Podcasts about Lidija

One of the writing skills I am asked about the most is, “How do I get emotion on the page?” People ask this no matter what genre they are writing, because no one wants to produce a manuscript that is flat and unengaging. Emotion is the key, but figuring out how to inspire your reader to feel something is a tricky thing to learn and an even trickier thing to master.In her debut novel, Slanting Towards the Sea (Simon & Schuster, July 2025), Lidija Hilje has mastered it. The story feels so raw and so real—and English is not even Lidija's first language! It's a remarkable achievement. I'm excited to speak with Lidija about her path to publication and how she figured out how to get the emotion of her characters onto the page.Links from the Pod:Article from Jane FriedmanGuide on Literary Fiction from LidijaLidija's website: www.lidijahilje.comAuthor Accelerator book coaches Barbara Boyd and Nita CollinsHey everyone, it's Jenny Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach, which is to say, someone who makes money, meaning, and joy out of serving writers, I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Transcript below!EPISODE 456 - TRANSCRIPTJennie NashHey everyone, it's Jennie Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach—which is to say, someone who makes money, meaning, and joy out of serving writers—I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. That's bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Multiple Speakers:Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. Alright, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Jennie NashHey writers, I'm Jennie Nash, and this is the Hashtag AmWriting podcast, the place where we talk about writing all the things; short things, long things, fiction, nonfiction, pitches, and proposals. Today I'm talking with Lidija Hilje, the author of the novel Slanting Towards the Sea. And what we're talking about is how to capture emotion on the page—the most elusive thing in the entire writing universe. Lidija lives in Croatia. She's a former lawyer who I know because she became a book coach through Author Accelerator. This is her first novel, and it's something else. As a longtime book coach, it's really hard for me to read for pleasure anymore, because it's so hard not to see the writer at work and the seams of the creation. But Slanting Towards the Sea—I saw none of that. I fell wholly into the story and became lost in it; the olive trees and the sea, the pain of these people and this love triangle, and also just the love that they had for life and each other. It's almost unbearably raw—the way life itself can feel sometimes. And yet, since I know Lidija and her story to becoming a writer, I also know how much work it took to create this feeling and emotion. I'm so excited to speak with Lidija today, and so excited for people to hear about her and her story. So welcome, Lidija. Thanks for coming onto the podcast.Lidija HiljeThank you so much for having me and for this incredible introduction. I'm so honored.Jennie NashWell, before we get started, I want to read the jacket copy for Slanting Towards the Sea, so that our listeners can hear the bones of the story that you wrote. Is that okay if I read it for our listeners?Lidija HiljeAbsolutely. Thank you so much.Jennie NashOkay.Ivona divorced the love of her life, Vlaho, a decade ago. They met as students at the turn of the millennium, when newly democratic Croatia was alive with hope and promise. But the challenges of living in a burgeoning country extinguished Ivona's dreams one after another—and a devastating secret forced her to set him free. Now Vlaho is remarried and a proud father of two, while Ivona's life has taken a downward turn. In her thirties, she has returned to her childhood home to care for her ailing father. Bewildered by life's disappointments, she finds solace in reconnecting with Vlaho and is welcomed into his family by his spirited wife, Marina. But when a new man enters Ivona's life, the carefully cultivated dynamic between the three is disrupted, forcing a reckoning for all involved. Set against the mesmerizing Croatian coastline, Slanting Towards the Sea is a cinematic, emotionally searing debut about the fragile nature of potential and the transcendence of love.That's it! What a—what a—what a summary, right? So I want to start by talking about the genre of this book, Lidija. As a book coach, you specialize in helping people write literary fiction. And you're extremely articulate about defining exactly what it is. And I'd like to just start there, by talking about how you see this novel, where it's positioned and, um, and your sense of it in, as a—in the genre, um, categories, if you will. Um, and I'll share with our listeners before you answer that English is not your first language—which is something we're going to talk about from a writing perspective, but just from a listening perspective, to give people some context for that. So let's talk about—let's talk about genre.Lidija HiljeYeah, well, genre is one of my favorite topics as a book coach, and so naturally it is something I love talking about. So the first book I ever wrote, which is now safely shelved in a drawer at the bottom of a drawer, was women's fiction. And the reason why it was women's fiction was that because I was learning how to write, I was learning how to weave a story together. And in doing so, I was trying to find some commonalities in stories—like how stories work, how you develop them, how you develop a character arc, how you wrap it up towards the end. And—but my intention always was to write literary. I was just not very good at doing it. And so I kind of—like all the feedback that I got throughout my—from developmental editors—it was like geared towards kind of channeling the book towards women's fiction. And this is something that really still strikes me as a book coach: how different it is to coach literary fiction as opposed to genre fiction, which is more formulaic. So basically, that first book is safely shelved. And when I started writing this book, I was working really hard at trying to make it not be formulaic. And actually, one of the book coaches from our community helped me. I had a conversation with Barbara Boyd where I outlined my story for her, and she said there was this moment where I kind of did something in my outline…what could basically be called a cop-out—so that… I killed a character, basically, so that the…you know, that the book would close neatly, right? And so she called me out on it and said—because I talked to her specifically because she coaches literary fiction but didn't like or coach women's fiction—and I thought that perspective was something I needed. And so she said, "Why are you killing that character?” And that was the wake-up moment for me, because that was the moment when I realized that in doing so, that was the typical moment where a writer kind of goes toward the genre. And where the interesting thing in the literary fiction genre lies is exploring, you know, what happens when you don't kill the character—when you don't take the easy way out. And so, genre-wise, what I, you know—I run a book club for writers, and we read a lot of literary fiction. And so, I was constantly trying to figure out, like, what is it about these books that, you know, define genre? And in studying these books, there are several things, and I could talk about this, I guess, for centuries, but I'll try to...Jennie NashI—I love it. Let's do it.Lidija HiljeSo basically, in literary fiction, there are many things that genre fiction also has. There are themes, there are character arcs—you know, a character might grow, though not necessarily. But basically, it's much less clear than in genre fiction. In genre fiction, for instance, you have—especially in women's fiction—you will have a woman who is shy and then she becomes confident toward the end. Or you have a horrible, you know, self-obsessed character who learns their lesson toward the end of the book. It's really clear-cut. The reader can latch on to what the problem is without thinking too much about it. And literary fiction does the opposite. It fans out a little bit. It touches on many different things that kind of seem unrelated, but they are related. And this is a problem in writing it, as well as coaching it, because as a coach or as a writer, you have to be aware of all these things. You have to beware of how these things tie together so that you have the idea of this through line that goes throughout the story, whereas the reader might not be catching on as fast but does have the confidence that you, as the writer, are going to get them there, if that makes sense.Jennie NashOh, it makes so much sense. So when you were working on—I actually remember reading some opening, maybe the opening chapters of the novel that has been shelved. When I read those pages, they struck me as if they had that feeling of literary fiction. Was that your intention with that novel as well?Lidija HiljeYes, it was. It was just that I was unable to... I came to writing late. I mean, I was always a writer in the sense that I was always writing something, but I came to writing fiction and specifically books very late. It was 2017 when I started writing that book in Croatian. And the first, you know, contact with any craft or writing happened in 2019 when I finished the draft and I translated that book into English, and I started looking for ways of pub... you know, publishing that book and realized that the first draft is not the last draft. Like that was the—like it was—sometimes it's so funny to think like how recently I didn't know anything about publishing or writing at all. So basically, I did want that book to be literary fiction. I always wanted to do, you know, to write the type of fiction that I wrote in Slanting [Slanting Towards the Sea], and obviously I hope to, you know, hone my craft in the future, but it wasn't—it wasn't on that level. And the first developmental editor that I worked with in 2019, she was giving me all the logical advice that you can give someone, which is... hone the character arc you are telling here, show, you know, all those things that we tell our clients when we work with them as book coaches. But what it did is it completely stripped the literary part from it, and it made me write in scene, which is not how literary fiction is written. You know, like, one of the differences between commercial fiction and literary fiction is that you don't necessarily write in scenes. You write in summaries, and you write in postcards, which is the type of a scene that goes deeper instead of forward, if that makes sense. So you're not kind of—nothing changes for the protagonist, the protagonist doesn't realize anything, they don't decide on a new course of action, nothing new happens, but the reader's understanding of the character happens. And this is also true when you're looking at the character arc on the, you know, scope of the whole novel. Like in literary fiction, it will often be that, you know, that the character doesn't change much in terms of, like what I said before—she was shy and she stopped being shy, right? It will just be that the reader's understanding of the character deepens. And so my first book was an attempt at literary fiction, but it was not an execution. You know, the execution didn't really match that, and I feel like the advice that I got from my early developmental editor was just kind of trying to put me in the confines of commercial fiction. Which is... you know... understandable. You know, and I'm great— I'm even, like, today—I'm grateful for it because you first have to learn how to walk and then you can run, right? So I did have to go through the process of learning how to write a good scene, of learning how not to tell, of learning how to hide the seams that you—that you were talking about—you need to hide your fingerprints as a writer. And that was my learning book. I learned a lot from writing it, but by the time I was done with it, it was not—it didn't—it was not a bad book, and I got a lot of full requests for it, but it was not—it did not end up being what I had hoped for it.Jennie NashSo, in 2017, when you started that book, you said you came to writing late. Do you mind sharing where you were in your life, if you want to share your age or what you were doing in your life, just to give us some context for what you mean by that—by coming to it late?Lidija HiljeSo yeah, so 2017 was one of the hardest years in my life, I think. I think it's just the moment where I was around 35, I think. I would have to do the math, but mid-30s. And I had just been fired for the second time after my second maternity leave. And, you know jobs in my profession, which is—I was an attorney—were scarce, and I opened my own law firm. And I sat there in my law office, you know, a woman working as an attorney in Zadar, Croatia. It was not, you know, I was not having like flocks of clients, you know, going through the door. And you had to sit there from 8am to 4pm, which is our work time. And I had, um, ii had um... I started writing basically to pass the time. And I was writing just the scenes that I was interested in that, you know, brought me joy and then I, you know, wrote the intermittent scene, and the book grew and grew. And by the time I had finished it, which was a year and a half later, you know, it became... It just became a thing that I was—it took over it took over my whole life. I could not, you know and financially it was a difficult time for us as well. We had reached—my husband and I, like I said mid 30's—and we had kind of peaked career wise here in Croatia. So basically, what people don't understand about Croatia is that even if you're a brain surgeon, or if you're a lawyer, or if you're a programmer—like my husband—the money you make is not much more than the average wage. And so, you know, we were at the top of our game professionally, but not earning enough to make ends meet. And so we had started thinking about moving to Ireland basically, which is the, you know, IT hub for the... in Europe. And in thinking about it, I was sitting in my law office and I was basically crying my eyes out thinking if I go there, I'm going to be stripped of my identity as an attorney. I had been working toward that for basically 15, 20 years. And in trying to get over that pain of working towards something that in Ireland, it's not going to mean anything because, you know, the legal system is so very different and my use of language was not, you know, it's still not really good. Like professional English is not the same as this spoken English, you know, everyday English. And so, in kind of trying to accept that we are going to move and I'm going to be stripped of that identity as a lawyer, I was, in a way, you know, to make it easier for myself, I started accepting all the things that I didn't want to look at, which is I hated my job.Jennie NashRight, right.Lidija HiljeI loved being in a courtroom, like that was a good part of it. But everything else, you know, the intellectual part of it, like thinking about law, applying law to a certain case was interesting to me. But everything else was horrible. And so, once I accepted that, and my husband got a job, you know, like working for... as a freelancer for an outside company, and we could stay in Croatia, I was like, "And what am I going to do now? I can't go back to being a lawyer." And so, because his wage was a little bit more than, you know, for the first time, he could afford for me to go, you know, to take a year off and to see what I could do. And so, for a while, I interned at a foreign literary agency—that didn't go anywhere. Then I wrote, you know, a copy for a startup that didn't end up, you know, paying me. So that was kind of like—I was at the end of my rope by the, you know, toward the end of that year. And then I encountered the Author Accelerator program for book coaches, and I had during that year I had connected with writers and I have realized that basically the legal knowledge really translates beautifully into book coaching. So it was kind of like, you know, working on a story, or if you're working on a case, or working on a book, it's kind of a similar thing, similar logic applies. And so it was a… you—you know, it was, I know I'm mixing a little bit the books coaching and legal and, you know, writing careers...Jennie NashNo, it's fascinating.Lidija HiljeBut they are so intertwined in my life, yeah.Jennie NashI mean, it's fascinating the way that you trained yourself on story, basically. And I remember the conversation when you approached Author Accelerator, because you were nervous about being able to meet the requirements of our program because of your language—that English is not your first language. But I, I mean, we have a system whereby it's you try it, you know, if—if you'd meet the requirements, you meet them and if you don't, you don't. And it struck me that your grasp of story was so profound. That I didn't know... you know, it was one conversation about your grasp of the written language. But, um, you were... you were very nervous about your ability to do the work of book coaching in another language. And it's just interesting from where we sit now, so I want to circle back to the book itself and the novel and what you accomplished in it, because it really does have the thing that so many writers are always trying to do, and they talk about it—it is so elusive. Which is this capturing this feeling, emotion, letting the reader sit in the mirror of what those characters are feeling, and you feel it your own self, and that it, you know, when it, when it works, it's, it's like a magic trick. And it strikes me that you came at that very deliberately. It was not accidental. Is that fair to say? Would you believe that?Lidija HiljeI think I always wanted to write about... I always wanted to write quiet stories. And for quiet stories to work, you have to make the quiet things loud in a way. And the loud things are the emotions. And so yes, yes, it was always my goal. I was not always good at it... in writing emotion. But yeah, like during that process of writing that first book, I struggled with it a lot. I struggled with what I guess happens a lot of the time when we are writing is that we're trying very hard for the reader to see things the way we are seeing them. And this counter-intuitively causes the very reverse effect. You know the reader—is the more you're trying to make them listen to you, the more you're trying to, you know, impose your view of things on them, the more they resist. So the trick is basically, and I'll make it sound very easy, it's not easy at all to execute, but the trick is to kind of, you know, to try to find a way and to deliver that emotion without judgment. Like, this is what I'm feeling, or this is what my character is feeling. And not trying to explain it, not trying to get compassion, not trying to get the reader to feel anything. Like, you're just putting things out in the ether, and you're allowing the reader to do their own math. And this is something you can do in literary fiction, which is more open-ended, right? And the readers of genre fiction, I do need more hand-holding in that sense that they will not maybe work as hard as the literary reader. So yeah, I did work very hard. And, you know, the first book, the “shelved” book, really got to a point where I couldn't do that work anymore. But when I started Slanting [Slanting Towards the Sea]… the literally... the first scene in Slanting [Slanting Towards the Sea], came out the way it did. Like that's…Jennie NashOh wow!Lidija HiljeIt didn't change. We had this meeting of writing friends and one of them said, let's exchange, like, let's read 500 new words and I was not working on anything. I had been focusing on book coaching at that moment—that was 2021. And I went to the moment in that room when she is thinking about her ex-husband, you know, when the protagonist is thinking about her ex-husband, and it just came out the way it is. I don't think I changed basically more than three words since that scene came out the way it is. And so...Jennie NashOh, that's amazing. I want to... I want to read some of the lines from that opening scene, if I can, to give the readers... I mean the listeners a sense of what we're talking about. So here's how Slanting Towards the Sea begins.I open his socials and sift through his photos. I know their sequence like I know the palm of my hand. Better even, because I can never memorize what my palm looks like, how the life line twirls into the love line, how it begins tight and uniform, but then turns ropey. It scares me to look at it, to trace the lines, to see where they might lead me in years to come. But I know Vlaho's photos by heart.And it goes on from there. It's, it's just, it's so haunting. And, and the whole, the whole novel is, is that, has that feel to it. So when did you, when did you know that with this story you had it? You knew with the other one that you couldn't get it back, or that it wasn't going to happen. When did you begin? Was it after the sharing of that scene where you thought, oh, I've got this?Lidija HiljeI knew that I could write a scene, but there's a difference, you know, a postcard. I would call this a postcard. This is the typical example of a postcard, a scene where nothing changes for the protagonist and she doesn't understand anything new, but it kind of deepens the reader's understanding of, you know, her situation. So I knew I could write it, which is something I struggled with, with the first book, but I—there's a long road from doing one good postcard and then, you know, writing an entire book, which in literary fiction you have this additional, you know, challenge. You do a ratio basically of normal scenes and summaries, and postcards, and you have to maintain that ratio throughout the book. So, um, yeah for the... relatively early in the book I had submitted that first scene for some competitions. And I got great feedback. It won a critique match, writing a competition in the literary fiction category. And it was long listed in the BPA Pitch Prize in the UK. So I knew that... you know... you know... that the opening of the book was working. So that was good. But from then on, it was such a struggle, because you read the book, and so you know, it has dual timelines; it spans 20 years. I was struggling so bad trying to figure out whether I should do, you know, the past in flashbacks? Whether I should alternate timelines? How do I set this massive story up, which has, you know, the past, and, you know, the present, which happens over a span of... I don't know... five or six months in the present timeline. So I struggled with it a lot. But the thing that I struggled with the most was accountability. So basically, for the first year and a half—for the first year—I wrote, I think, maybe 150 pages. They were not very well set up. I was unsure of them, and I would always push the book backwards to work on client stories. And so what really changed the game for