för oss att hitta fram till Buck, du Gard, Galsworthy, Deledda, France och till 1922 års stora litterära namn när det begav sig: Jacinto Benavente. Utan pris hade de alla varit helt undanskymda, osynliga, bortglömda. Nu ser vi dem fortfarande, tack vare den alternativa historieskrivning som Nobelprisets löpande och oåterkalleliga kanonisering skapar. Paul Tenngart, litteraturvetare och författareModernismåret 192227.1 Kafka påbörjar "Slottet".2.2 James Joyces "Ulysses" publiceras.Rainer Maria Rilke får feeling. På tre veckor skriver han hela "Sonetterna till Orfeus" samt avslutar "Duino-elegierna".18.5 Proust, Joyce, Stravinsky, Picasso, Satie med flera äter middag.18.10 BBC Startar26.10 Virginia Woolfs "Jacob's room" publiceras.18.11 Proust dör.15.12 T S Eliots "The waste land" utkommer i bokform.Andra händelser: Karin Boyes debutdiktsamling "Moln" utkommer; Katherine Mansfields "The garden party and other stories" publiceras; Birger Sjöbergs "Fridas bok" utkommer; F Scott Fitzgerald har ett produktivt år (det är också under 1922 som "Den store Gatsby", publicerad 1925, utspelar sig); Prousts "På spaning efter den tid som flytt" börjar publiceras på engelska; i december blir Hemingways portfölj med flera års skrivande stulen på Gare de Lyon.FototVirginina Woolf: https://commons.wikimedia.org/wiki/File:Virginia_Woolf_1927.jpgJame Joyce: https://commons.wikimedia.org/wiki/File:James_Joyce_by_Alex_Ehrenzweig,_1915_cropped.jpgT S Eliot: https://commons.wikimedia.org/wiki/File:T_S_Elliot_-_Mar_1923_Shadowland.jpg
durée : 00:55:29 - Autant en emporte l'Histoire - par : Stéphanie DUNCAN - Dans les années 1920-1930, John Dos Passos, l'auteur de Manhattan Transfer et de la trilogie « USA », est considéré avec Ernest Hemingway comme l'un des plus grands écrivains américains...
This week we were so excited to interview Joe Haldeman and his wife Gay! The Forever War is absolutely one of the best sci fi books of all time, and we were excited to discuss the origins, real-life inspiration, and message of the book, as well as sci-fi and writing more broadly. In addition to writing more than 30 novels, Joe was also a professor at MIT (as was Gay) where he taught science fiction writing for decades. This week, instead of us recommending similar books, we asked Joe and Gay to recommend their favorite sci-fi books. Among Joe's books, they recommended Camouflage, the World's Trilogy, and The Accidental Time Machine. For books by other writers, they recommended anything by Vonnegut, The Murderbot series by Martha Wells, Ted Chiang, N.K. Jemisin's Broken Earth trilogy, and Lois McMaster Bujold's Vorkosigan Saga (as well as some love for John Dos Passos and Ernest Hemingway if you want to read some non science fiction).YouTube link if you prefer to watch the episode.NO SPOILERS SUMMARY OF THE FOREVER WAR: William Mandella was a physics student when he was conscripted into the UNEF. Human colony ships had been disappearing, apparently at the hands of a newly discovered alien species called the Taurans, and humanity is conscripting the best and brightest to go out and fight the aliens in deep space.Mandella and the rest of the recruits undergo dangerous and brutal training to learn how fight for control of the collapsars that greatly speed interstellar travel. During training and through the difficult fighting that follows, Mandella falls in love with another member of his unit, a woman named Marygay Potter.Mandella and Marygay do everything they can to survive the war, but even if they survive, they still can't return to the world they left behind. Even with the collapsars to speed their interstellar journeys, travelling through the gaps between the stars still requires accelerating to near lightspeed, and the resulting time dilation means every trip takes them farther and farther into the future, away from their families and the society they knew.
“Where is home for you?” The question can be laden with hidden meanings and, often, with assumptions about identity. In this episode, writer and doctoral researcher Julien Clin reflects on place as a source of community. Dismantling both identity and the nation as imagined, probing the concepts' discourse-theoretical limitations, giving up identity in favour of embraced alterity, Julien seeks to move from backward-looking nostalgia to Being in place. From a topological point of view fed by sense-affect, he attempts to reimagine the concept of roots as a rhizomatic engagement that, ultimately, makes and constantly remakes the Home. Julien Clin is working on a creative nonfiction book as a topo-poiesis of Heimat in the gentrifying, global city (specifically London). The accompanying critical research, which he undertakes with Techne-AHRC funding at Kingston University, focuses on ‘writing the home'. His first degree was a Magister Artium in American and Romance Philology from the University of Tübingen (Germany), with a dissertation on “The Art of Montage in John Dos Passos's Manhattan Transfer.” This explored the implicit political message conveyed by the technique and how it contributes to the representation of the city. After several years in broadcast journalism, during which Julien worked as a producer and foreign correspondent, he obtained a Master's in Creative Writing from the University of Oxford (Somerville College). He continues to be interested in long-form radio and travel writing, as well as urbanism more widely. He tweets very infrequently @ClinJulien. The Technecast is funded by the Techne AHRC-DTP, and edited by Polly Hember, Julien Clin & Felix Clutson. Contact: technecaster@gmail.com / @technecast / @pollyhember / @ClinJulien Royalty free music generously shared by Steve Oxen. FesliyanStudios.com
GFI02: TRANSCENDING THE CLIMATE CRISIS with Kim Stanley Robinson Show Summary Tune into the Bold.ly Now Show featuring Kim Stanley Robinson, the Hugo and Nebula winning author of the Mars Trilogy. He is known as a realistic, science-based highly-literary science fiction author with over 20 books published. Stan's work often focuses on themes like sustainability, economic & social justice, climate change, and speculative futures. Today, we discuss these themes covered in Stan's atypical sci-fi novel, The Ministry for the Future. Stan uses the book to demonstrate a vision of a new future for humanity and investigate what it might take to survive and transcend the climate crisis. Learn More: ● Website: https://bold.ly/ ● Website: https://www.kimstanleyrobinson.info/ ● Website: https://proofzine.com/ ● Bold.ly YOU App: https://bold.ly/you ● Link Tree: http://linktr.ee/bold.lynow ● Facebook: https://www.facebook.com/boldlynow ● Twitter: https://twitter.com/boldlynow ● Instagram: bold.lynow ● Podcast:https://boldly-now.captivate.fm/listen ● Youtube: https://www.youtube.com/c/TheBoldlyNOWShow Full Show Notes The world is on track to miss the target of keeping the global average temperature within 2 degrees celsius of the warming limit. That means humans will have to adapt to a higher temperature. But, how much can we adapt? It's a well documented fact that humanity cannot survive a high heat index – a combination of high heat and high humidity. So, no matter the eco-modernist's view, humanity faces more of an emergency than we think. Kim Stanley Robinson's novel “The Ministry for the Future” runs wild with this idea. The book aims not just to transform people's thinking but also the culture itself. While his atypical approach to “novel writing” may seem borderline blasphemous, it's not something new. Stan believes he was inspired by the USA trilogy (by John Dos Passos) and Moby Dick (Herman Melville). Here, he talks in detail about his novel writing approach, entertainment VS education aspect, and how he manages to “tell” just as much as “show” to keep the novel fun and engaging for the readers. We live in a nation-state global capitalist world. To write a realistic plausible novel, discussing capitalism and how it exacerbates the climate problem is inevitable. This system favors a few, but the climate is a zero-sum game. Paris agreement was, therefore, a great step in the right direction. We need better pricing of our relationship to the biosphere. Only then can we attempt to morph the system into better treatment of people and the biosphere. Stan's novel extracts a lot from the current economic conditions and gives us a viable picture of the future. The Carbon coin, introduced in the book, strikes a chord with the crypto-revolution currently taking place. Similarly, the targeted asymmetrical violence reminds of the occupy movement. Along the way, the book asks some very pertinent questions making a case for neoliberal capitalism. Unlike the often held view, neoliberal capitalism is not a hands-off approach to governance. It's still a very strong governance model that is indispensable for a socially just political economy. It's a mixed picture in the world right now. On the bright side, we have the EU commission announcing plans for forced labor import ban, the successes of the 30 x 30 movement, the Paris accord and similar steps taken by governments in the USA, China and India. On the negative side, we have the reactionary capitalist businesses which exploit the natural resources to death and would not go without a fight. This discursive battle is but just one aspect of the larger political and physical battle. Biological diversity is just important as human cultural diversity. We are part of nature. Our body cells are part of the biosphere – from the cradle to the grave. Whenever there has been a mass extinction event, about 70 per cent of the species don't make
Escucha este audiolibro completo, aquí: https://bit.ly/3n1ir9dNarrado por: Héctor VelascoEn Nueva York, Jimmy Herf, huérfano de padre y madre, es adoptado por su tío, y desde muy joven empieza a trabajar como periodista. Después combate en la guerra, se enamora y se casa con Hellen Thatcher, una actriz divorciada que le abandona por un rico abogado cuando Jimmy pierde el trabajo y se ve obligado a vivir pobremente, hasta que un día en una reunión de amigos anuncia que va a dejar la ciudad. Esta espléndida novela cuenta cómo el protagonista, rodeado de cientos de personas que viven en su ciudad, que actúan junto a él y a veces se cruzan con él, intenta vivir en Nueva York durante los años que anteceden y siguen a la Primera Guerra Mundial.#penguinaudio #audiolibro #audiolibros #John #Dos #Passos #JohnDosPassos See acast.com/privacy for privacy and opt-out information.