me was when I—I have this program that I run in summertime and one of our book coaches was in that program, Nita Collins. And after the program ended, we partnered up. And so she was my accountability—you know partner, as well as…you know, feedback giver and cheerleader and all the things. And so, you know, I still struggled with how to set up all the things and how to build up the narrative, which I think is really hard for people to coach literary fiction, because you can basically only offer solutions that are kind of geared towards tropey, right? So the author really does have to do all the work, in that sense, but she was absolutely instrumental in terms of me getting the pages down and just seeing if the pages hit the mark or didn't, why they didn't, you know, talking to her, just voicing, talking about the book. And so this went on for a year and within one year I had a full first draft and from then on it was a quick revising process and within three months I had three agent offers. So it was a fast process from then on, from having the first draft, to getting an agent.Jennie NashWell, big shout out to Nita Collins and the Author Accelerator community. I love that a connection happened for you guys. It's really beautiful the way you describe it. So can you explain why you decided it was time to go out to agents? With the first book you decided... this is not going to go anywhere. I'm putting it aside. And with this one, very soon after you finished the first draft, you decided to pitch. What was that decision-making process like for you?Lidija HiljeSo I want to be completely honest. I didn't shelve the first project because I thought it was not, I could not get it to a level. I was convinced that it was on a level, and I had pitched it, but I had been rejected over 100 times. So basically the industry decided for me that it wasn't going to happen. And one of the things that was really hard for me in that first book is that I set it in the US, which I've never been to the US. So it made it very difficult, but I felt like if I set the book in Croatia, I would, like the cultural perspective would overpower the quiet narrative. And I thought that I couldn't do it. And so I, you know, in Slanting [Slanting Towards the Sea], this is the base of the book. Like, it's, you know, I've found a way to weave the cultural perspective as seamlessly as I could. But the pitching process—I basically... I had the first draft done when I had decided to pitch the book. It was a little bit—to be honest, I was a little bit hasty. I had applied for The Muse & the Marketplace conversation with agents. You could...Jennie NashLike the speed dating.Lidija HiljeYeah, like the speed dating. And so I purchased a few tickets for that. And this was done for two reasons. The first one was to, you know; give myself a goal to work towards—to kind of make it all go faster. And the second goal was to see how the industry looks at this. And if there are any issues that they have with the, you know, with the book or with how it's set up, I would rather know sooner than later. And so, because they were reading not just the pages—they were reading, like, 10 pages, a synopsis, and a query letter—which I would also wholeheartedly recommend writing during the writing phase. Preferably, you know, toward the end of the first draft, you would have to do the pitching materials, because they inform so much of... they make you really focus on what the book is about and kind of drawing out the themes and the plot and kind of parsing all those things out. So I told myself: if I go there, and if I get some, you know the best thing that could happen is I could get some full requests. The worst thing that could happen was they will tell me that I'm not there, that my writing is not there, and that the and/or that the book doesn't hold together. And so what happened is, I was... I had just finished my first draft, but I knew that the ending wasn't right. I had the wrong ending. So I knew I had to rewrite the last third of the book, at least. And I went on to that conference, and out of five agents I had talked to, four had requested a full manuscript—toward, like, when I had it. So it was a huge, you know, confidence builder, and that summer I really, really—I can't, it's really amazing what happened—I just, I was so energized, and I just, you know, I don't know, it's like a visit from the muse, even though it's just work. But it felt—I felt very inspired, and I completely rewrote the book, basically, and that gave it the ending that it needed to have, which was also one of the fights against the genre confinements which I had kind of put on myself. So yeah, so that was the decision that I should be doing that, and at the same time, I wanted to be, like, 100% sure that when I sent the manuscript out, it would be finished—that it would be the best that I can make it by myself, you know, and, you know, for Nita to read it, for a couple of beta readers that I've really trusted—and they have the same taste in books that I do—to read it. And only with that feedback was I really ready to send it out to agents.Jennie NashSo—the—we'll get to what happened with the agents in a minute. But I want to return to something that you said about the culture of Croatia and the role that it has in the story, and you called it foundational. And it really feels both the setting of the country, meaning the land, there's... there's a lot you write about, um, the sea, and the food that comes from the sea, and the winds that travel, um, both on the sea and on the land, and there's olive trees that play a large part in this story. So there is a lot about the country itself, and then there's, there is a lot about the, the culture and the, the changing bureaucracies and politics and things that are going on. And it's interesting that you spoke in your own life about contemplating leaving the country, because your characters at some key points, contemplate leaving as well. So there's—there was very much about the constraints of the world of this place, and that's part of what the, you know, it's interesting that you talk about it as your concern was that it would overwhelm the story, but it's part of, for me, what the container in which that emotion happened. It felt not separate from the story, but a really critical component of it. The way these characters lived on the land, and in this place, and what that allowed them to do,—or to be—or not be and how they bumped up against it. It was... It's really like you have a historian's grasp of that, your world, was that something you were conscious of while you were writing as well?Lidija HiljeYes. I was always worried about writing, you know, a Croatian perspective. Like that was always a big concern for me because I, you know, when you're looking at literature and what interests readers, it's either, you know, the book set in the UK and US, which is kind of the clear narrative, it doesn't, it's, it's a pervasive culture that we all understand when it kind of becomes invisible, or, you know, a background noise, it doesn't really affect the narrative. Whereas the other interesting things that readers, when they want to travel somewhere, they will want to go somewhere exotic, you know, whether it's Nigeria or, you know, Eastern Asia, Japan, China, you know? So it felt like Croatia is different, but not different enough, you know? And so it's, it's kind of like almost like it makes the reader constantly forget that they're in Croatia, while at the same time kind of jarring them when you remind them of the differences, and this was one of the, one of the, you know, key points of my work with Nita, was when she would just notice things like, what is, you know, what is the, why are there, there are no dividers in the hospital between the beds? And it's just like... and now I realize that I have to explain how our hospitals look like, and it's not like yours. Or the difference in the tides, which in America are, you know, over, over, I don't know how many feet, and in Croatia they're just, um, and we talked about it when you were here in Zadar as well. So it's just like, it's very similar to America, but not quite. And that was very frustrating at times to try to depict. But on the other hand, in writing Ivona, I wanted to, I feel, I have felt and still feel a lot of frustration with my country. I love it, but I have been planning, like there have been multiple, you know, periods in my life when I had hoped to leave, just because how frustrating it is to live here sometimes with the bureaucracy and just the way the mentality is here and everything. So basically in writing her story, I wanted to air out those grievances in a way. To give them voice, to examine them, to see what they are, and like everything, you know, it's not black or white, it's the way we are here, and it's also the way I am, you know. I notice this when I interact with people from other areas, and they say that us Croats and, you know, Balkan people are very, you know, always like, always complaining about something, which is true, we are. And so, yeah, so it's difficult. It's difficult because I wanted that to be a part of the story. And at the same time, you know, there, you know, there is the possibility of the American reader who doesn't see that it's a part of the culture here, basically. That they could look at Ivona, and say, you know, why does she just not snap out of it?Jennie NashHmm…Lidija HiljeAnd, you know, it's almost like saying to me to snap out of the issues that I had as I was like, trying, you know, like banging my head against the wall, trying to get my career going, and t's not working. Like whatever you're, you're trying—like it's easier for me to make it in the US, never having set a foot there, than in Croatia.Jennie NashRight.Lidija HiljeI mean, my book is being published in the US; it's still not being published in Croatia, just for the record. So it's really hard, and it's really hard to make that a part of the book, but not have it, like, weigh the book all the way down. So it was a process. It's like all the things you try and miss and, you know, sometimes you go overboard, and then you have to pull back, and you have to be careful not to go too deeply into your own experience and just feel that the character is separate from you, and obviously she has some different issues than I had and a different occupation, but a lot of her grievances are mine as well.Jennie NashWell, that yearning and, can… I guess confusion really does come across. The how will I, how will I live? How will I love? How will I spend my days? I mean, these are the questions of our life, and they're the questions of this character in—as she goes through what she's experiencing. That they're, they're both mundane questions and, and, you know, the most profound. And, and the way you capture it... I mean, that was just to circle back to my initial idea of talking about how to capture emotion on the page, you know, which is the work of a novel. That's what it's for. That's its point. And it's just so hard to do. And you just did it on so many levels in a language that's not your first. And it really is just extraordinary and moving. And in preparing to talk to you today, I read a lot of the early reviews—people who got advanced readers copies, 'cause the book comes out in July, 2025, and we're speaking a few months before that time. So it's not fully out in the world, but it's enough that, um, I can see that reaction rippling through the readers and, and certainly through the, um, professional, um, colleagues and, you know, who've blurbed the book. But this idea of it being—the word people kept using was “moving.” And there was a lot of words like “tender” and “haunting,” you know, people really felt what it sounds like you intended them to feel. So how, from where you sit now, how does that—how does it feel to have gotten that feedback from some of the writers you admire? And to know that it did… it works doing what you want it to do? How does that feel?Lidija HiljeOh, it's, it's impossible to talk about that because I guess I'm typically Croatian in the way that it's easier for me to sit in my failures than to sit in my successes. So it's absolutely incredible. I mean, when you get a blurb from Claire Lombardo, who is, you know, I absolutely adore her books and I think she's insanely talented, you know, and for her, you know, she used the words “humane,” and that really—I was so moved by that. So my… kind of my goal is for, for people to see the humanity in these, these characters. And so it's really, it's really amazing. It's, it's beyond, you know, some of the, you know, I got really great blurbs from authors I really, really deeply admire: Thao Thai, Nguyễn Phan Quế Mai, Amy Lin, and Madeline Lucas, and as well, you know, Claire Lombardo, whom I mentioned. It's really incredible. It's so life affirming for me, you know, to be able to do that. But like I said, it's always, you know, when I'm reading the reviews, which I probably shouldn't be doing, I'm always focusing on the few that are not—just not feeling it. And then I have to remind myself it's not—this is not a book for anyone, for just everyone. And it's, you know, it's a journey. It's still, like you said, early days. I'm learning to be an author, to grow an even thicker skin in that sense. But yeah, it did feel great to get those beautiful reviews. And I'm so grateful to them for reading and donating their time to me.Jennie NashI mean, it's so not fair what I want to say. It's so not fair. But I want to ask anyway. Quite a few of the reviews said they can't wait for your next book, which, you know, it's like you're not a machine. You've just done this one. But are you thinking about that? Are you… do you have thoughts about that?Lidija HiljeYeah, I am trying to work on my new book. But, you know, I'm admiring the writers who put out a book a year. That's definitely not going to be me. There's an insane amount of work in putting the book out. You know, there's invisible work that goes behind the screen, you know, that people don't see, but it's happening and it takes up a lot of time. And there's also this emotional, you know, it's, it's—it's difficult sitting in, like… you're trying to make this your career. You wrote your heart on the paper and you're offering it to the world. And now you're suspended in this period when you put it out and you're waiting to see how it's received, whether someone tramples on it or whether it's upheld. And so it's a difficult, emotionally difficult place to be in, and I'm one of those writers who struggle to create when I'm not, you know, when I'm feeling… when I'm feeling stressed. So work on my second novel is going slowly. I've gotten to page 100, but then I realized it needed, you know, I needed to make some changes, so I'm back to page 30. So it's a, you know, it's a—it's a process. I think, you know, writing literary fiction takes time. It takes self-examination; it takes a lot of reading of other people who have done it successfully—the type of novel that you're trying to execute. So, so yeah, I'm trying to work on it, but, um, but it may, it may be a while.Jennie NashAll right. I know—that's why it wasn't fair to even ask. Um, so back to… I just want to pick up the story back to—you got the three or the four, um, agent requests, and you, you finished the novel, and, um, and you pitched to them. Can you just share what all unfolded? Because… it was pretty extraordinary.Lidija HiljeSo, basically, what happened was I didn't pitch all the four agents that had requested the pages. I had the first querying experience, which is what I said—you know 100 rejections. I took a long, hard look at it and realized that many of the time I was querying the wrong agents, genre-wise, which, you know, I was not aware of at the time. So a lot of those rejections were basically because I was querying a women's fiction book to literary agents. And that was one thing. And the other thing is… I was pretty, you know, unselective with whom I was querying the first time around. And the second time around, I was really intentional with the type of agent and their reputation and the connections within the industry—you know, just much more aware, approaching it much more professionally in terms of, you know, just wanting a good fit that would actually be able to do something for me, you know, to sell the book. And so a friend who had, you know, she had given me a referral to her agent—that didn't pan out. I gave that agent a month, an exclusive. And when that didn't pan out, I basically sent the query to my now agent, Abby Walters, at CAA. And, you know, it was a form on the website. I didn't even write her an email. It was just a form. So I didn't think that anyone would read it, basically. And I got—quickly I got like five or six requests, right out of the gate, those maybe first 10 days. And by the end of the second week I had gotten an offer of representation from Abby. And I followed up with the rest of the agents. The total, uh, the total number of, uh, full requests ended up being, I think, maybe nine out of 20, 25 queries. And, uh, I got three offers of representation, um, from fantastic agents. And, uh, deciding was hell. I was—I was—it was horrible to be in a position where you had to say no to an agent that you admire and that you would genuinely love to work with, but you know, for some reasons I chose Abby and I'm really happy with working with her. She's fantastic. I—I, you know, love her to death. And yeah, so that was the story of getting an agent. It was—it was—it was pretty quick and painless, I have to say, the second time around.Jennie NashRight, from 100 rejections with the first one to—to nine full requests and three offers on—on this one, that's an extraordinary swing, for sure. And I love the—the way that you approached it the second time with that intention. It just says everything about the kind of person and writer you are, and the book landed with Simon & Schuster and will be coming out soon, and I can't wait to share it with our listeners. It's a beautiful, beautiful novel. I just—I cherished reading every page, and we had the really great good fortune of my taking a vacation to Croatia and coming to your town and meeting you and walking through the town with you, and I treasure that for so many reasons. But having read the book, I felt like I could taste it and see it in a really special way, having had a tour of your city with you. So that, for me, was just a special—a special part of it too.Lidija HiljeThank you so much, Jennie. But actually, you kind of were a part of that, because when I thought about the places where Ivona would take a seer to, you know, to see, I had our tour in my—you know, on my mind, because I was thinking, like, what would she show someone who's from another place? Like, where would she take him? And it wouldn't be the things I showed you. I mean, I showed you some of the big things that you have to see when you're here. But I took you to the places that are more intimate to me, like more personally important to me.Jennie NashYeah.Lidija HiljeAnd so this is—this is what's behind the scene where she shows him her school. And, you know, so, yeah… you know, real life.Jennie NashOh, that's amazing. That's amazing. Well, yeah, I did get to see where you went to school and where the law office was. And—and one of the things that's really stayed with me was we went to a bookstore and it… Um, and it—just knowing what your life in books has been, Lidija, and how you've studied them and how you've worked to become a writer of the caliber that you are. And that bookstore was so small, and it had mostly books in Croatian, and it was not anything like the kind of bookstore that one would think would spark a major literary career. And it… that just has stuck with me, because you—you made your own bookstore, right? You found your own literary community. You found your own career and way, and it's just been a joy to watch and to cheer you on. And thank you for coming and talking with us today.Lidija HiljeThank you so much for having me, and all the encouragement over the years. I'm really grateful for that as well.Jennie NashAll right, well, until next time, for our listeners—keep your butt in the chair and your head in the game. Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew Perella. Our intro music, aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Lidija Hilje shares how her debut novel, Slanting Towards the Sea, and her own journey is shaped by second chances and the courage it required to begin again.Lidija Hilje brings a rare and powerful perspective to her fiction. After a decade working in Croatian courts, she left the legal field to write in English as her second language and to coach other writers through their own stories. We discuss how that radical life change shaped both her novel and her coaching philosophy.In today's Book Gang episode, Lidija joins me for a profoundly moving and insightful conversation about her first novel, Slanting Towards the Sea. In this week's warm and expansive episode, we discuss:How writing in a second language and through a bicultural lens shaped the emotional and narrative depth of Slanting Towards the SeaThe novel's quiet but powerful thread on broken governmental systems, and how we see the differences and parallels between our American and Croatian experiencesHow Lidija's former legal career informs her current work as a book coach, and how she helps authors clarify and complete the stories they feel called to tellBONUS BOOK LIST: This week, you can set sail with these 34 sea books. From shipwreck survival stories to coastal mysteries, oceanic fantasies, and sweeping seaside romances- this book list has a little something for everyone!Meet Lidija HiljeLidija Hilje is a Croatian writer and certified book coach. After earning a law degree, she spent a decade practicing law in Croatian courts before transitioning to book coaching, and writing in English as her second language. Her writing has appeared in The New York Times and other outlets. She lives in Zadar, Croatia, with her husband and two daughters. SLANTING TOWARDS THE SEA is her first novel.Mentioned in this episode:Browse the 2025 MomAdvice Summer Reading Guide (with ads) or download the 48-page reading guide ($7) to support our show. If you are a show patron, please check your inbox for your copy as part of your member benefits. Thank you for supporting my small business!   Download Today's Show TranscriptJoin the July Book Club Chat (Husbands & Lovers)BONUS BOOK LIST: 34 Sea Books (upcoming titles, new releases, and backlist selections to browse)Slanting Towards the Sea by Lidija HiljeThe Maid on NetflixBookshop.org pays a 10% commission on every sale and matches it with 10% to support independent bookstores.Connect With Us:Join the Book Gang PatreonConnect with Lidija Hilje on Instagram or her WebsiteConnect with Amy on Instagram, TikTok, or MomAdviceGet My Happy List NewsletterGet the Daily Kindle Deals NewsletterBuy Me a Coffee (for a one-time donation)

In this interview, I chat with Lidija Hilje about ⁠⁠⁠Slanting Towards the Sea⁠⁠⁠⁠⁠, writing about present day Croatia, her father's health and how it inspired this story, writing in her second language and why she chose to write the book in English, her title and cover, and much more. Lidija's recommended reads are: The Anthropologists by Aysegul Savas We Were the Universe by Kimberly King Parsons Joanna's Room by James Baldwin Looking for some great summer reads? Check out my printable 18-page Summer Reading Guide ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠ for a tip of your choice or ⁠⁠⁠⁠for a set price here⁠⁠⁠⁠ via credit card with over 60 new titles vetted by me that will provide great entertainment this summer - books you will not see on other guides. I also include mystery series recommendations, new releases in a next-in-the-series section and fiction and nonfiction pairings. Donate to the podcast ⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠on Venmo⁠⁠⁠⁠⁠⁠⁠. Want to know which new titles are publishing in June - October of 2025? Check out our fourth ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Literary Lookbook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠which contains a comprehensive but not exhaustive list all in one place so you can plan ahead.     ⁠⁠⁠⁠⁠⁠⁠⁠Slanting Towards the Sea⁠⁠⁠⁠⁠ can be purchased at my Bookshop storefront.  Looking for something new to read? Here is my monthly ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buzz Reads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ column with five new recommendations each month. Link to my article about ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠older protagonists in fiction⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.     Connect with me on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Learn more about your ad choices. Visit megaphone.fm/adchoices