Un sujet qui se révèle beaucoup plus vaste qu'attendu, où il s'agit d'aborder ces moments où l'auteur ou autrice peine à aborder certains terrains, ou bien redoute d'être reconnu·e dans ses thèmes ou traitements. Mélanie révèle avoir longtemps lutté contre cette question, en se forçant à traiter des angles ou des questions qui ne lui étaient pas aisés, conduisant peut-être à un effet d'étrangeté en représentant le réel tel qu'il est au lieu de la manière dont le lectorat peut l'attendre. Lionel soutient que le risque d'être vu·e dans ses textes est assez faible, car la fiction noie le personnel dans le récit, et seuls les plus proches de soi peuvent éventuellement deviner les vrais éléments personnels de l'auteur ou autrice. Estelle parle du paradoxe du comédien, lequel exprime d'autant mieux sa sincérité derrière un masque ; mais elle dévoile que l'autocensure est revenue d'une direction inattendue et désagréable, liée à sa place d'autrice. Références citées - John Dos Passos
Escucha este audiolibro completo, aquí: https://bit.ly/2ZapeEkNarrado por: Esteban MassanaJavier Reverte, el gran viajero y escritor, ponía rumbo a su última travesía el 31 de octubre de 2020. Tan solo unos días antes entregaba a sus editores estas páginas en las que había trabajado los últimos quince años, reuniendo en ellas recuerdos y reflexiones sobre la vida, los viajes y la escritura, sus grandes pasiones. Una memoria feliz y luminosa que arranca en la infancia, «verdadera patria del hombre» en palabras de su admirado Rilke; recorre sus años de juventud, en los que nació su compromiso con la política y el periodismo; su etapa como corresponsal, en la que cubrió conflictos como el irlandés o la guerra de Bosnia y su descubrimiento de África, el continente que le abrió para siempre el camino de la literatura y la aventura. Volvía a mirarlo todo con los ojos del niño y sentía que llenaba la vida con «el sentido infantil del juego», como pedía John Dos Passos. Percibía que mi existencia estaba siendo trazada por lo que anhelé cuando era un crío que soñaba con aventuras, al tiempo que alentaba la conciencia de que, si me inclinaba hacia otra manera de ser, en la vejez lo lamentaría. Quería que el pequeño Javier se sintiera orgulloso del anciano Reverte.#penguinaudio #audiolibro #audiolibros #Javier #Reverte #JavierReverte See acast.com/privacy for privacy and opt-out information.
Produced by: Catherine Charlwood (@DrCharlwood) and Laura Ludtke (@lady_electric) Music composed and performed by Gareth Jones. About the episode: This sixth episode of the third series of LitSciPod features an interview with Dr Heather Love, Assistant Professor of English Literature at the University of Waterloo (Canada). Heather discusses her work on cybernetics in the works of Ezra Pound, John Dos Passos, and Virginia Woolf, as well as modernism and diagnosis. She introduces us to her new project on obstetrics and explores her unique relationship with the IEEE (Institute of Electrical and Electronics Engineers). Together, we consider the importance of the concept of the cluster to her research. At the end of the episode, you can hear Heather read an excerpt from Gertrude Stein's Everybody's Autobiography (1937). Episode resources (in order of appearance): • Gabriel Roberts, “ The Humanities in Modern Britain: Challenges and Opportunities”, Higher Education Policy Institute (2021) • Lord Browne, “Securing a sustainable future for higher education: an independent review of higher education funding and student finance” (2010) • Royal Society, “Jobs are changing, so should education” (2019) • Heather Love, “The Cluster as Interpretive Gesture” in “Traces”, Open Thresholds (2017): http://openthresholds.org/2/clusterasinterpretivegesture. • Love, “Newsreels, Novels, and Cybernetics: Reading the Random Patterns of John Dos Passos's U.S.A.”, Journal of Modern Literature • Janet Galligani Casey, Dos Passos and the Ideology of the Feminine (1998) • Walter Pater, The Renaissance • William James, The Principles of Psychology • Ross Ashby, “The Black Box”, An Introduction to Cybernetics (1956). • Sylvan Thompkins, Affect Imagery Consciousness: The Positive Affects (1962) • Virginia Woolf, The Waves (1931) •Dorothy Richardson, Pilgrimage (1915–38) • Paul Jaussen, Writing in Real Time: Emergent Poetics from Whitman to the Digital (2017) • John Dos Passos, USA Trilogy (1930–6); Manhattan Transfer (1925) • Love, “Cybernetic Modernism and the Feedback Loop: Ezra Pound's Poetics of Transmission”, Modernism/modernity (2016) • Joy Division, “Transmission”, Novelty (1979) •Ezra Pound, Cantos LII–LXXI (1940) • Woolf, “Character in Fiction” The Criterion (1924) • Ford Madox Ford, “On Impressionism,” Poetry and Drama (1913) • Rudolf Arnheim, Rundfunk als hörkunst (1933), translated as Radio as Sound (1936) • University of Waterloo, Co-op Program (https://uwaterloo.ca/future-students/co-op); Master of Arts in Experimental Digital Media (https://uwaterloo.ca/english/xdm) • Siegfried Zielinski, [. . . After the Media]: News from the Slow-Fading Twentieth Century (2013) • Love & Lisa Mendelman, Modernism and Diagnosis in Modernism/modernity Print Plus 6.2 (2021): https://doi.org/10.26597/mod.0198 • Kevin Jackson, Constellation of Genius: 1922: Modernism Year One (2012) • Paul Stephens, The Poetics of Information Overload: From Gertrude Stein to Conceptual Writing (2015) Stephens, “Stars in My Pocket Like Bits of Data: The poetics of information overload”, Guernica (15 July 2015) • Robertson Collection, Museum of Healthcare at Kingston. See https://www.atlasobscura.com/articles/objects-of-intrigue-museum-of-health-care-moulages
Für diese Folge von "weiter lesen" haben wir uns mit dem Podcast "Land in Sicht" vom NDR zusammengetan, der auf dem Hof der Schriftstellerin Lisa Kreißler aufgezeichnet wird. Thorsten Dönges vom Literarischen Colloquium Berlin und Anne-Dore Krohn von rbb kultur haben Lisa Kreißler und den NDR-Literaturredakteur Alexander Solloch dort besucht und im Gemüsebeet gemeinsam über drei Bücher gesprochen, die sich mit dem Thema Stadt und Land beschäftigen: Petra Ahnes Kulturgeschichte "Hütten", "Mitgift" von Henning Ahrens und der Großstadtroman schlechthin, "Manhattan Transfer" von John Dos Passos. Am Mikrofon: Thorsten Dönges, Lisa Kreißler, Anne-Dore Krohn, Alexander Solloch,
Besuch aus Berlin! Anne-Dore Krohn und Thorsten Dönges vom Literatur-Podcast "weiter lesen" des rbb kommen zu uns nach Pohle. Wir sprechen über die pulsierende Großstadt und die Vorzüge des Landlebens. Im Buch von Petra Ahne geht es um Hüttenromantik, Henning Ahrens erzählt eine traumatische Familiengeschichte aus der niedersächsischen Provinz und mit John Dos Passos reisen wir in den Moloch New York. Um diese Bücher geht es in der Folge: 00:02:47 Petra Ahne: "Hütten - Obdach und Sehnsucht" (Matthes & Seitz Berlin) // 00:27:43 Henning Ahrens: "Mitgift" (Klett-Cotta) // 00:48:41 John Dos Passos: "Manhattan Transfer" (Rowohlt) // Wenn Sie Ideen, Anregungen oder Feedback zum Podcast "Land in Sicht" haben, schicken Sie gerne eine Mail an landinsicht@ndr.de.
To commemorate the 75th anniversary of the International Military Tribunal, Crime Story presents a new series, NUREMBERG. Sean Smith examines the many dimensions of the historic judicial proceedings. Drawing on official transcripts of the trial, as well as a vast bibliography of first- and second-hand accounts, NUREMBERG tells the stories behind the legal, political and personal struggles which complicated this revolutionary exercise in international jurisprudence. You can find previous episodes of our Nuremberg series here.