V letu spomina, ob 80 letnici konca druge svetovne vojne, komunističnega prevzema oblasti in tudi povojnih pobojev, v oddaji Moja zgodba objavljamo nekatera pričevanja članov VOS OF (Varnostno obveščevalne službe Osvobodilne fronte). VOS je bila skrivna partijska oborožena formacija, ki jo je v okviru OF avgusta 1941 osnoval Centralni komite KPS. VOS je nastopala proti dejanskim in domnevnim nasprotnikom partizanskega gibanja. Med najvidnejšimi žrtvami VOS so bili v veliki večini Slovenci, predstavniki predvojnega političnega življenja, industrialci, premožni vplivni meščani, nekdanji oficirji kraljeve vojske, sodniki, duhovniki, člani Katoliške akcije, intelektualci, veliki kmetje, podjetniki, skratka tisti, ki so odkrito nasprotovali komunistični ideologiji.Pred časom smo že objavili pričevanje narodnega heroja Eda Brajnika Štefana, ki je bil nekaj časa komandant varnostne službe. Bil je tudi vodja 1. odseka OZNE za Jugoslavijo in po koncu vojne je vrsto let delal v zvezni upravi za notranje zadeve v Beogradu.Ampak v VOS niso delovali samo moški. Tudi ženske so bile pomemben del kot sledilke, zbiralke informacij, agentke. V današnji oddaji smo slišali pričevanje ene od njih. To je Lidija Dermastia kasneje poročena Kovič. Njen mož je bil Anton Kovič Sine, prav tako vosovec, ki je med drugim leta 1942 ustrelil policijskega komisarja Kazimirja Kukoviča. Njen brat je bil komandant in vodja VOS Marjan Dermastia Urban, imenovan tudi Urban Velikonja. Že leta 1943 ga je CK KPS zaradi krutosti v odnosu do nasprotnikov kaznoval z zadnjim opominom. Kazen je bila kasneje sicer odpravljena.Pričevanje Lidije Kovič, ki ga boste slišali je bilo posneto 25. septembra 1978, vodil ga je dr. Miloš Kobal, prav tako Vosovec. Naj spomnim, da je zanimiv razkorak med tem, kaj se je spominjal sredi sedemdesetih in česa v oddaji Spomini na TV Slovenija leta 2018.Vsa pričevanja so bila tudi prepisana in so kot pogovori z vosovci dosegljiva v Arhivu Republike Slovenije. Originalna pričevanja pa so še posebej zanimiva tudi kot govorjena beseda, saj se v prepisih lahko izgubi kak poudarek. S komentarji bo tudi tokrat z nami znanstveni sodelavec Študijskega centra za narodno spravo dr. Damjan Hančič, ki je svoje delo usmeril predvsem v raziskovanje totalitarnih režimov na Slovenskem v 20. stoletju. Je eden od vodilnih raziskovalcev revolucionarnega nasilja v Sloveniji in ga lepo pozdravljam!Zakaj je potrebno take stvari poznati, kako lahko vplivajo na naše vedenje o medvojnih in povojnih dogodkih?Pričevanje je zelo zanimivo, ker pove zelo veliko o njeni osebnosti oz profilu vosovskih obveščevalcev in o veliki prepletenosti članov vosa in tistih, ki so šli na nasprotni stran. vsi so bili pred vojno sošolci in prijatelji v istih telovadnih društvih, potem pa so se tako spremenili, da potem tej Dermastjevi ni bilo prav nič mar, če so jih pobili oz kot se je izrazila pospravili. Pokaže tudi, da katoliška oz meščanska stran nista bili kos konspirativnemu delu in da jih je vos lahko brez problema zelo podrobno nadzoroval. Tu se kaže vpliv predvojnega tajnega dela partije in šolanja njenih kadrov v Moskvi. Pričevanje Lidije Dermastia Kovič, ki je sicer zabeleženo na štirih kolutih v skupni dolžini več kot dve uri in pol, predvajamo po kosih in ga ob tem komentiramo s pomočjo dr. Damjana Hančiča.

A young woman chronicles her battle with anorexia In January 2017, Sandra Slokenbergs wrote in her journal: "I have a sickening feeling my daughter is dying." Her fears were well-founded. A week later, her daughter Lidija, 17, a Haldane junior, was rushed to a hospital, suffering from severe anorexia. Anorexia nervosa is an eating disorder which, if not treated, can cause serious medical conditions associated with starvation. Anorexia is second only to opioid overdoses in deaths tied to mental illness, including by suicide. Its causes are not fully understood but are thought to involve genetics, psychological and social factors and major life transitions. In a newly published book, Hold My Hand, Sandra and Lidija tell their story in detail from each of their perspectives. By age 16, Lidija had experienced more life changes than most. When she was 6 and about to enter the first grade at Haldane, she and her family moved to Latvia. Both sets of her grandparents had emigrated to the U.S.; her parents were born in New York, but Latvian was spoken in their Cold Spring home. During the 10 years they spent in Latvia, Lidija changed schools five times. Although Latvia became independent from Russia in 1990, many schools still followed the rigid Soviet system, with multiple daily tests, teachers calling out students' grades, waiting for permission to sit and an intense level of competition. "I didn't feel I could keep up," she recalled. "I knew I was smart, but I was made to feel stupid a lot of the time." Lidija loved to dance but was told at age 12 by her ballet instructor that she danced "like a bear." She came home crying, feeling "intimidated, ridiculed and never good enough." There were cultural differences, as well. Although Lidija spoke fluent Latvian, it was with an accent. She was "the American," an outsider. The Slokenbergs returned to Cold Spring each summer. Lidija said that was "paradise": swimming in her grandparents' pool, her July 3 birthday parties, camp and ice cream. Although she loved Latvia and had friends there, returning was always difficult. Sandra remembers the end of the summers as full of "anxiety, sadness and dread" for her daughter. Red flags began to appear by the time Lidija was 14. Once, she stood by her bedroom mirror in Latvia sobbing, unable to decide what to wear to a birthday party. Sandra coaxed her to go, but it was a struggle. For a yoga class where everyone wore a T-shirt and leggings, Lidija agonized, rejecting one combination after another. Sandra noticed her daughter's movements had become less natural. She had begun to dislike aspects of her body. "Clearly, self-esteem was seeping out of her," Sandra said. Lidija developed an uncharacteristic interest in Sandra's treadmill and worked out on it obsessively for several weeks. She later admitted hating every minute of it. Ironically, a permanent return to Cold Spring in 2016 fueled what would soon be diagnosed as anorexia. "I was happy because I'd have two years left at Haldane," Lidija said. But other thoughts were troubling. "I felt I had the chance to reinvent myself, to become someone I liked more, someone who was smarter and prettier," she said. "I had been holding in a lot of stress, a perfect time for anorexia to swoop in." Anorexia, she said, makes many false promises: "You'll be happy if you lose a bit of weight. You'll be happy if you control your food more. You'll be happy if you get to the desired weight." Lidija's 16th birthday included a trip to Dairy Queen and an ice cream cake. It would be the last time Lidija ate without feeling the need to greatly restrict food. After eating leftover cake the next morning, she obsessed over the thought that she had already consumed more calories than she should for an entire day. She vowed to take control, to get skinnier, to be prettier. She thought, "Maybe I'll feel better then." Her mother recalled: "I saw her change into someone I didn't recognize." Lidija became obsessive-compulsive...

Lidija in Rebeka spoznata Pavla in njegove prijatelje.

Na praznik dela v posebni oddaji ob 17.00 gostimo predsednico Zveze svobodnih sindikatov Slovenije Lidijo Jerkič. Ta se bo konec meseca poslovila s tega položaja in bo vodenje največje sindikalne centrale s 130 tisoč članicami in člani prepustila nasledniku. Premišljuje o novodobnih izzivih na trgu dela, kot so prekarne zaposlitve, prisilni espeji, kršitve na področju tuje delovne sile, neurejeno področje platformnega dela, prepoved članstva v sindikatih. Po drugi strani imajo delavci zaradi visoke zaposlenosti večjo moč in ponudbo. Ob tem se postavlja vprašanje, ali so sindikati v teh časih sploh še potrebni.

Lidija je doživela smolo v svoji delavnici. Kdo je kriv? Antioh?

Annemieke Bosman gaat in gesprek met Lidija Zelovic over de film Home Game. Filmmaker Lidija Zelovic portretteert haar ontheemde familie in Nederland al sinds 1993, toen ze het door oorlog verscheurde Sarajevo ontvluchtten, met zelfspot en op haar eigen unieke wijze. Zelovic's filmessay legt de dualiteit bloot waarmee alle migranten leven: wat is ‘thuis'? Ze vestigt daarbij de aandacht op maatschappelijke en politieke ontwikkelingen in Nederland die ze herkent uit haar uiteengevallen geboorteland Joegoslavië. Home Game biedt een soms grappige, vaak confronterende en steeds oprechte kijk in Zelovics leven, dat als spiegel fungeert voor het huidige politieke klimaat in Nederland en veel andere landen in de wereld. 

Lidija razlaga Rebeki svojo osebno zgodovino, pot, ki jo je tako usodno popeljala v svet barvanja blaga.

Klub strahu Lidija ne neha skrbeti za vdovo Apolonijo. Skuša ji priskrbeti vodjo delavnice.

Lidija vodi delavnico sredi mesta, spoznamo Klaro in vidimo, kako se nekateri zapleti ne nehajo niti po dvajsetih letih.

V oddaji Moja zgodba smo prisluhnili trem pričevalcem, ki jih je v začetku leta 2024 med Slovenci v Avstraliji posnel sodelavec Študijskega centra za narodno spravo Renato Podbersič. Svoje življenjske zgodbe so z nami delili Francke Anžin, Lidije Čušin in Mirka Cudermana.

Lidija se na plesu pomembnežev v Filipih dobro znajde, obisk prireditve ji odpre nove priložnosti.

Lidija in Rebeka se prebijata skozi življenje v novem mestu, pri tem Rebeki zelo pomaga vera.

Piše Jure Jakob, bere Igor Velše. Pesnice in pisateljice Lidije Dimkovske verjetno ni potrebno posebej predstavljati, saj že več kot dve desetletji živi in ustvarja v Sloveniji in je tvorni del slovenske literarno-kulturne srenje ne le kot izrazit avtorski glas, temveč tudi kot zavzeta slovensko-makedonska (med)kulturna posrednica in prevajalka. Mustarjev prevod njenega romana EMŠO je izšel le leto po izidu izvirnika, ki je bil leta 2023 ovenčan s prestižno makedonsko nacionalno nagrado roman leta. EMŠO je kompleksen, premišljeno strukturiran roman, ki učinkovito prepleta dva pripovedna pramena: motivno-tematsko in po obsegu dominantno prvoosebno pripoved v približnih okvirih literarne realistike ter vzporedno fragmentarno distopično pripoved, ki ključne tematike prve (osamljenost in medčloveško odtujenost) potencira v maniri poetizirane negativne utopije. V romanu EMŠO imamo tako opravka s polivalentnim, pomensko bogatim in sporočilno večpomenskim svetom, v katerem se literarna izmišljija spretno in boleče natančno stika z nekaterimi fenomeni družbe in časa, v katerih živimo. V prvem planu dogajalne resničnosti romana je zgodba o družini Avram, kot jo pripoveduje Katerina, najmlajša članica ožje družine. Živijo v Skopju, njen oče Nikos je ciprski Grk, ki ga je njena mati Milka spoznala poleti 1974, ko si je kot sezonska delavka služila denar v enem od hotelov na ciprski rivieri na severnem delu otoka. Tisto poletje je sever Cipra zasedla turška vojska, tam živeči Grki pa so v strahu za golo življenje prebegnili na jug otoka ali pa se kot politični begunci razkropili po svetu. Eden od njih je tudi Nikos, ki s takrat že nosečo Katerinino mamo v nikoli povsem pojasnjenih okoliščinah zapusti primarno družino in z Milko zbeži v Makedonijo, kjer se poročita in si ustvarita skupno življenje. Rodi se sin Stefan, sedem let zatem pa še Katerina, glavna protagonistka pripovedi. Nikos, ki že od mladih nog boleha za težko obliko astme, je ljubeč oče, ki pa čustev do otrok ne zna izražati. Svojo begunsko travmo in spodleteli zakon predeluje z zanikanjem in potlačitvijo – zapre se vase, je pasiven, apatičen in depresiven, z bližnjimi komunicira le na ravni funkcionalnega minimuma. Ob prepirih z ženo, ki so stalnica družinskega vsakdana, ali pa če mu preprosto kaj ni prav, se iz blokovskega stanovanja zateka v svojo garažo. Edino, kar ob tem zmore storiti, je, da se vsakič priduša z istim ljudskim reklom, ki kot ponavljajoča se mantra in simbolična ponazoritev dogajalnega ozračja odmeva od prve do zadnje strani romana: "Da bi se pobral v puščobo!" Pripovedovalkina mati Milka je skoraj obrnjena podoba svojega moža. Je histerično občutljiv hipohonder, vedno in o vsem ima svoje mnenje in ob vsaki priložnosti ga brezobzirno izraža, kar pa ne pomeni, da ji je za svet okoli sebe kaj mar. V resnici je čustveno hladen egocentrik, ki zna do drugih – bližnjih in manj bližnjih – vzpostaviti le zajedljivo sovražen odnos. Je patološko negativistična oseba, ki za fasado glasnega, pikolovskega in samopomilujočega pritoževanja nad vsemi, ki ji pridejo na pot, svoje življenje neskrupulozno krmari v smer zadovoljevanja lastnih, v osnovi plehko materialnih potreb in interesov. Izredno neizprosna kritika sentimentalnega klišeja "dobre mame", kot jo z likom sebične in ozkosrčne Milke Avram razvije Lidija Dimkovska, je sicer le eden, čeprav mogoče najbolj oster izmed kritičnih nožev, s katerimi pisateljica reže v družbeno patologijo sodobnosti. Zgodba o družini Avram namreč ni romantična družinska saga. Ni niti psihološka študija nravi in značajev, ki bi jo v prvi vrsti zanimalo subtilno in pronicljivo raziskovanje osebnih motivov protagonistov in odnosov med njimi. Zgodba o odtujeni, disfunkcionalni družini (eni od mnogih podobnih) je pravzaprav prilika, skoraj moraliteta o načelni nemožnosti pristnih medčloveških odnosov v sodobnem svetu, tako na mikro kot na makro ravni. Njena osnovna intenca je kritični prikaz, ne hladna razčlemba, eden glavnih stilističnih prijemov, pa je groteska. Ne le sebična mati, tudi drugi glavni liki so pretirani, občutje odtujenosti in emocionalne neizpolnjenosti, ki pripovedovalko preveva od začetka do konca, pa prignano skoraj do neznosnosti. Družinska zgodba je sicer že od vsega začetka vpeta v širše, zgodovinsko prepoznavno in v realno okolje umestljivo družbeno dogajanje. Nastanek družine Avram je neločljivo povezan z zgodovinskimi dogodki in geopolitiko – če Turki ne bi okupirali severnega Cipra, se Nikos in Milka verjetno ne bi na vrat na nos poročila in čez noč pristala v Makedoniji. Tako kot geneza družine, ki sovpada z enim od izbruhov političnega nasilja, je tudi njeno vsakodnevno življenje, kot ga korak za korakom spoznavamo ob pripovedovanju sprva odraščajoče deklice, kasneje pa mlade, izobražene, radovedne ženske Katerine, neločljivo prepleteno z akutnimi problemi zahodne (globalno ekspandirane) družbe. Gre za vprašanja, kot so razslojenost, družbena korupcija, agresivna neoliberalna ekonomska agenda, razčlovečujoče potrošništvo, dobri stari nacionalizem, šovinizem, okoljska problematika in spremljajoče ideologije hitrih in dokončnih rešitev ter še kaj. Družinska zgodba in družbena zgodba sta ena pripoved, katere glavno sporočilo je, preprosto rečeno, da nam gre slabo, da je nekaj zares in temeljito narobe. EMŠO je angažiran roman v dobrem, netendencioznem pomenu. Za bolezni, ki jih diagnosticira, ne pozna čudežne tabletke, ampak preprosto in umetniško suvereno izvaja eno od različic starega, aristotelovskega recepta: katarzično očiščevanje s pomočjo terapije prikazovanja trpljenja. Torej: minister nič ne opozarja, uporaba izdelka obvezna!

Lidija pride do svoje delavnice in dobi ponudbo za delo pri Rufusu.

Kako sta Lidija in Rebeka obiskali starega rimskega generala in ali jima je omogočil začetek obrti v Filipih?

Poslušali smo, kako Lidija in Rebeka zapustita Tiatiro in odpotujeta v Filipe.

Lidija pripelje učeno neznanko v svoj dom. Bo to obžalovala?

Lidija ostane sama, oče ji zapusti zvitek, na njem pa je navodilo za življenje.

Fluent Fiction - Serbian: Unveiling the Family Heirloom: A Christmas Mystery Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sr/episode/2025-01-08-23-34-02-sr Story Transcript:Sr: Зимски ветар је завијао око велике куће док се црквена звона оглашавала за Божић.En: The winter wind howled around the large house as the church bells rang for Christmas.Sr: Кућа је била пуна антиквитетима, породичним фотографијама и мирисом традиционалних српских јела.En: The house was filled with antiques, family photographs, and the aroma of traditional Srpski dishes.Sr: У топлини дома, породично окупљање је било у пуном јеку.En: In the warmth of the home, the family gathering was in full swing.Sr: Мало ко је знао за дубоко скривену тајну која је везивала породицу заједно већ деценијама.En: Few knew about the deeply hidden secret that had bound the family together for decades.Sr: Милољубиви и знатижељни младић по имену Милош био је заокупљен причама своје породице о давно изгубљеном породичном наслеђу - драгоценом комаду накита који је, како се говорило, носио проклетство.En: A kind and curious young man named Miloš was engrossed in his family's stories about a long-lost family heirloom—a precious piece of jewelry that was said to carry a curse.Sr: Сви у породици су о томе причали као о легенди, али Милош је одлучио да сазна истину о судбини тог мистериозног накита.En: Everyone in the family spoke of it as a legend, but Miloš decided to discover the truth about the fate of that mysterious jewelry.Sr: Његова сестра, Лидија, старија и скептична, делила је његову знатижељу, али не и веру у тајне.En: His sister, Lidija, older and skeptical, shared his curiosity but not his belief in secrets.Sr: Док је снег неумољиво заустављао све напоре да изађу из куће, Милош је одлучио да искористи прилику и истражи таван.En: As the snow relentlessly halted all efforts to leave the house, Miloš decided to take advantage of the opportunity and explore the attic.Sr: Замолио је Лидију да му помогне, иако је она знатно оклевала.En: He asked Lidija to help him, although she hesitated significantly.Sr: "Шта ћемо наћи тамо, паук или стварно благо?En: "What will we find up there, a spider or real treasure?"Sr: " упита она са лаганим осмехом.En: she asked with a slight smile.Sr: На тавану, нашли су се окружени прашњавим кутијама и старим кућним предметима.En: In the attic, they found themselves surrounded by dusty boxes and old household items.Sr: Милош је пажљиво почео да претура ствари, док се топла светлост лампе одбијала од оронулих зидова.En: Miloš carefully began rummaging through things, while the warm light of the lamp reflected off the dilapidated walls.Sr: Поред старе кутије, угледали су мали, једва приметан отвор.En: Next to an old box, they spotted a small, barely noticeable opening.Sr: У њему је лежало нешто сасвим неочекивано - писмо.En: Inside it lay something entirely unexpected—a letter.Sr: Отворили су га и, са изненађењем, читали речи давно заборављеног члана породице.En: They opened it and, with surprise, read the words of a long-forgotten family member.Sr: У писму је писало како је наслеђе разлог за породичне расправе и несреће, и како га је он сакрио да заштити породицу од његових проклетстава.En: The letter stated how the inheritance was the cause of family disputes and misfortunes and how he hid it to protect the family from its curses.Sr: "Прави питом свети гнев људи, а не накит!En: "It is human ambition that stirs people's holy wrath, not the jewelry!"Sr: " писао је тајанствени аутор.En: wrote the mysterious author.Sr: Милош је осетио како се тежина тајне полако скида са његових рамена.En: Miloš felt the weight of the secret slowly lifting off his shoulders.Sr: Истина је била ту - накит није проклет, али људске амбиције и сујете саткале су митове.En: The truth was there—the jewelry was not cursed, but human ambitions and vanities wove myths.Sr: Овај наставак историје донео је мир унутар породице.En: This continuation of history brought peace within the family.Sr: Тог дана, док су ватре камина гријале просторију, Милош и Лидија научили су колико је битно разумети и чувати прошлу прошлост.En: That day, as the fires of the fireplace warmed the room, Miloš and Lidija learned how important it is to understand and preserve the past.Sr: Како су приче о славном налазу почеле да се шире кроз кућу, осетио се осећај уједињене породице.En: As stories of the grand find began to spread through the house, there was a sense of a united family.Sr: Милош је научио да је породица много више од мистериозних тајни, а Лидија је почела више да поштује своју породичну историју.En: Miloš learned that family is much more than mysterious secrets, and Lidija began to respect her family history more.Sr: Бели снег је наставио да покрива село, али топлина породичне љубави била је довољна да загреје сваког у кући.En: The white snow continued to cover the village, but the warmth of family love was enough to warm everyone in the house. Vocabulary Words:howled: завијаоantiques: антииквитетимаaroma: мирисомgathering: окупљањеengrossed: заокупљенheirloom: наслеђеprecious: драгоценомcurse: проклетствоlegend: легендиskeptical: скептичнаrelentlessly: неумољивоhalted: заустављаоhesitated: оклевалаrummaging: претураdilapidated: оронулихbarely: једваnoticeable: приметанinheritance: наслеђеdisputes: расправеmisfortunes: несрећеambition: амбицијеvanities: сујетеmyths: митовеcontinuation: наставакpreserve: чуватиunited: уједињенеmysterious: мистериознихspotted: угледалиprotect: заштитиambitions: амбицје

Lidija izve resnico o smrti matere.

La rapida e inaspettata fine della dittatura di Bashar al Assad ha scatenato l'esultanza dei siriani in tutto il mondo. Ma il futuro della Siria è ancora molto incerto. Con Fouad Roueiha, giornalista e traduttoreLa corte d'appello di Bruxelles ha stabilito che lo stato belga è colpevole di crimini contro l'umanità per aver trasferito a forza in istituto cinque bambine nate in Congo da madri congolesi e padri belgi nel periodo in cui il Congo era una colonia belga. Con Francesca Spinelli, giornalista, da Buxelles.Oggi parliamo anche di:Indonesia • “Trovare dio a bordo piscina” di Lidija Čulohttps://www.internazionale.it/magazine/lidija-ulo/2024/12/05/trovare-dio-a-bordo-piscinaDisco • Pista nera dei Post NebbiaCi piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it o manda un vocale a +39 3347063050Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Gada balvas teātrī "Spēlmaņu nakts" apbalvošanas ceremonijā balvas "Par mūža ieguldījumu skatuves mākslā" saņems Dailes teātra aktrises Lidija Pupure un Ilze Vazdika. Dailes teātra direktora kabinetā ir dubultiemesls dzert kafiju ar teātra grandāmām, kuras šogad "Spēlmaņu naktī" saņems balvas par mūža ieguldījumu. Ilze Vazdika un Lidija Pupure. Abas ir Dailes teātra 3. studijas audzēknes, šī studija jau nodēvēta par "pēdējiem romantiķiem", kam veltīta arī Silvijas Geikinas grāmata. Ingvildai Strautmanei ir tas gods dzert kafiju kopā ar Lidiju Pupuri un Ilzi Vazdiku. Un pajautāt. Un abas arī apstiprinoši atbild, ka ir "pēdējie romantiķi" ar visām viņu kļūdām... -- "Spēlmaņu nakts" 31. ceremonija notiks 23. novembrī Valmieras teātrī. Tiešraidē no pulksten 19.00 tai varēs sekot līdzi sabiedrisko mediju portālā LSM.lv un Latvijas Radio 1 ēterā, bet vēlāk vakarā – Latvijas Televīzijā.

Lidija Zelović is filmmaker en schrijver. Zelović studeerde Letterkunde in Sarajevo tot ze in 1993 naar Nederland vluchtte vanwege de uitgebroken burgeroorlog. Zelović' hart was gebroken maar vond een uitweg in (documentaire)film. Voor 2Doc maakte ze de documentaire ‘My Own Private War' waarin ze haar eigen oorlogstrauma verkent. Op IDFA gaat ‘Home Game' in première. Het is een persoonlijk portret waarin Zelović onder meer door dagboekfragmenten, journaalbeelden en ander archiefmateriaal haar Nederlandse en Bosnische identiteit onderzoekt.