“Nueva York empezó a gustarme por su chispeante y aventurera sensación nocturna, y por la satisfacción que presta a la mirada humana su constante revoloteo de hombres, mujeres y máquinas. Gustaba de pasear por la Quinta Avenida y elegir románticas mujeres de entre la multitud; imaginar que dentro de breves minutos irrumpiría en su vida, sin que nadie lo supiera o desaprobara”. -Fragmento de 'El Gran Gatsby'- Francis Scott Fitzgerald nació en 1.896 en Saint Paul, Minnesota. Abandonó la Universidad de Princeton en 1.917 para alistarse en el ejército durante la I Guerra Mundial. Se enamoró de Zelda Sayre, hija de un juez, y se casó con ella a los veinticuatro años, tras lograr el éxito con su primera novela “A este lado del paraíso”. Juntos tuvieron una hija, y él mantenía a la familia escribiendo relatos para revistas populares. Su segunda novela, “Hermosos y malditos”, confirmó su reputación como principal cronista y crítico de la era del jazz. En 1.924 se trasladó con Zelda a la Costa Azul francesa para escribir “El gran Gatsby”. Posteriormente vivirían a caballo entre Francia y Estados Unidos. Fitzgerald tuvo una relación problemática con el alcohol; tras publicar “Suave es la noche” en 1.934, batalló durante dos años contra la bebida y la depresión. En 1.937 probó a escribir guiones para Hollywood, donde murió de un ataque al corazón en 1.940 a los cuarenta y cuatro años. Charlando con Ernest Hemingway, la escritora y anfitriona literaria Gertrude Stein de refirió a una generación perdida de jóvenes: aquellos que habían servido en la I Guerra Mundial. Según Hemingway, Stein había oído por primera vez la expresión en boca del propietario de un taller que le había reparado el coche: un detalle anecdótico que resuena sugestivamente en las escenas del garaje de “El gran Gatsby”. En este contexto significa desorientada o alienada, más que desaparecida. Después de que Hemingway la empleara en el epígrafe de su novela “Fiesta”, la expresión “Generación Perdida” vino a designar a un grupo de jóvenes autores estadounidenses expatriados en el crisol creativo del París de los años veinte, que incluía a Scott Fitzgerald, John Dos Passos, Ezra Pound y el propio Hemingway. La I Guerra Mundial les había dejado su impronta, y ellos eran inquietos y cínicos, y buscaban sentido en la experiencia del amor, la escritura, la bebida y el placer. Fitzgerald, uno de los escritores más importantes de la Generación Perdida, se vio seducido por el centelleo de la llamada en la década de 1.920, al mismo tiempo que era agudamente consciente de sus deficientes valores morales y de la vacuidad de su promesa de una vida mejor para todos. Su novela más famosa, “El gran Gatsby”, relata la historia del sueño de amor frustrado de Jay Gatsby, pero es al mismo tiempo la historia del fracaso del Sueño Americano, en que su promesa de un mundo mejor se revela como una farsa. Fitzgerald veía la era del jazz como una época milagrosa y excesiva, marcada por una nueva prosperidad posbélica centrada en Wall Street, donde se hacían fortunas inmensas comerciando con acciones y bonos. El ideal del hombre hecho a sí mismo era un atractivo antídoto contra el poder del dinero transmitido por herencia y el matrimonio entre las mejores familias. En Estados Unidos, los años veinte parecían ofrecer una nueva movilidad social que sanaba las heridas de clase y desafiaba al esnobismo. Los que habían buscado suerte en el Oeste ahora volvían al Este para hacer fortuna y gastar sus riquezas en casas magníficas, lujosos objetos y un alto nivel de vida; al menos, ese era el sueño. Pero la realidad era que la riqueza para unos conllevaba el empobrecimiento de otros, y además suscitaba una cultura de brillo superficial, pero moral y espiritualmente vacía. La falsedad cundía en todas sus formas y el esnobismo pervivía: simplemente había encontrado nuevos objetivos. Tras la aprobación en 1.919 de la 18ª Enmienda, que prohibía la venta de alcohol, muchos emprendedores canalizaron su talento hacia el contrabando de licor ilegal, gran parte del cual se vendía en bares clandestinos. Por otra parte, el racismo era algo generalizado; en el primer capítulo de la novela, Tom Buchanan lo expresa abiertamente: “ Si no nos mantenemos en guardia, la raza blanca acabará….., acabará hundiéndose completamente”. Scott Fitzgerald veía su novela como . Este brillo, reflejado en una prosa sensual teñida de un tono romántico, es visible en el deslumbrante glamour de la lujosa sociedad de la Costa Este que Fitzgerald retrata. Jay Gatsby, posee una mansión colosal al estilo de una villa francesa en el West Egg, en la costa de Long Island frente a Nueva York. Gatsby es un enigma, un recién llegado del Medio Oeste sobre el que circulan muchos rumores: que asesinó a un hombre, que su supuesta educación en Oxford es mentira, que hizo su fortuna con el alcohol ilegal…...Cada sábado celebra decadentes fiestas con cientos de invitados, según describe Nick Carraway, el narrador, que ha alquilado una pequeña casa vecina. En estas juergas hay risas y jazz, pero también mucha embriaguez y riñas, especialmente entre parejas. De hecho, a lo largo de la obra, los diálogos entre hombres y mujeres suelen ser frívolos e insinceros. Nick llegará a conocer a Gatsby y descubrirá su secreto: que durante cinco años ha estado obsesivamente enamorado de la bella y mundana Daisy Buchaman, la cual resulta ser prima de Nick, y que está casada con Tom Buchanan, un adinerado amigo de universidad de Nick. Daisy es la razón de que Gatsby haya comprado la mansión en la orilla opuesta a la de la casa colonial georgiana de Tom y Daisy, en el East Egg. Gatsby exhibe su riqueza, adquirida en oscuros negocios con un criminal de aire mafioso llamado Meyer Wolfsheim, con el único objetivo de recuperar a su amor perdido, ahora que por fin dispone de capital para mantenerla. Los temas de la novela se desarrollan sobre una topografía muy simbólica. El East Egg, hogar de Daisy y Tom, así como de la mayoría de los invitados a las fiestas de Gatsby, simboliza los valores tradicionales y el dinero viejo; el West Egg, donde vive Gatsby, representa la moderna opulencia de los nuevos ricos. Cerca se halla Nueva York, repleta de negocios turbios y placeres clandestinos. En medio, el : una extensión de terreno donde se materializa la desolación subyacente al glamour. Esta región desolada recuerda a “La tierra baldía” de T.S. Elliot, cuyo título hace referencia al antiguo mito de un reino azotado por una maldición. Aquí vive la amante de Tom Buchanan, Myrthe Wilson, con su triste y pasivo marido, propietario de un garaje, cerca de la gigante valla publicitaria de una óptica. Las gafas del anuncio constituyen un guiño irónico, pues en el mundo de Gatsby nadie muestra demasiada claridad visual; ni siquiera Nick, quién dice que “suelo reservarme mis juicios”, pero que en realidad se siente superior a todos, incluida su cínica novia, la golfista profesional Jordan Baker. Jordan y Daisy aparecen primero vestidas de blanco, pero ninguna de ellas es tan inocente como este color podría sugerir. En “El gran Gatsby” el color tiene un valor altamente simbólico. Gatsby viste un traje rosa y conduce un Rolls-Royce amarillo, colores que denotan su necesidad desesperada de impresionar. Uno de los símbolos dominantes en la novela es el verde, el color de la luz al final del embarcadero de Daisy, hacia donde Gatsby mira con anhelo desde el otro lado del agua. En las páginas finales, a solas en el jardín vacío de Gatsby, Nick tiene la visión de “un pecho de nuevo mundo, verde y joven”, vislumbrado por los primeros colonos que llegaron a Long Island, y medita sobre la creencia de Gatsby en esa simbólica “luz verde, el futuro orgiástico que año tras año retrocede ante nosotros”. Es aquí, bajo esa luz verde y en esa tierra verde, donde convergen las inquietudes de la novela sobre el destino del individuo y de la nación. Al final de la novela, viendo el Este como un lugar afligido por la tragedia y según Nick “distorsionado, sin que mis ojos pudieran corregirlo”, este regresa a su hogar del Medio Oeste. Con sus cambiantes, mundanas y sumamente matizadas percepciones y simpatías, Nick es tan protagonista de la novela como Gatsby. La reflexión que nos deja es que el pasado tira irresistiblemente de nosotros : los sueños de progreso son puro oropel. Mientras planificaba la novela, en 1.923 , Scott Fitzgerald escribió que . Logró esta ambición, pero inicialmente la novela recibió una crítica desigual y se vendió mal. En el momento de su muerte, Fitzgerald se consideraba un fracasado: en la declaración de derechos de autor de su último año de vida, solo se consignaron setenta y dos ejemplares vendidos de sus nueve títulos. Actualmente, “El gran Gatsby” y “Suave es la noche” se cuentan generalmente entre las mejores novelas estadounidenses. “Suave es la noche”, publicada en 1.934, noveliza hebras de la turbulenta vida del autor, incluidos el adulterio, la enfermedad mental y una aguda sensación de fracaso personal y creativo. “El gran Gatsby” es la más aclamada de sus obras. Es particularmente admirada por su análisis forense de un ambiente y sus defectos; por su prosa finamente calculada, que combina la informalidad de la primera persona con una soberbia cadencia descriptiva; por sus diálogos magníficamente expresivos, capaces de revelar un vacío moral en el más breve de los intercambios; y por su perfección estructural, que es notable, por ejemplo, en el encaje del relato de Jordan de los antecedentes de Gatsby, que es tanto retrospectivo como prospectivo. Al igual que el resto de la Generación Perdida, Fitzgerald expresaba una reacción al espíritu de la época, o sea, desilusión, pérdida de rumbo moral, prevalencia de lo material sobre lo espiritual, y, sin embargo, su novela trasciende el momento de su creación. Ello se debe en parte a su vigencia en el mundo actual, con sus celebridades, su voracidad empresarial y su economía mundial impulsada por el precio inflado de los activos. Pero también es intemporal porque, estéticamente, cada uno de sus aspectos testimonia la incuestionable maestría de Scott Fitzgerald en el arte narrativo.
This week Peter recommends The Liar's Dictionary, a funny, charming, and well-done debut novel by Eley Williams. Then we nominate and discuss our winter seasonal book club choices. Enjoy! Books Mentioned: The Liar’s Dictionary by Eley Williams 1Q84 by Haruki Murakami The Power Broker by Robert Caro Harlot’s Ghosts by Norman Mailer These Truths by Jill Lepore Dune by Frank Herbert *Winter Selection* U.S.A Trilogy by John Dos Passos
John Dos Passos, "USA triloogia I: 42. laiuskraad". Kirjastuselt Koolibri. Loeb Priit Rand. Kõigi aegade suurimaks Ameerika romaaniks peetud John Dos Passose USA triloogia viib meid eepilisele teekonnale läbi 20. sajandi alguse Ameerika äri- ja ühiskondliku elu kuni Hollywoodi esiletõusu ning suure majanduslanguseni.
1'600 Seiten pralle Erzählkunst, ein Thema: die USA. Mit drei Romanen aus den späten 1920er und den 1930er Jahren fing John Dos Passos sein Land zwischen den beiden Weltkriegen ein. Nun ist der Klassiker in einer neuen deutschen Übersetzung erschienen und erweist sich als überraschend aktuell. Rassismus, die Suche nach Halt und Struktur in einer unsicheren Welt, bröckelnde Utopien, zunehmender Überlebenskampf, Leugnung der Geschichte, Verklärung der Vergangenheit: vieles, was John Dos Passos in seiner «USA-Trilogie» aufgreift, wirkt noch heute vertraut. Und er zeigt eine vielfach gespaltene Gesellschaft. Ein Gespräch über Dos Passos Klassiker mit der Anglistikprofessorin Elisabeth Bronfen und Nikolaus Stingl, der die «USA-Trilogie» zusammen mit Dirk van Gunsteren neu übersetzt hat. John Dos Passos (1896-1970) gilt neben Hemingway, Faulkner und Fitzgerald als einer der wichtigsten Vertreter der amerikanischen Moderne. Seine multiperspektivischen, dokumentarisch grundierten Romane inspirierten weltweit zahlreiche Schriftsteller wie Alfred Döblin («Berlin Alexanderplatz») und Truman Capote («Kaltblütig»). Buchhinweis: John Dos Passos. USA-Trilogie. Rowohlt Verlag
Le podcast « Calliopée » poursuit son cycle sur les grands textes politiques américains, en résonance avec l'élection présidentielle qui se prépare dans la première puissance mondiale. Ce deuxième épisode vous invite à plonger dans la trilogie romanesque culte de John Dos Passos « USA ». L'écrivain y dresse un portrait sans concession de l'Amérique des années 1910 à 1930, usant pour ce faire d'une écriture révolutionnaire. Une œuvre unique, incisive et visionnaire. Bonne écoute !
Amerikanische Landeskunde auf 1600 Seiten: John Dos Passos erforscht die zerstörerischen Triebkräfte einer rastlosen Nation. Eine Rezension von Kurt Darsow.
Un día como hoy, 28 de septiembre: 1870, nace es escritor Prosper Mérimée. 1870, nace el compositor Florent Schmitt. 1924, nace el actor Marcello Mastroianni. 1891, fallece el escritor Herman Melville. 1895, fallece el científico Louis Pasteur. 1966, fallece el escritor André Breton. 1970, fallece el escritor John Dos Passos. 1991, fallece el músico Miles Davis. Una producción de Sala Prisma Podcast. 2020
Ein Pionierwerk der Moderne und ein Romanzyklus, in dem sich ein Land auf dem Weg zur Großmacht selbst entdecken konnte: Die USA-Trilogie von John Dos Passos liegt nun endlich in einer neuen zeitgemäßen Übersetzung vor. Von Eberhard Falcke www.deutschlandfunk.de, Büchermarkt Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei
Part five of Dreamworld is devoted to the USA trilogy by American novelist John Dos Passos.
An incisive biography of E. E. Cummings’s early life, including his World War I ambulance service and subsequent imprisonment, inspirations for his inventive poetry. E. E. Cummings is one of our most popular and enduring poets, one whose name extends beyond the boundaries of the literary world. Renowned for his formally fractured, gleefully alive poetry, Cummings is not often thought of as a war poet. But his experience in France and as a prisoner during World War I (the basis for his first work of prose, The Enormous Room) escalated his earliest breaks with conventional form?the innovation with which his name would soon become synonymous. Intimate and richly detailed, The Beauty of Living begins with Cummings’s Cambridge upbringing and his relationship with his socially progressive but domestically domineering father. It follows Cummings through his undergraduate experience at Harvard, where he fell into a circle of aspiring writers including John Dos Passos, who became a lifelong friend. Steeped in classical paganism and literary Decadence, Cummings and his friends rode the explosion of Cubism, Futurism, Imagism, and other “modern” movements in the arts. As the United States prepared to enter World War I, Cummings volunteered as an ambulance driver, shipped out to Paris, and met his first love, Marie Louise Lallemand, who was working in Paris as a prostitute. Soon after reaching the front, however, he was unjustly imprisoned in a brutal French detention center at La Ferté-Macé. Through this confrontation with arbitrary and sadistic authority, he found the courage to listen to his own voice. The post E.E. Cummings And The Great War – Ep 79 with Alison Rosenblitt appeared first on Read Learn Live Podcast.
Wenn es um eine Nominierung zum Deutschen Buchpreis geht, gehört Anna Katharina Hahn schon länger zum Kreis der Verdächtigen. Ute Büsing stellt ihren vierten Roman "Aus und davon" vor. Sie macht mit einem neu übersetzten Wälzer der Weltliteratur vertraut: Die "USA-Trilogie" von John Dos Passos. Und: sie schaut auf die sogenannten "beach reads".
Before wrapping up the tepid Boba Fett series, Tim rambles about Planet of the Apes and John Dos Passos and Levi confronts him about a Letterboxd beef.
John Dos Passos, geboren 1886 in Chicago, gestorben 1970 in Baltimore, zählt zu den literarischen Hauptvertretern der US-amerikanischen Moderne. Hörspielbearbeitung: Leonhard Koppelmann und Hermann Kretzschmar www.deutschlandfunkkultur.de, Hörspiel Hören bis: 04.06.2020 20:10 Direkter Link zur Audiodatei
Recito un par de poemas del libro "Hijos de la Ira" (1946), de Dámaso Alonso. De camino me acuerdo de José Luis Garci, Camilo José Cela, John Dos Passos y Rocío Jurado.