Slišali smo kako Lidija skrbi za ranjenega očeta.

Tokrat smo slišali o tem kako je Lidija prvič samostojno opravila zahtevno delo.

Iz let svoje rane mladosti, če ne kar otroštva, se spomnim popevke, …

This week, bestselling author R. O. Kwon discusses her new novel Exhibit, an exhilarating, blazing-hot novel about a woman caught between her desires and her life. Kwon is joined by fellow author Nami Mun. This conversation originally took place May 5, 2024 and was recorded live at the American Writers Museum. AWM PODCAST NETWORK HOME More about Exhibit: At a lavish party in the hills outside of San Francisco, Jin Han meets Lidija Jung and nothing will ever be the same for either woman. A brilliant young photographer, Jin is at a crossroads in her work, in her marriage to her college love Philip, and in who she is and who she wants to be. Lidija is an alluring, injured world-class ballerina on hiatus from her ballet company under mysterious circumstances. Drawn to each other by their intense artistic drives, the two women talk all night. Cracked open, Jin finds herself telling Lidija about an old familial curse, breaking a lifelong promise. She's been told that if she doesn't keep the curse a secret, she risks losing everything; death and ruin could lie ahead. As Jin and Lidija become more entangled, they realize they share more than the ferocity of their ambition, and begin to explore hidden desires. Something is ignited in Jin: her art, her body, and her sense of self irrevocably changed. But can she avoid the specter of the curse? Vital, bold, powerful, and deeply moving, Exhibit asks: how brightly can you burn before you light your life on fire? R. O. KWON is the author of the nationally bestselling novel The Incendiaries, which was named a best book of the year by more than forty publications and was a finalist for the National Book Critics Circle John Leonard Award. With Garth Greenwell, Kwon coedited the bestselling Kink, a New York Times Notable Book. Her writing has appeared in The New York Times, The New Yorker, Vanity Fair, and elsewhere. She has received fellowships and awards from the National Endowment for the Arts, Yaddo, and MacDowell. Born in Seoul, Kwon has lived most of her life in the United States. NAMI MUN grew up in Seoul, South Korea and Bronx, New York. For her first book, Miles from Nowhere, she received a Whiting Award, a Pushcart Prize, the Chicago Public Library's 21st Century Award, and was shortlisted for the Orange Prize for New Writers and the Asian American Literary Award. Miles From Nowhere was selected as Editors' Choice and Top Ten First Novels by Booklist; Best Fiction of 2009 So Far by Amazon; and as an Indie Next Pick. Chicago Magazine named her Best New Novelist of 2009.

Martijntje Smits in gesprek met filmmaker en schrijver Lidija Zelovic over mediaverslaggeving in oorlogstijd. Vorig jaar sprak Martijntje met Lidija over de eenzijdige beeldvorming in de media rond de oorlog in Oekraïne: Poetin is Hitler en niet te vertrouwen en daarom moeten we wapens blijven leveren. Inmiddels duiken er hier en daar andere geluiden op. Is er sprake van een serieus debat? Of verschansen we ons in onze eigen loopgraven? Lidija Zelovic bestudeerde mediamanipulatie in verschillende oorlogen, waaronder die in Joegoslavië. Ze betoogt dat het juist in oorlogstijd heel gevaarlijk is om in je eigen bubbel te blijven hangen: "In oorlog moet je niet praten met vrienden, maar met vijanden" -- Kom op 28 juni naar De Nacht van De Nieuwe Wereld. Bestel je kaarten hier: https://dnw.eventgoose.com/ Bronnen en links bij deze uitzending: - Een eerder gesprek tussen Martijntje Smits en Lidija Zelovic: https://www.youtube.com/watch?v=8TU0jd965Rw (0:31) - 'Waar is de vredesbeweging?'. Artikel in de Telegraaf, met Henk Baars, Martijntje Smits en Ewald Engelen (betaalmuur): https://www.telegraaf.nl/nieuws/849509564/europa-in-brand-maar-nederland-is-stil-waarom-nu-niet-honderdduizenden-de-straat-op-voor-vrede. Lees het artikel via De Vierde Golf: https://vierdegolf.org/2024/03/06/interview-met-marijntje-smits-waar-is-de-vredesbeweging/ (1:50) - 'Oorlogskoorts in Europa: we laten ons opjagen door de VS'. Jolle Demmers in Trouw (betaalmuur): https://www.trouw.nl/opinie/oorlogskoorts-in-europa-we-laten-ons-opjagen-door-de-vs~bba8646c/ (1:54) - Opiniestuk van Martijntje Smits en Ewald Engelen in de NRC (betaalmuur): https://www.nrc.nl/nieuws/2024/03/06/nederland-gaat-slaapwandelend-een-nieuwe-wereldoorlog-in-a4192192 (1:57) - '‘Wat het Westen doet, is misdadig''. Pacifist Willem de Haan in Trouw (betaalmuur): https://www.trouw.nl/binnenland/pacifist-willem-de-haan-over-steun-aan-oekraine-wat-het-westen-doet-is-misdadig~bde42f03/ (2:03) - 'Angst voor Rusland overdreven? Hoe blind kun je zijn?'. Hubert Smeets in Trouw (betaalmuur): https://www.trouw.nl/opinie/angst-voor-rusland-overdreven-hoe-blind-kun-je-zijn~bdb762b9/ (5:22) - Bergman, T. (2014), 'The Case for a Dutch Propaganda Model': https://ijoc.org/index.php/ijoc/article/view/2767/1214 (8:18) - Noam Chomsky, Manufacturing Consent (1988), via de Universiteit van Sao Paolo: https://edisciplinas.usp.br/pluginfile.php/5537300/mod_resource/content/1/Noam%20Chomsky_%20Edward%20S.%20Herman%20-%20Manufacturing%20Consent_%20The%20Political%20Economy%20of%20the%20Mass%20Media-Bodley%20Head%20%282008%29.pdf (8:24) - Marlies en Ad in gesprek met Jeffrey Sachs: https://www.youtube.com/watch?v=iwwg347oYvs (46:21) - Artikelen van Lidija in de Groene Amsterdammer: https://www.groene.nl/auteur/lidija-zelovic (53:43)

Piše Milan Vogel, bere Igor Velše. Prežihova ustanova na Ravnah na Koroškem je bila ustanovljena septembra 1996 v Kotljah. V aktu o ustanovitvi je zapisano, da je “njeno delovanje v prvi vrsti namenjeno razvoju in napredku koroške regije in ohranjanju slovenskega jezika in kulture med koroškimi Slovenci”, izvajala pa bo zlasti naslednje dejavnosti: podeljevanje štipendij študentom za diplomski in podiplomski študij, znanstvenoraziskovalna, kulturno-umetniška in založniška dejavnost. Zbornik Prežihov Voranc v ogledalu Koroškega fužinarja 1951-2007 obsega skoraj devetsto strani. Časopis Koroški fužinar je bil desetletja izredno pomemben informator ne le za Koroško, marveč za širšo javnost. Publikacijo je leta 1951 začel izdajati upravni odbor Železarne Guštanj in jo podnaslovil Glasilo guštanjskih železarjev, urejal pa jo je uredniški odbor. Pozneje je v tem okviru izhajal tudi kot Informativni fužinar, izšlo pa je tudi več posebnih številk. Med uredniki sta bila med drugimi Vorančev brat Avgust, ki je že od prve številke skrbel za Vorančevo dediščino, in pisatelj Marjan Kolar. Izbor prispevkov je opravil tajnik ustanove in urednik izdaj Mirko Osojnik, ki se je izmed 114 člankov odločil za 82. Razvrstil jih je v deset različno obsežnih sklopov, med katerimi so najobsežnejši Umetnik in revolucionar, Prežihova proza in Spomini, v druge pa članke, ki obravnavajo njegov jezik in slog, politično življenje, njegova pisma, uprizoritve Prežihovih del na odrskih deskah in v filmu, prevode v tuje jezike, ponatise in sestavke o njem in končuje z mementom legendarnega dr. Franca Sušnika: “Tej domačijici je po starem ime Prežihova bajta, pod katero je babica Liza, tista, ki je pod to bajto žela ajdo zadnjo bart. Zdaj je hiša vsa obnovljena z dinarji, ki so jih nabrali šolarji, z dinarji, ki so jih dali delavci, svoj kulturni davek, z dinarji, ki so jih zaslužile knjige slovenskih založb.” Za obnovo Prežihove bajte, kjer je njegov oče leta 1911 prvič zaoral na svoji zemlji, je Prežihov sklad leta 1975 začel zbirati denar prek “Prežihovega dinarja”, na katerega se je odzvalo tudi 224 slovenskih osnovnih in srednjih šol. V vseh sklopih sta Prežihovo literarno in politično delo, zlasti pa njegova človeška drža, zelo visoka cenjena. Josip Vidmar ga je označil za “človeka enkratnega navdih”, Lidija Šentjurc na vprašanje, ali je bil Prežih pisatelj ali komunist, odgovarja, da oboje, Anton Slodnjak ga je označil za “genialnega bukovnika, ki sta ga primorali osebna nadarjenost in rodovna solidarnost, da je na leposlovni način prikazoval življenje ljudi svojega rojstnega kraja v Mežiški dolini”. Tudi Jože Koruza, sourednik prvih dveh od dvanajstih knjig Prežihovih zbranih del, ki jih je dokončal Drago Druškovič, ga obravnava skupaj s koroškimi bukovniki, kot je bil npr. Drabosnjak. Kot človeka in pisatelja ga je občudovala njegova medvojna kurirka Kristina Brenkova, ko je ilegalno živel v Ljubljani. Veliko povedo o njem prispevki o njegovem delovanju po letu 1930, ko je moral pobegniti čez mejo in potem ko je kot partijski funkcionar prepotoval skoraj vso Evropo, v Parizu vodil knjigarno in Rdečo pomoč za španske borce ter sodeloval s Titom vse do vrnitve v Ljubljano leta 1939, kratkega ilegalnega življenja na Dolenjskem in v Ljubljani, izdaje domobrancem in poti preko Begunj do Mauthausna, kjer so ga pred krematorijem rešili tovariši. Njegov kurir na Ravnah Ivan Kokalj piše, da ga kot človeka resnice ne bo nikoli pozabil. Več je člankov o Prežihovem delovanju po vojni. Pretresljivi so prispevki ljudi, ki so se z njim srečali tik pred smrtjo. Njegov predvojni založnik Ciril Vidmar ga je z ženo obiskal v mariborski bolnišnici. Voranc se je pred njima zlomil, piše: ”Prežih se je naenkrat zgrabil za glavo, se vrgel vznak na divan in iz njega se je iztrgal najstrahotnejši jok, ki sem ga kdaj doživel. Njegova še vedno močna ramena so se krčevito in sunkovito stresala, toda jokal je brez glasu tisti grozni jok, za katerega ni tolažbe in utehe.” Štirinajst dni zatem je umrl sedeminpetdesetem letu. Na enem mestu zbrani prispevki povedo o Prežihu več kot marsikatera študija o njem, zato bodo v veliko pomoč vsakomur, ki se bo še zanimal za delo in življenje tega velikega Človeka.

Radio Marija ir klausītāju veidots radio, kas nes Dieva Vārdu pasaulē. Radio Marija balss skan 24 stundas diennaktī. Šajos raidījumos klausītājiem kā saviem draugiem neatkarīgi no viņu reliģiskās pārliecības cenšamies sniegt Kristus Labo Vēsti – Evaņģēliju, skaidru katoliskās Baznīcas mācību. Cenšamies vairot lūgšanas pieredzi un sniegt iespēju ielūkoties visas cilvēces kultūras daudzveidībā. Radio Marija visā pasaulē darbojas uz brīvprātīgo kalpošanas pamata. Labprātīga savu talantu un laika ziedošana Dieva godam un jaunās evaņģelizācijas labā ir daļa no Radio Marija harizmas. Tā ir lieliska iespēja ikvienam īstenot savus talantus Evaņģēlija pasludināšanas darbā, piedzīvojot kalpošanas prieku. Ticam, ka Dievs īpaši lietos ikvienu cilvēku, kurš atsauksies šai kalpošanai, lai ar Radio Marija starpniecību paveiktu Latvijā lielas lietas. Radio Marija ir arī ģimene, kas vieno dažādu vecumu, dažādu konfesiju, dažādu sociālo slāņu cilvēkus, ļaujot katram būt iederīgam un sniegt savu pienesumu Dieva Vārda pasludināšanā, kā arī kopīgā lūgšanas pieredzē. "Patvērums Dievā 24 stundas diennaktī", - tā ir Radio Marija Latvija devīze. RML var uztvert Rīgā 97.3, Liepājā 97.1, Krāslavā 97.0, Valkā 93.2, kā arī ar [satelītuztvērēja palīdzību un interneta aplikācijās](http://www.rml.lv/klausies/).