Transcribimos en La Máquina de Narrar este cuento póstumo de R. Bolaño. EL SECRETO DEL MAL(El secreto del mal, 2007, póstumo, Anagrama) Este cuento es muy simple aunque hubiera podido ser muy complicado. También: es un cuento inconcluso, porque este tipo de historias no tienen un final. Es de noche en París y un periodista norteamericano está durmiendo. De pronto suena el teléfono y alguien, en un inglés sin acento de ninguna parte, le pregunta por Joe A. Kelso. El periodista responde que es él y luego mira el reloj. Son las cuatro de la mañana y no ha dormido más de tres horas y está cansado. La voz al otro lado del teléfono le dice que tiene que verlo para transmitirle una información. El periodista pregunta de qué se trata. Como suele suceder con este tipo de llamadas, la voz no suelta prenda. El periodista le pide, al menos, una pista. La voz, en un inglés correctísimo, mucho mejor que el de Kelso, le dice que prefiere verlo personalmente. De inmediato, añade, no hay tiempo que perder. ¿En dónde?, inquiere Kelso. La voz menciona un puente de París. Y añade: En veinte minutos puede llegar caminando. El periodista,que ha tenido cientos de citas semejantes, contesta que en media hora estará allí. Mientras se viste piensa que es una manera bastante torpe de arruinarse la noche, pero al mismo tiempo se da cuenta, con un ligero asombro, de que ya no tiene sueño, que la llamada, pese a su previsibilidad, lo ha desvelado. Cuando llega al puente, cinco minutos más tarde de lo convenido, sólo ve coches. Durante un rato permanece quieto en un extremo, esperando. Luego cruza el puente, que sigue solitario, y tras aguardar unos minutos en el otro extremo finalmente vuelve a cruzarlo y decide dar por concluida la noche y volver a casa y dormir. Mientras camina de regreso a casa piensa en la voz: no era un norteamericano, de eso está seguro, tampoco era un inglés, aunque eso ya no podría asegurarlo. Tal vez un surafricano o un australiano, piensa, o puede que un holandés, o alguien del norte de Europa que aprendió inglés en la escuela y que luego lo ha ido perfeccionando en distintos países angloparlantes. Cuando cruza una calle oye que alguien lo llama. Señor Kelso. De inmediato se da cuenta de que quien lo ha llamado es la persona que lo ha citado en el puente. La voz sale de un zaguán oscuro. Kelso hace el ademán de detenerse, pero la voz lo conmina a seguir caminando. Cuando llega a la siguiente esquina el periodista se da vuelta y ve que nadie lo sigue. Está tentado a volver sobre sus pasos, pero tras vacilar un instante decide que lo mejor es continuar su camino. De pronto un tipo surge de una bocacalle y lo saluda. Kelso devuelve el saludo. El tipo le tiende una mano. Sacha Pinsky, dice. Kelso estrecha su mano y dice, a su vez, su nombre. El tal Pinsky le palmea la espalda. Le pregunta si le apetece tomar un whisky. En realidad dice: un whiskycito. Le pregunta si tiene hambre. Asegura conocer un bar abierto a esa hora que vende croissants calientes, acabados de hacer. Kelso lo mira a la cara. Pinsky lleva sombrero pero aun así se puede apreciar una jeta blanca, pálida, como si hubiera estado muchos años recluido. ¿Pero en dónde?, piensa Kelso. En una cárcel o en una institución para enfermos mentales. De todas maneras, ya es tarde para echarse atrás y los croissants calientes seducen a Kelso. El local se llama Chez Pain y pese a estar en su barrio, si bien en una calle pequeña y poco frecuentada, es la primera vez que entra y posiblemente la primera vez que lo ve. Los establecimientos a los que suele acudir el periodista están, en su mayoría, en Montparnasse y son lugares aureolados con una cierta ambigua leyenda: el bar donde comió alguna vez Scott Fitzgerald, el bar donde Joyce y Beckett bebieron whisky irlandés, el bar de Hemingway y el bar de John Dos Passos y el bar de Truman Capote y Tennessee Williams.En Chez Pain los croissants son, efectivamente, buenos y están recién hechos y el café no está nada mal. Lo que lleva a Kelso a pensar que el tal Pinsky probablemente sea, posibilidad horrenda, un vecino del barrio. Mientras sopesa esta posibilidad, Kelso se estremece. Un pesado, un paranoico, un loco que observa sin ser, a su vez, observado, alguien a quien le costará sacarse de encima. Bien, dice finalmente, usted dirá. El tipo pálido, que no come y bebe a sorbitos una taza de café, lo mira y sonríe. Su sonrisa es, de alguna manera, una sonrisa en extremo triste, y también cansada, como si sólo con ella se permitiera exteriorizar el cansancio, el agotamiento y la falta de sueño. Cuando deja de sonreír, sin embargo, sus facciones recobran instantáneamente la gelidez.
New York zu Beginn des 20. Jahrhunderts: Ein Panorama der Lebensstile, sozialen Schichten und medialen Beschleunigungen. Innovativ und überraschend erzählt Dos Passos 1925 vom Rhythmus der Metropole. Von Eberhard Falcke. (Produktion 2016)
Woodrow Wilson believed he and he alone could end war--forever. His plan for the League of Nations would usher in an era of eternal peace. So it really hurt the president's feelings when not everyone agreed with his vision. American author John Dos Passos in his World War I uniform. Dos Passos spent 1919 traveling around Europe and wrote about the adoration of ordinary people for Woodrow Wilson. The story about the baker from Belfort was included in essay titled "America and the Pursuit of Happiness" and published in The Nation on December 29, 1920. The essay is included in John Dos Passos: The Major Nonfictional Prose. The book is out of print, but you can find it at libraries. President Woodrow Wilson believed himself a pure and shining force for good. He had many fine traits, including an inspiring faith in the potential of humankind, but modesty was not among them. Wilson outlined his Fourteen Points in a speech on January 8, 1918. General Principles 1. Open covenants of peace, openly arrived at, after which there shall be no private international understandings of any kind but diplomacy shall proceed always frankly and in the public view. 2. Absolute freedom of navigation upon the seas, outside territorial waters, alike in peace and in war, except as the seas may be closed in whole or in part by international action for the enforcement of international covenants. 3. The removal, so far as possible, of all economic barriers and the establishment of an equality of trade conditions among all the nations consenting to the peace and associating themselves for its maintenance. 4. Adequate guarantees given and taken that national armaments will be reduced to the lowest point consistent with domestic safety. 5. A free, open-minded, and absolutely impartial adjustment of all colonial claims, based upon a strict observance of the principle that in determining all such questions of sovereignty the interests of the populations concerned must have equal weight with the equitable government whose title is to be determined. Territorial Issues 6. The evacuation of all Russian territory and such a settlement of all questions affecting Russia as will secure the best and freest cooperation of the other nations of the world in obtaining for her an unhampered and unembarrassed opportunity for the independent determination of her own political development and national policy and assure her of a sincere welcome into the society of free nations under institutions of her own choosing; and, more than a welcome, assistance also of every kind that she may need and may herself desire. The treatment accorded Russia by her sister nations in the months to come will be the acid test of their good will, of their comprehension of her needs as distinguished from their own interests, and of their intelligent and unselfish sympathy. 7. Belgium, the whole world will agree, must be evacuated and restored, without any attempt to limit the sovereignty which she enjoys in common with all other free nations. No other single act will serve as this will serve to restore confidence among the nations in the laws which they have themselves set and determined for the government of their relations with one another. Without this healing act the whole structure and validity of international law is forever impaired. 8. All French territory should be freed and the invaded portions restored, and the wrong done to France by Prussia in 1871 in the matter of Alsace-Lorraine, which has unsettled the peace of the world for nearly fifty years, should be righted, in order that peace may once more be made secure in the interest of all. 9. A readjustment of the frontiers of Italy should be effected along clearly recognizable lines of nationality. 10. The people of Austria-Hungary, whose place among the nations we wish to see safeguarded and assured, should be accorded the freest opportunity to autonomous development. 11. Romania, Serbia, and Montenegro should be evacuated; occupied territories restored; Serbia accorded free and secure access to the sea; and the relations of the several Balkan states to one another determined by friendly counsel along historically established lines of allegiance and nationality; and international guarantees of the political and economic independence and territorial integrity of the several Balkan states should be entered into. 12. The Turkish portion of the present Ottoman Empire should be assured a secure sovereignty, but the other nationalities which are now under Turkish rule should be assured an undoubted security of life and an absolutely unmolested opportunity of autonomous development, and the Dardanelles should be permanently opened as a free passage to the ships and commerce of all nations under international guarantees. 13. An independent Polish state should be erected which should include the territories inhabited by indisputably Polish populations, which should be assured a free and secure access to the sea, and whose political and economic independence and territorial integrity should be guaranteed by international covenant. The League of Nations 14. A general association of nations must be formed under specific covenants for the purpose of affording mutual guarantees of political independence and territorial integrity to great and small states alike. Decisions at the Paris Peace Conference were supposed to be made by a council of four, pictured here. Left to right, they were British Prime Minister David Lloyd George, Italian Premier Vittorio Orlando, French Premier Georges Clemenceau and US President Woodrow Wilson. In reality, Orlando had very little influence. Senator Henry Cabot Lodge, a Republican from Massachusetts, opposed the League of Nations covenant as it had been written but was willing to accept it with amendments and reservations. He deeply disliked Wilson, once stating, "I never expected to hate anyone in politics with the hatred I feel for Wilson." Senator Hiram Johnson of California was one of the "irreconcilables" who considered the League of Nations unconstitutional. He fought hard against the League throughout 1919. The speech that I excerpted was read by an actor in a production called "Great Senate Debates: The League of Nations" by the Edward M. Kennedy Institute for the United States Senate. You can see the entire documentary here (https://www.youtube.com/watch?v=3TAswhH3D7Q&t=34s). Senator William Borah, a Republican from Idaho, was another Irreconcilible who rejected American involvement in the League of Nations in any form. His speech denouncing the League was one of the most emotional moments during the final push for a vote on the Senate Floor. The excerpt from Borah's speech is also read by actor and from "Great Senate Debates: The League of Nations." (https://www.youtube.com/watch?v=3TAswhH3D7Q&t=34s) First Lady Edith Wilson was fiercely protective of her husband after his stroke in October 1919. She controlled all access to the president for months. She passed along decisions that she claimed had been made by her husband, but it's not clear if he was capable of even of communicating during this time. Some historians have suggested that in a weird, unconstitutional way, Edith Wilson was the first female president of the United States. * Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only suggest books that I have used and genuinely highly recommend.
In this episode, we explore Hemingway and John Dos Passos, their service in the American Red Cross during World War I, their writing careers, and their doomed friendship. In order to do so, we chat with the man who wrote the book on it. James McGrath Morris’s The Ambulance Drivers chronicles the highs and lows of their relationship and their legacies. As well, Morris talks about the mystery surrounding the identity of the Italian soldier who saved the young Hemingway’s life.This episode was recorded on 6/12/2019.
In this episode, we explore Hemingway and John Dos Passos, their service in the American Red Cross during World War I, their writing careers, and their doomed friendship. In order to do so, we chat with the man who wrote the book on it. James McGrath Morris’s The Ambulance Drivers chronicles the highs and lows of their relationship and their legacies. As well, Morris talks about the mystery surrounding the identity of the Italian soldier who saved the young Hemingway’s life.This episode was recorded on 6/12/2019.
JOHN DOS PASSOS raccontato da Francesco Durante
Episode about the early history of the revolutionary Industrial Workers of the World union in the United States, 1905-1918. In conversation with Peter Cole, coeditor of the new book Wobblies of the World: a Global History of the IWW. Please support our work, get access to bonus material, early access to podcasts and more benefits on patreon: https://patreon.com/workingclasshistory This is our playlist of early IWW music: https://www.youtube.com/playlist?list=PL71HxBMvC6bxcbE373VUIFoIkZqqRVM79 You can buy the book here: https://www.amazon.com/gp/product/0745399592/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0745399592&linkCode=as2&tag=workingclas01-20&linkId=2dcaa991574b707f6725e787eaac7f00 This is a very short history of the union: https://libcom.org/history/articles/iww-usa Oral histories of it: https://libcom.org/history/solidarity-forever-oral-history-iww-stewart-bird-dan-georgakas-deborah-shaffer Peter's book Wobblies on the Waterfront: https://www.amazon.com/gp/product/0252079280/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0252079280&linkCode=as2&tag=workingclas01-20&linkId=4cab8fbd3232f67f0f0e807b9fef191c FOOTNOTES – Big Bill Haywood: https://libcom.org/tags/bill-haywood – Syndicalism – this is a short introduction to syndicalism: https://libcom.org/library/syndicalism-introduction – Anarchism – this is a short introduction to anarchism: https://libcom.org/thought/anarchist-communism-an-introduction – Lucy Parsons: https://libcom.org/history/articles/1853-lucy-parsons – Eugene Debs: https://www.iww.org/history/biography/EugeneDebs/1 – Mother Jones: https://libcom.org/library/autobiography-mother-jones – Philadelphia Local 8: more info in Peter's book linked to above, and here: https://libcom.org/library/100-years-ago-philadelphia-dockers-strike-local-8-iww-mouvement-communiste-kolektivně-pr – Ben Fletcher: https://libcom.org/history/articles/1890-19-ben-fletcher – Bread and roses strike: https://libcom.org/history/1912-the-lawrence-textile-strike – Denver domestic workers: https://libcom.org/history/letter-iww-domestic-workers-union-1917-jane-street – John Dos Passos: https://libcom.org/history/john-dos-passos – IWW free speech fights. Spokane: Https://libcom.org/history/1908-10-spokane-free-speech-fight – Missoula: https://libcom.org/history/1909-missoula-free-speech-fight – San Diego: https://libcom.org/history/1912-san-diego-free-spech-fight – Upton Sinclair: https://libcom.org/tags/upton-sinclair-0 – Anarcho-Syndicalism: https://libcom.org/thought/anarcho-syndicalism-an-introduction – General strike – classic IWW text on the general strike: https://libcom.org/library/general-strike-ralph-chaplin – Joe Hill: https://libcom.org/history/1915-the-murder-of-joe-hill – Little red songbook: https://libcom.org/library/little-red-song-book – Ralph Chaplin: https://libcom.org/tags/ralph-chaplin – Utah Phillips: https://www.iww.org/history/biography/UtahPhillips/1 – This is a database of hundreds of incidents of repression against the IWW up to 1920: https://libcom.org/history/database-repression-iww-1906-1920 – Frank Little – article about his murder here: https://libcom.org/library/man-was-hung – Centralia massacre – article about the murder of IWW member Wesley Everest: https://libcom.org/history/1919-the-murder-of-wesley-everest – Everett massacre: https://libcom.org/history/everett-massacre-1916-walt-crowley – Greenville IWW battle against the KKK: https://libcom.org/history/1924-kkk-iww-wage-drawn-battle-greenville – Knights of Labor: https://libcom.org/history/knights-labor-1869-1885-louis-adamic ACKNOWLEDGEMENTS IWW music used in the episode under Fair Use includes: – Solidarity forever – Pete Seeger – buy it here: https://amzn.to/2x63dYE – There is power in a union – Joe Glazer and Bill Friedland – buy it here: https://amzn.to/2IGaQKS – The preacher and the slave – Utah Phillips – buy it here: https://amzn.to/2J421dc Edited by Tyler Hill: https://tylerkenthill.podbean.com/
In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices
In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices
In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices
In his new book, Dinner in Camelot: The Night America’s Greatest Scientists, Writers, and Scholars Partied at the Kennedy White House (ForeEdge, 2018), Joseph Esposito examines the night of April 49, 1962 when President John F. Kennedy and First Lady Jacqueline Kennedy hosted America’s leading scientists, writers, activists, and thinkers to honor 49 Nobel Prize Winners. With guests such as American hero and astronaut John Glenn, Linus and Ava Helen Pauling who had picketed the White House prior to the dinner, J. Robert Oppenheimer, and writers including Pearl Buck, John Dos Passos, Robert Frost, and James Baldwin the dinner served as one of the most important nights in the White House. Esposito positions readers in the political climate of the time and shares a glimpse into a political climate where intellectuals and immigrants were honored, and even those with political differences could come together to honor one another for one night. Well researched, Esposito’s work gives a fascinating glimpse not only into a single night at the White House, but also a snapshot into the world of a number of the important and influential minds of the early 1960s. He shows us how this impressive gathering not only honored these important thinkers, but also created relationships and friendships for years to come. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices
Happy 2018! Teddy welcomes his sister, noted bookworm Kit Steinkellner, back onto the New Rankings Book Club to count down their top 7 reads from 2017. Along the way, they give insight into their favorite literary genres: depressing politics books and "trashy thrillers" for Teddy; Asian women fiction and monster dog stories for Kit. In addition, they debate the following pressing questions: Why do people still read Hemingway and Fitzgerald but not John Dos Passos or Sinclair Lewis? Why do, uh, certain demographics vote against their economic interests? And... wait... realistic Flintstones???