Lidija combines world of food, fashion, entertaining, and travel to her community of passionate connoisseurs of the good life. From deciding one day to share her first blog, to what is now a highly curated offering of some of the world's most inspiring restaurants, people, and the magic that surrounds them. She is the creator of a series of baking kit recipes that are available at Harrods, John Lewis, Fenwicks, and Whole foods in the UK, and at Waitrose and Spinneys across the UAE. This episode was brought to you by the Travel Counsellors. If you would like to learn more about starting a business in travel: https://people.travelcounsellors.com/ae/contact-us/

Kviečiame pasiklausyti pokalbio su Alytuje prieglobstį nuo karo atradusiais ukrainiečiais Ania, Lidija ir Stasu apie didžiąsias metų šventes ukrainietiškai!

Lidija Živčič je strokovna vodja pri organizaciji Focus - društvu za sonaraven razvoj, kjer se med drugim ukvarja z energetiko in vprašanjem energetske revščine. Raziskave kažejo, da se razlike med bogatimi in revnimi povečujejo, pri čemer ne gre več toliko za razlike med posameznimi državami, ampak za razlike med sloji znotraj držav. Na podlagi javno objavljenih podatkov je, denimo, časnik Guardian nedavno objavil analizo, po kateri so bila zasebna letala 200 milijarderjev od začetka leta 2022 do danes v zraku skupno kar 11 let, njihov ogljični odtis pa je enak odtisu skoraj 40.000 Britancev. Lidija Živčič to imenuje energetska dekadenca. »Z energijo ravnamo zelo razvratno. Velik problem je, da se o energetski dekadenci na politični ravni sploh ne pogovarjamo. To je nekakšna tabu tema, nedostopno področje, ki se ga ne smemo dotikati, kajti tukaj gre za neke svoboščine ljudi, ki jih ne smemo omejevati. Takšna je vsaj retorika oziroma pojmovanje v naši družbi. Vendar se bojim, da bomo morali temu tabuju narediti konec, kajti da nas bo večina gledala, kako manjšina veselo leti, medtem ko si mi v bistvu niti ne upamo iti na obisk k neki bolj oddaljeni družini in videti ljudi, ki jih imamo zelo radi - tega žal ne bomo trpeli.« Evropska komisija je sredi novembra projektu, ki ga koordinira Focus, podelila nagrado za družbeno inovacijo leta 2023. Gre za tako imenovana skupnostna srečanja. »Gre za obliko srečanj, na katerih se v rednih intervalih, na primer enkrat na dva tedna, zbere skupina ljudi, ki jih je prizadela energetska revščina. Ideja skupinskega naslavljanja, da ljudje drug drugemu pomagajo prebroditi težave energetske revščine. Na primer, če je nekdo zamenjal dražjega dobavitelja s cenejšim, lahko to svojo izkušnjo deli z drugimi skupini in s tem pomaga tudi drugim. Če ima nekdo nakopičene dolgove in je uspel s podjetjem ali ob pomoči Zveze prijateljev mladine narediti načrt za odplačevanje dolga, lahko tudi to izkušnjo deli z drugimi. Skratka, med ljudmi želimo narediti neke mreže, ki bi jih opolnomočile, delile pridobljena znanja in izkušnje in ki bi skušale destigmatrizirati eneregetsko revščino. Kajti ne gre za to, da je nekdo osebno kriv in odgovoren, ampak gre pogosto za sistemske napake, ki jih moramo sistemsko nasloviti.«

Široki in ustvarjalno bogati so svetovi Lidije Šket Kamenšek, profesorice razrednega pouka, strokovne delavke na področju vzgoje in izobraževanja, magistrice znanosti s področja socialne pedagogike. Zanimajo jo vedenjske posebnosti otrok in mladostnikov ter načini pomoči. Tudi pravljice so predmet njenega znanstvenega raziskovanja. Intenzivno se ukvarja s težavami pozornosti, impulzivnostjo in hiperaktivnostjo, z otroki, mladostniki in odraslimi z ADHD. Napisala je priročnik ADHD – Ampak Danes Hočem Drugače, ki je izšel pri Mohorjevi založbi v Celju. Skoraj četrt stoletja se je Lidija spraševala in iskala odgovore za svoj nemir, svoje svetove, ki jih je nosila v sebi, nerazumevanje okolice. Morala se je prilagoditi, da je določene stvari sploh lahko izvedla, kar je bilo zelo težko. »Ko izvemo, kdo smo in zakaj smo takšni, je to tolikšno olajšanje, ko končno lahko odložimo strahove in skrbi. Odgovori, ki jih dobimo, nas pomirijo, hkrati pa dobimo tudi priložnost za raziskovanje talentov, ki jih nosimo v sebi.« Zanjo je bilo to veliko olajšanje.

Ime tedna je Maja Primic Žakelj, epidemiologinja, ena od pobudnic in prva vodja presejalnega programa zgodnjega odkrivanja predrakavih sprememb materničnega vratu ZORA. V dvajsetih letih delovanja se je pregleda udeležilo 740.000 žensk, pravočasno so odkrili in zdravili 33.500 predrakavih sprememb materničnega vratu, zbolevnost pa se je več kot prepolovila.Kandidatki sta bili še: Lidija Živčič, strokovna vodja in soustanoviteljica društva za sonaraven razvoj Focus, ter ena od pionirk na področju raziskovanja energetske revščine v slovenskem prostoru. Projekt EmpowerMed, ki ga je koordinirala med letoma 2019 in 2023 ter vzpostavila energetska skupnostna srečanja je prejel nagrado Evropske komisije za družbeno inovacijo leta. Ema Kozin, boksarka, ki je v Manchestru po desetih rundah in po sodniški odločitvi premagala Škotinjo Hannah Rankin ter postala nova svetovna prvakinja v supervelterski kategoriji po verzijah WBO in WBC. Z zgodovinskim uspehom in osvojitvijo šampionskih pasov je postala prva naša boksarka, ki ji je uspel takšen podvig.

All across the globe, temperatures are rising, and thanks to the most recent report published by the International Panel on Climate Change and recent U.N. projections, we know that even if we do make sweeping cuts to emissions, we're still on course for a catastrophic temperature rise of 2.7 degrees Celsius by the year 2100. That means, the record-breaking floods, droughts, storms, wildfires, and heatwaves we're currently seeing, or for many of us, directly experiencing, are just the beginning. Global warming is not just some distant thing to worry about in the future — it's here. Right now. Although cataclysmic events like hurricanes and wildfires tend to monopolize most of the headlines on climate change, as paltry as it is to begin with, climate news coverage hardly ever focuses on the less flashy impacts. Things like heatwaves, for example, might draw some attention if they're record-shattering — but oftentimes, the impacts of long-lasting higher temperatures are not covered in any depth by mainstream news outlets. In this episode of The Response, we're going to focus on an issue that isn't talked about hardly enough: energy poverty. When temperatures rise to the point where they become dangerous, what happens to people who can't escape the heat? As temperatures continue to soar and extreme heatwaves become the norm, a lack of resources to stay cool — so, having access to things like air conditioning, for example, — is a huge issue across the world. This is especially true in southern Europe, a region that experienced a series of record-breaking, climate-fueled heatwaves this past summer. Episode credits: Written, produced, and edited by Robert Raymond Narrated by Tom Llewellyn Theme Music by Cultivate Beats Additional music by Belong, Fugazi, and Chris Zabriskie Cover illustration by Kane Lynch This episode features: Eleni Myrivili, Chief Heat Officer for the City of Athens (the first person to hold this title – recently featured in New York Times). Lidija Živčič is the senior expert at the FOCUS Association for Sustainable Development and a coordinator at EmpowerMed. Mònica Guiteras, a member of the Alliance Against Energy Poverty in Catalonia, and Engineers Without Borders.   Martha Myers, energy poverty campaigner at Friends of the Earth Europe and the coordinator of the Right to Energy Coalition. Follow The Response on Twitter and Instagram for updates, memes, and more. Our entire catalog of documentaries and interviews can be found at theresponsepodcast.org — or wherever you get your podcasts. Want to help spread the word? Please rate and review us on Apple Podcasts and Spotify — it makes a huge difference in reaching new people who may otherwise not hear about this show. The Response is published by Shareable.

Martijntje Smits in gesprek met filmmaker en schrijver Lidija Zelovic over de noodzaak van een debat over vrede in Oekraïne. De verslaggeving in de media van de oorlog in Oekraïne is heel eenzijdig: Poetin is Hitler en niet te vertrouwen en daarom moeten we wapens blijven leveren. Onderhandelen over vrede is niet aan de orde. Hoe komt die eenzijdigheid tot stand? Waarom is er nauwelijks ruimte voor andere invalshoeken? Lidija Zelovic bestudeerde mediamanipulatie in verschillende oorlogen, waaronder die in Joegoslavië. Ze betoogt dat het juist in oorlogstijd heel gevaarlijk is om in je eigen bubbel te blijven hangen en te veronderstellen dat wij aan 'de goede kant van de geschiedenis staan'.

In this episode, we're joined by Lidija (she/her). Lidija is a mother to her five-year-old daughter, Nika, and has been with her partner, Lachie (he/him), for 14 years. They are also proud parents to their dog, Kino. Lidija shares their love story, starting from how they met at a house party to their first kiss in Lidija's backyard by the veggie patch. During Lidija's pregnancy with Nika, which she was thankful for being easy, apart from the emotional challenge she faced of losing her first dog to cancer. She had an induced labour that lasted 19 hours with minimal progression, leading to Nika's birth via a c-section. Nika faced health complications after birth, spending a week in the special care unit. However, once they returned home, Nika thrived and progressed positively. Lachie had a one-week paternity leave, which Lidija describes as a brief "holiday" together. Adjusting to Lachie's return to work, Lidija found ways to entertain her newborn and quickly adapted to the parenting routine. They discovered the benefits of meal-prepping to manage their parenting days. Lidija shares her experience of letting go of preconceived notions about setting rules for babies when Nika preferred co-sleeping and feeding to sleep. They practised baby-led weaning, allowing Nika to wean naturally at her own pace. As a vegan family, food culture holds significant importance to them, and Lidija, being a nutritionist, ensures a healthy relationship with food for Nika. Lidija discusses Nika's strong emotions and their efforts to anticipate and address them. Lidija finds it magical to witness Nika's academic development, particularly as she learns to read, and Lidija sees Nika's nerdiness reflected in her own and Lachie's traits. Transitioning into motherhood, Lidija found support from friends who had toddlers, guiding her through the journey. As Nika started daycare and kindergarten, Lidija reconnected with her pre-baby self and explored different career options. Lidija and Lachie experienced adjustments in their relationship during the first year of Nika's life. They navigated the challenges of parenting, which involved adapting to their different parenting approaches and finding time for each other amidst their new roles as parents. However, their strong bond, built over eight years of shared experiences pre-baby, helped them find their groove. They prioritise quality time and continue to nurture their relationship, going on regular dates and occasional weekend getaways. Lidija's upbringing, with her parents who immigrated to Australia from Croatia shortly before Lidija was born, influenced her parenting approach. Growing up with busy parents, she now prioritises quality time and hands-on parenting, ensuring a balance between play and academics for Nika. Lidija's story is a wonderful reminder of the incredible influence we have as parents. Through her experiences, we see the power of shaping our children's values and the impact it can have on their lives.  Follow our instagram ⁠⁠⁠⁠@definitelybabypodcast⁠⁠⁠ ⁠for photos of weekly guests and episode updates and releases. The Definitely Baby theme music was written by Hagan Mathews and produced at ⁠⁠⁠⁠⁠⁠@sleeplessfootscray⁠⁠⁠⁠⁠⁠. This episode was recorded on the lands of Wurundjeri Wilam and Boon Wurrung/Bunurong peoples of the Kulin Nation. This always was and always will be the land of the First Nations peoples. Every month, I Pay The Rent and so can you - click ⁠⁠⁠⁠⁠here ⁠⁠⁠⁠⁠to learn more.