Alfonso Hiato es un escritor frustrado. No puede articular palabra ni siquiera con la ayuda de inyecciones motivacionales o píldoras aisladoras de la realidad. Y quién mejor que el mismísimo Hemingway para motivar la pérdida de inspiración.El nuevo vuelo de la Aerolínea Momentos se realiza en el interior de un clásico de la aviación: el Douglas DC3 en el que Hiato y la tripulación de la nave Kairós viajará a la Inglaterra de los años 40. Allí, borracho como una cuba y rodeado de mujeres, se encuentra el mítico Ernest Hemingway contando batallitas a sus compañeros de barra. Hemingway, y junto a otro grande de la escritura: John Dos Passos, charlarán sobre el amor, el vino de Oporto y la escritura.Aerolínea Momentos una serie dirigida por Miguel Martí, con guion original de David Barreiro, José Ángel Esteban y El Cañonazo Transmedia. Realización sonora de Pablo Arévalo y producción de David Tomillo. Con las voces de:Antonio DechentIngrid García-JonssonMacarena GómezArmando del RíoQuique GuazaRaúl PérezGloria March
It’s here! Episode 100! Special guest Mike Palindrome, President of the Literature Supporters Club, returns for a numbers-based theme: what are the greatest works of literature with numbers in the title? Authors discussed include Thomas Pynchon, Dr. Seuss, Alexandre Dumas, Haruki Murakami, Gabriel Garcia Marquez, Agatha Christie, Joseph Heller, Charles Dickens, V.S. Naipaul, Arthur Conan Doyle, Graham Greene, Kurt Vonnegut, John Dos Passos, Jules Verne, Arthur C. Clarke, John Buchan, Roberto Bolano, William Shakespeare, J.D. Salinger, Pablo Neruda, John Berryman, George Orwell, and Ray Bradbury. Show Notes: Contact the host at jackewilsonauthor@gmail.com or by leaving a voicemail at 1-361-4WILSON (1-361-494-5766). You can find more literary discussion at jackewilson.com and more episodes of the series at historyofliterature.com. Check out our Facebook page at facebook.com/historyofliterature. You can follow Jacke Wilson at his Twitter account @WriterJacke. You can also follow Mike and the Literature Supporters Club (and receive daily book recommendations) by looking for @literatureSC. Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Quirky Dog” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week I spoke with Payton Cosell Turner and Eliza Wexelman, the rad women behind Girls At Library, the gorgeous and smart online journal dedicated to women who love literature. We debated the merits of print versus e-book, running a bicoastal business, and the importance of constantly re-educating yourself. "I feel like there are people similar to us who are interested in reading but also interested in visuals and creativity and I think just trying to create a place for other women or other readers who wanted to have a resource. It's all the things we wanted in a website." Check out GAL here: http://www.girlsatlibrary.com/ Payton's Twitter: https://twitter.com/pcosellturner Eliza's Twitter: https://twitter.com/elizawexelman Some of the things we talked about: Into the Gloss: https://intothegloss.com/ Graywolf Press: https://www.graywolfpress.org/ My favorite GAL interviews: Audrey Gelman: http://www.girlsatlibrary.com/interviews/audrey-gelman Wesley Pfleeger: http://www.girlsatlibrary.com/interviews/wesley-pfleeger Jeannette Lee: http://www.girlsatlibrary.com/interviews/jeannette-lee Books we talked about: Red Parts, Maggie Nelson: http://amzn.to/2mEiplx Ongoingness: The End of a Diary, Sarah Manguso: http://amzn.to/2l68M37 1919, John Dos Passos: http://amzn.to/2mxxJkO Vanity Fair, William Makepeace Thackeray : http://amzn.to/2l6n2sr Anti-Intellectualism in American Life, Richard Hofstadter: http://amzn.to/2mEgaPq A Little Life, Hanya Yanagihar: http://amzn.to/2mnFKMz *** Want to learn how to podcast? Know nothing? Live in D.C? Sign up for my podcasting 101 course with Lemon Bowl DC on March 16: https://www.eventbrite.com/e/podcasting-101-the-lemon-bowl-tickets-32374692577 *** Subscribe to my newsletter #aznbooks2017 and follow along as I read *only* books by Asian authors during 2017! https://tinyletter.com/aznbooks2017 *** Support The Ladycast on Patreon! https://www.patreon.com/theladycast Follow The Ladycast online: twitter.com/theladycast Theladycast.com/
This week on StoryWeb: E.E. Cummings’s book The Enormous Room. While in graduate school at the University of Wisconsin, I was fortunate enough to take a class on literature of the 1920s. Taught by Professor Walter Rideout, the seminar featured both classics from the decade – such as Ernest Hemingway’s In Our Time and F. Scott Fitzgerald’s The Great Gatsby – as well as lesser-known works such as Gertrude Stein’s Tender Buttons and Elizabeth Madox Roberts’s The Time of Man. I was captivated by the many literary works we studied throughout the course of the semester. One piece that completely captured my attention was E.E. Cummings’s autobiographical 1922 book, The Enormous Room. Before this time, e e cummings (with lower-case letters) had been to me “merely” a poet. As lovely and brilliant as his poetry is, I am a lover of prose, of story. (Why else would there be StoryWeb?!) The Enormous Room fit the bill for me. Whether you classify it as a memoir or as an autobiographical novel, it is beautifully written and magnificently illustrated with Cummings’s pen-and-ink drawings. The book tells of Cummings’s experiences as an American prisoner in a French detention camp during World War I. After having delivered a “daring commencement address on modernist artistic innovations” at Harvard University and having thus declared the trajectory of his creative career, Cummings left for France with his college friend John Dos Passos and enlisted in the Norton-Harjes Ambulance Corps. Though he had been raised in a pacifist family (his father, Edward Cummings, was perhaps the best-known Unitarian minister in Boston), Cummings wanted the excitement of being near the front. But things did not play out exactly as Cummings had planned. Through an administrative mix-up, he was not assigned to an ambulance unit for five weeks. Based in Paris while he awaited his assignment, he fell in love with the city and its women and, from all accounts, whiled away his time quite delightfully. Eventually, he did get attached to an ambulance unit, where he befriended another American, William Slater Brown. Known as B. in The Enormous Room, Brown was a pacifist, and in letters back home, both he and Cummings wrote about their pacifist leanings. Both were arrested by the French military “on suspicion of espionage and undesirable activities.” Cummings and Brown ended up at the Dépôt de Triage in La Ferté-Macé in Orne, Normandy. They were imprisoned with other detainees in a large room – which Cummings dubbed “the enormous room.” In the resulting book, Cummings sketches characters, describes the prison barracks and the prison yard, and ultimately details his spiritual triumph over adversity, using John Bunyan’s The Pilgrim’s Progress as his literary model. He does all this with his trademark quirky use of language, enriched here by his liberal use of French phrases, which he intersperses freely into the text. Woven throughout the text are Cummings’s pen-and-ink sketches of prison life and those other prisoners whose quirks and eccentricities he brings to life in words – and images. Cummings ended up spending just three-and-a-half months at the prison camp, and he went on to become a great poet, painter, essayist, author, and playwright. In addition to his prose books, plays, and essays, he wrote approximately 2,900 poems and created numerous paintings and drawings. The Library of American website has an insightful essay on The Enormous Room. Kelsey Osgood’s article on the creation of Cummings’s signature style in The Enormous Room is also helpful. To learn more about Cummings and the rest of his literary career, visit the Poetry Foundation website. A wide variety of resources related to Cummings and his literary creations can be found at the Modern American Poetry website. An excellent article on Cummings and his rebellious legacy can be found at the alumni magazine for his alma mater, Harvard. His biographer, Susan Cheever, describes Cummings and his literary reputation in “The Prince of Patchin Place,” published in Vanity Fair. Poet Billy Collins contributed an article to Slate titled “Is That a Poem? The Case for E.E. Cummings.” If you’re interested in Cummings’s impressive output as a cubist painter, visit the E.E. Cummings Art Gallery. You can learn more about his work as an artist at ArtFixx. A full roster of Cummings links – from literature to art – is available at the E.E. Cummings Society website. Ready to add some of Cummings’s work to your library? Of course, you’ll want to have a copy of The Enormous Room (and you’ll want to make sure it’s the version Cummings intended, complete with his illustrations). If you want to delve into Cummings’s poetry, look no further than e.e. cummings: complete poems, 1904-1962 or, if you want something a bit more abbreviated, check out 100 Selected Poems. Some have said that The Enormous Room is a sophomoric work, not reflective of the mature Cummings. But for me, The Enormous Room is vastly underrated: it is a sheer pleasure to read that most people miss. Yes, it is grim in places – but in its expression of spiritual joy, joy gained after much suffering, and struggle, it is exquisite. In his expression of boundless joy in the very midst of human suffering, Cummings reminds me of Ludwig van Beethoven and his composing of The Ninth Symphony, especially “Ode to Joy.” (See my post on Immortal Beloved, a biopic on Beethoven, to learn more about the transcendent “Ode to Joy” scene.) It has been more than thirty years since I’ve read The Enormous Room, but I still remember the sorrow and the joy Cummings expressed in its pages. I’m so glad Professor Rideout included The Enormous Room in his course on the 1920s. F. Scott Fitzgerald – another American writer who was enamored of Paris – said, "Of all the work by young men who have sprung up since 1920 one book survives—The Enormous Room by e e cummings.” Unfortunately, the book has not survived in the way Fitzgerald thought that it would, but it’s very much a book worth reading. Cummings emerges as a person of great sensitivity: a poet of spiritual wonder shines through. Visit thestoryweb.com/cummings for links to all these resources and to hear Cummings read his poems at the 92nd Street Y in 1949 and at YMHA Poetry Center in New York in 1959. Listen now as I read an excerpt from Chapter 5, “A Group of Portraits,” from The Enormous Room. With the reader's permission I beg, at this point of my narrative, to indulge in one or two extrinsic observations. In the preceding pages I have described my Pilgrim's Progress from the Slough