Ob staranju populacije se na naših cestah vozi vedno več starejših voznikov. Kdaj je nekdo še sposoben za vožnjo in kdaj ne več? Predlog Evropske komisije o posodobljeni direktivi o vozniških dovoljenjih je že zdaj, ko gre samo za predlog, povzročil kar nekaj slabe volje med starejšimi vozniki. Po sprejetju direktive naj bi se namreč starostna meja za podaljšanje vozniškega dovoljenja znižala za 10 let, iz 80 let na 70. V Sloveniji pa to ni novost. Že od sredine januarja leta 2013 vsa pridobljena vozniška dovoljenja kategorije B veljajo do dopolnjenega 70. leta voznika.  Sogovornice in sogovorniki: Andreja Knez, vršilka dolžnosti generalne direktorice Direktorata za ceste in cestni promet; dr. Andrea Margan, Klinični inštitut za medicino dela, prometa in športa v Ljubljani; dr. Martin Kurent, Klinični inštitut za medicino delo, prometa in športa v Kliničnem centru Ljubljana; mag. Ivan Kapun, vodja Sektorja prometne policije na Generalni policijski upravi; voznica Lidija iz Ljubljane; Ana Cergol Kebler, vodja programa za varnejšo mobilnost starejših; voznica Marija iz Cerknega.

Die Winterthurer Autorin Lidija Burcak beweist mit ihrem Buch, dass Tagebuchtexte keineswegs nur fürs stille Kämmerlein taugen. Einträge aus 17 Jahren sind darin: Eine Achterbahnfahrt von den Ängsten und Nöten der Teenagerzeit bis zu Krisen Anfang 30. Selbstverständlich auf Mundart.  Tagebücher werden in der Regel nur von denjenigen gelesen, die sie selbst geschrieben haben. Zu privat ist der Inhalt, zu peinlich könnte er sein, kitschig, oder auch schlicht zu langweilig für jemanden, der das beschriebene Leben nicht selbst gelebt hat. Dass das Gegenteil der Fall ist, beweist Lidija Burcak mit ihrem Band «Nöd us Zucker». Zwar nimmt sie in ihren Tagebucheinträgen kein Blatt vor den Mund und beschreibt in ungeschöntem «Winti-Dialäkt» alles, was sie gerade umtreibt – von den Eltern («die elände Penner») über ihr erstes Mal mit Rio bis zu Wutausbrüchen über den allgemeinen Zustand der Welt («Eusi Wält isch chrank. Mir Mänsche verchotzed si»). Peinlich ist daran aber herzlich wenig. Sie gibt durchaus Privates preis, doch auf eine Art und Weise, in der sich wohl viele, die dieses Buch lesen, wiedererkennen werden. Auch Lidija Burcaks Tagebücher waren nicht von Anfang an für die Öffentlichkeit bestimmt. Eher aus der Not heraus fing sie an, Auszüge vor Publikum vorzutragen. Von der Live-Performance leben viele ihrer Texte noch immer: Wenn Lidija Burcak Auszüge aus ihrem Tagebuch auf der Bühne vorträgt, fühlt man sich unmittelbar in ihr Erleben hineinversetzt und nimmt Teil an der Achterbahnfahrt der Gefühle, auf die sie sich gerade begibt. In der Sendung stellen wir Lidija Burcaks Tagebuchband näher vor, die Autorin gibt Auskunft darüber, was Tagebuchschreiben für sie bedeutet, und was für ein Verhältnis sie zur Mundart hat. Denn obwohl sie als Seconda in einem Haushalt aufwuchs, wo Serbokroatisch gesprochen wurde, war Mundart fast immer ihre Tagebuchsprache schlechthin. Ausserdem präsentieren wir in der Sendung das «unverzichtbare» illustrierte Schweizerdeutsch-Wörterbuch von Nicole Egger, und in der Briefkastenrubrik erklären wir den Familiennamen Zingg, sowie die Ausdrücke «kand» und «sauft» und den Ortsnamen «Wystäge». Buchhinweise * Lidija Burcak: Nöd us Zucker. Der gesunde Menschenversand 2022. * Nicole Egger/Sergio Lievano: Das unverzichtbare illustrierte Schweizerdeutsch-Wörterbuch. Bergli Books 2022. (Anmerkung: Unser Web-Interface lässt leider nicht zu, dass wir Lidija Burcaks Nachnamen korrekt mit einem Hatschek auf dem C schreiben. Dafür bitten wir um Entschuldigung, wir arbeiten daran.) 

In today's Bonus Episode, Bianca chats with Lidija Hilje, an Author Accelerator certified book coach about differentiating between genres; how to use her genre guide; the differences between literary, upmarket, book club, and women's fiction; how literary fiction moves a story deeper, not forward; what “postcard” scenes are and how to use them; as well as Lidija's editing and book coaching services and upcoming summer group coaching intensive.After which, Bianca chats with Kailey. Creator and Community Manager of Write or Die Tribe, about how critique is just like sex; services that Write or Die offers like mentorships, upcoming classes, Small Press Corner, upcoming contests, and literary magazines open for submissions; not underestimating the power of getting acceptances in literary magazines and small presses to boosts your bio; interviews and articles that are resources for writers; as well as remote job opportunities.Finally, Bookstagrammer, Katy Stanekvitz, of @KatyisReading, joins us to give you comp titles!Find us on our socials: Twitter: @TSNOTYAW @BiancaM_author @carlywatters @ceciliaclyra Instagram: @biancamarais_author @carlywatters @cece_lyra_agent @ the_shit_about_writing Facebook: @tsnotyaw Website: www.biancamarais.com and www.theshitaboutwriting.comLidija can be found at lidijahilje.comKailey can be found at @writeordietribe and Twitter, and at www.writeordietribe.comKaty can be found at @katyisreading on Instagram and Twitter

Today we are joined by Croatian athlete Lidija Lijic. Lidija is a 5 x world record holder, a World and European champion, a pilot, a climber, a mountaineer, an architect, a motivational speaker  and a Sea Shepherd ambassador. The strength of the Croatian athletes in freediving is well known, Lidija is not an exception. We talked about her Jump Blue Days,  running up mountains with a snorkel in your mouth, an incredible project in the Himalayas with Vitomir Maricic, her love of sport climbing and her possible plans for this years Vertical Blue....In this episode we discuss:Donny's first depth competition experience.New podcast incoming ... The Freediving JournalCourse dates for Donny's Dahab trip.Lidija is from Split, Croatia.Starting to train freediving in Italy.Becoming part of the Croatian national team.Lidija has been competing for about 15 years.The super-high level of Croatian freediving athleticism.Competing back in the Jump Blue days!Lidija is a glider pilot.She works as an architect in the boat-building business.Another of Lidija's hobbies is serious alpine climbing!About running up mountains with a snorkel in the mouth.About a project with Vitomir Maricic, freediving in the Himalayas.After a pause Lidija is getting back into training for big performances.Is she also into depth?What complementary training supports freediving? Sport climbing is a big part of it.Thoughts about nutrition. Lidija is a vegetarian.Lidija's environmental work and work she does with Sea Shepherd.About Lidija's work as an architect on super luxury yachts.|What interests does she have outside of freediving?Lidija is planning to go to Vertical Blue in 2022.DESERT ISLAND QUESTIONS - Patreon ExclusiveOptions for coaching and workshops with Lidija.Motivational speeches and lectures.Why does she freedive?

Lidija Markovic Rosati, CEO of Momentum Strategies Coaching & Training, shared the story behind her title with us on Sunday, February 20, 2022.Lidija is an unconventional entrepreneur, master coach, and an overall corporate hippy, who travels the world coaching budding entrepreneurs, teams, corporations, and awesome females to take their ideas off the ground and turn them into reality, inspiring them to nurture their dreams, to enjoy building and growing their businesses, to enjoy profits, while cultivating the powerful art of hustling gently.Her work is mindfully created and consciously inspired. She is an accredited Business and Performance Strategist, Strategic Leadership expert, NLP Trainer (Classic and New code), Master Coach, Executive Coach, Hypnotherapist, Reiki Master, Pranic Healing Practitioner, Deep PEAT Practitioner, Integra Protocol Practitioner, and an expert in non-verbal communication, international public speaker.She has been in Tony Robbins's UPW volunteer crew team since 2005, supporting and helping people overcome their limiting beliefs and going for their dreams. The environment inspired her to complete Tony Robbins's Mastery University.She studied NLP from its co-creator Dr. John Grinder, Energetic NLP from its creator Art Giser, who is her mentor and spiritual teacher. She studied Pranic Healing from Antoine Delabarre, from the Master Choc Kok Sui's School.Lidija believes that we owe to ourselves the deepest and the most authentic version of ourselves, and in pursuing her thirst for new learnings and experiences, she spent some time in Kyoto, Japan, at the Shunkoin Temple, studying Zen Buddhist meditation.SUE SAYS"When Lidija was young she began to have panic attacks that became a routine part of her life. After every excuse she could find for why it was happening, she had a breakthrough and realized she was anxious because she was not living the life that was meant for her. The decision to leave her job to create a life on her own terms changed everything."Support this podcast at — https://redcircle.com/women-to-watch-r/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Response is officially back for a 4th season. Over the next few months, we'll be increasing the frequency of the show and releasing new episodes at least every other week. We've already got a number of exciting interviews and roundtable discussions lined up. We also encourage you to watch our award-winning 30-minute micro-budget documentary film on Youtube: “The Response: How Puerto Ricans Are Restoring Power to the People." For the 9th audio documentary episode of The Response, we're going to focus on an issue that isn't talked about hardly enough: energy poverty. When temperatures rise to the point where they become dangerous, what happens to people who can't escape the heat? The transcript is available here: shareable.net/heatwaves-and-energy-poverty-in-the-mediterranean The Response with Tom Llewellyn is a podcast series from Shareable.net exploring how communities are building collective resilience in the wake of disasters Episode credits: Host and executive producer: Tom Llewellyn Series producer (+ research and scriptwriting for this episode): Robert Raymond Theme Music: “Meet you on the other side” by Cultivate Beats Additional music: Belong, Fugazi, and Chris Zabriskie original artwork was created by Kane Lynch This episode features: Eleni Myrivili, Chief Heat Officer for the City of Athens (the first person to hold this title – recently featured in New York Times). Lidija Živčič is the senior expert at the FOCUS Association for Sustainable Development and a coordinator at EmpowerMed. Mònica Guiteras, a member of the Alliance Against Energy Poverty in Catalonia, and Engineers Without Borders.   Martha Myers, energy poverty campaigner at Friends of the Earth Europe and the coordinator of the Right to Energy Coalition. Narrated by Tom Llewellyn.  

Did you know there are massage championships happening around the world? Meet Paris Diamantis-Siolos and Lidija Ristic, founders of The Official World Online Massage Championship. This is the 2nd edition and registration is open until August 31st, 2021 with the possibility of an extension. Paris and Lidija started the 1st edition in 2020 as a way to unite massage therapists globally to share in a unique experience, bring positivity to the profession when so many of us were unable to work, and to provide massage therapists with the opportunity to learn from each other- the best in the world! Tune into this episode as Paris and Lidija break down the event and share more about their passion for the profession of massage therapy. Learn more about... How does the competition run online? What is required to enter the competition? What are the categories? How is a massage therapist awarded points? How do they see the competition improving every year? And more... This is a big undertaking in order for it to run successfully and they admit they made mistakes in the first year but, they are always open to feedback from the audience and participants to make it a better experience. You can learn more at www.internationalmassagechampionship.com This was also recorded as a Facebook Live and you can view the recording here: Facebook page: Online International Massage Championship I hope you enjoy this episode with Paris and Lidija! More Show Notes www.theradicalrmt.com Instagram @theradicalrmt krista@theradicalrmt.com