of Despond, commonly known as Section Sanitaire Vingt-et-Un (then located at Germaine) through the mysteries of Noyon, Gré and Paris to the Porte de Triage de La Ferté Macé, Orne. With the end of my first day as a certified inhabitant of the latter institution a definite progression is brought to a close. Beginning with my second day at La Ferté a new period opens. This period extends to the moment of my departure and includes the discovery of The Delectable Mountains, two of which---The 'Wanderer, and I shall not say the other---have already been sighted. It is like a vast grey box in which are laid helter-skelter a great many toys, each of which is itself completely significant apart from the always unchanging temporal dimension which merely contains it along with the rest. I make this point clear for the benefit of any of my readers who have not had the distinguished privilege of being in jail. To those who have been in jail my meaning is at once apparent; particularly if they have had the highly enlightening experience of being in jail with a perfectly indefinite sentence. How, in such a case, could events occur and be remembered otherwise than as individualities distinct from Time Itself? Or, since one day and the next are the same to such a prisoner, where does Time come in at all? Obviously, once the prisoner is habituated to his environment, once he accepts the fact that speculation as to when he will regain his liberty cannot possibly shorten the hours of his incarceration and may very well drive him into a state of unhappiness (not to say morbidity), events can no longer succeed each other: whatever happens, while it may happen in connection with some other perfectly distinct happening, does not happen in a scale of temporal priorities---each happening is self-sufficient, irrespective of minutes, months and the other treasures of freedom. It is for this reason that I do not purpose to inflict upon the reader a diary of my alternative aliveness and nonexistence at La Ferté---not because such a diary would unutterably bore him, but because the diary or time method is a technique which cannot possibly do justice to timelessness. I shall (on the contrary) lift from their grey box at random certain (to me) more or less astonishing toys; which may or may not please the reader, but whose colours and shapes and textures are a part of that actual Present---without future and past-whereof they alone are cognizant who, so to speak, have submitted to an amputation of the world. I have already stated that La Ferté was a Porte de Triage ---that is to say, a place where suspects of all varieties were herded by le gouvernement français preparatory to their being judged as to their guilt by a Commission. If the Commission found that they were wicked persons, or dangerous persons, or undesirable persons, or puzzling persons, or persons in some way insusceptible of analysis, they were sent from La Ferté to a 'regular' prison, called Précigné, in the province of Sarthe. About Précigné the most awful rumours were spread. It was whispered that it had a huge moat about it, with an infinity of barbed-wire fences thirty feet high, and lights trained on the walls all night to discourage the escape of prisoners. Once in Précigné you were 'in' for good and all, pour la durée de la guerre, which durée was a subject of occasional and dismal speculation---occasional for reasons (as I have mentioned) of mental health; dismal for unreasons of diet, privation, filth, and other trifles. La Ferté was, then, a stepping-stone either to freedom or to Précigné, the chances in the former case being---no speculation here---something less than the now celebrated formula made famous by the 18th amendment. But the excellent and inimitable and altogether benignant French government was not satisfied with its own generosity in presenting one merely with Précigné---beyond that lurked a cauchemar called by the singularly poetic name, Isle de Groix. A man who went to Isle de Groix was done. As the Surveillant said to us all, leaning out of a littlish window, and to me personally upon occasion 'You are not prisoners. Oh, no. No indeed. I should say not. Prisoners are not treated like this. You are lucky.' I had de la chance all right, but that was something which pauvre M. le Surveillant wot altogether not of. As for my fellow-prisoners, I am sorry to say that he was---it seems to my humble personality---quite wrong. For who was eligible to La Ferté? Anyone whom the police could find in the lovely country of France (a) who was not guilty of treason, (b) who could not prove that he was not guilty of treason. By treason I refer to any little annoying habits of independent thought or action which en temps de guerre are put in a hole and covered over, with the somewhat naïve idea that from their cadavers violets will grow whereof the perfume will delight all good men and true and make such worthy citizens forget their sorrows. Fort Leavenworth, for instance, emanates even now a perfume which is utterly delightful to certain Americans. Just how many La Fertés France boasted (and for all I know may still boast) God Himself knows. At least, in that Republic, amnesty has been proclaimed, or so I hear.---But to return to the Surveillant's remark. J'avais de la chance. Because I am by profession a painter and a writer. 'Whereas my very good friends, all of them deeply suspicious characters, most of them traitors, without exception lucky to have the use of their cervical vertebræ, etc., etc., could (with a few exceptions) write not a word and read not a word; neither could they faire la photographie as Monsieur Auguste chucklingly called it (at which I blushed with pleasure): worst of all, the majority of these dark criminals who bad been caught in nefarious plots against the honour of France were totally unable to speak French. Curious thing. Often I pondered the unutterable and inextinguishable wisdom of the police, who---undeterred by facts which would have deceived less astute intelligences into thinking that these men were either too stupid or too simple to be connoisseurs of the art of betrayal---swooped upon their helpless prey with that indescribable courage which is the prerogative of policemen the world over, and bundled same prey into the La Fertés of that mighty nation upon some, at least, of whose public buildings it seems to me that I remember reading Liberté. Egalité. Fraternité. And I wondered that France should have a use for Monsieur Auguste, who had been arrested (because he was a Russian) when his fellow munition workers made la grève, and whose wife wanted him in Paris because she was hungry and because their child was getting to look queer and white. Monsieur Auguste, that desperate ruffian exactly five feet tall who---when he could not keep from crying (one must think about one's wife or even one's child once or twice, I merely presume, if one loves them) 'et ma femme est très gen-tille, elle est fran-çaise et très belle, très, très belle, vrai-ment elle n'est pas comme moi, ---un pe-tit homme laid, ma femme est grande et belle, elle sait bien lire et écrire, vrai-ment; et notre fils ... vous de-vez voir notre pe-tit fils . . .'----used to, start up and cry out, taking B. by one arm and me by the other: 'Al-lons, mes amis! Chan-tons "Quackquackquack."' Whereupon we would join in the following song, which Monsieur Auguste had taught us with great care, and whose renditions gave him unspeakable delight: 'Un canard, déployant ses ailes ..........................................(Quackquackquack) II disait à sa canarde fidèle ..........................................(Quackquackquack) Il chantait (Quackquackquack) Il faisait (Quackquackquack) ....Quand' (spelling mine) 'finirons nos desseins, ..............................Quack. .....................................Quack. ..........................................Quack. .................................................Qua- .........................................................ck.' I suppose I will always puzzle over the ecstasies of That Wonderful Duck. And how Monsieur Auguste, the merest gnome of a man, would bend backwards in absolute laughter at this song's spirited conclusion upon a note so low as to wither us all.
Author talks about literary influences, including John Dos Passos, and editorial changes. What's in a name? Ethel Whitty reads scenes with her office mates, and reveals how Maeve was able to buy a bathing suit for her date with Desmond.
John Dos Passos (1896-1970), a pu être considéré comme "le plus grand écrivain américain" (dixit Jean-Paul Sartre). Aujourd'hui quelque peu négligé par la critique et l'université, John Dos Passos fait partie de la "génération perdue" qui a vécu la Première guerre mondiale et les déchirements d'une identité flottante, entre l'Europe et les Etats-Unis, entre l'engagement communiste de ses premières années et des convictions proches de la droite républicaine à la fin de sa vie. Avec "Manhattan Transfer" (1925), et la trilogie "USA" (1935-36), John Dos Passos a rencontré un énorme succès public tout en se plaçant dans une écriture moderniste et audacieuse sur le plan de l'expérimentation formelle. S'il a progressivement été relégué au second plan par rapport à Faulkner et Hemingway, c'est sans doute parce qu'il était trop "politique". Dans ses grands romans d'avant la Seconde guerre mondiale, les mythes américains sont sévèrement remis en cause : le vagabond remplace le pionnier, l'individu seul remplace l'entrepreneur... et les femmes prennent une vraie place, contrairement aux autres romans de son époque. Son message reste passionnant à explorer aujourd'hui : l'Amérique étant selon lui une "fiction", ne serait-il pas utile de chercher parfois à inventer d'autres fictions... Secrétaire de rédaction de la revue "Esprit", Alice Béja est américaniste de formation. Elle a travaillé sur les liens entre fiction et politique dans l’entre-deux-guerres aux Etats-Unis, et a traduit un texte de John Dos Passos sur l’affaire Sacco et Vanzetti ("Devant la chaise électrique", Gallimard, 2009) et un roman prolétarien ("Grace Lumpkin, Notre règne arrivera", Aux Forges de Vulcain, 2012). Ses articles dans "Esprit" portent principalement sur la politique et la culture américaine et italienne.
The NBC University Theatre. August 13, 1948 "Number One"A portrait of the seamier side of Southern politics and corruption. Barry Sullivan, Bob Bruce, Charles Seel, Dan Riss, Doris Singleton, Frank Gerstle, Henry Russell and His Orchestra, John C. Wilson (adaptor), John Dos Passos (writer), Marvin Miller, Ralph Moody, Shepard Menken, Tom Charlesworth, Truda Marson, Wally Maher, William Lally.oldtimeradiodvd.com and iheartradio.com/talk
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