Podcast appearances and mentions of Lillian E Smith

This episode is a small selection of recordings from the Laurel Falls Camp Collection Recordings, a collection of 105 digitized recordings from 78-rpm lacquer discs and magnetic tapes we discovered at the center. This recording will be part of a year-long exhibit on the life and work of Lillian E. Smith at the Mason Scharfenstein Museum at Piedmont University. The exhibit will debut on September 5, 2024. You can find the recordings here: https://tinyurl.com/466ht5x4 You can find more information here: https://library.piedmont.edu/lfcrecordings

This episode is a recording of "Celebrating Lillian E. Smith," an event that took place on March 20, 2024, at the Mason-Scharfenstein Museum of Art at Piedmont University. LES Center director Dr. Matthew Teutsch led a panel discussion on Smith's legacy and importance with Rev. Dr. Benjamin Boswell, Dr. Keri Leigh Merritt, and Dr. Jennifer Morrison. They engaged in a wide-ranging conversation about Smith's work, her pedagogy, and her role within the Civil Rights Movement.

In this episode, we speak with Piedmont University students Julia DeMello and Montana Thomas. Julia and Montana were part of the chorus for the world premier performance of "How Am I to Be Heard?" and oratorio based on the life and work of Lillian E. Smith. In this episode, we speak with them about raking part in the oratorio, what they learned about Lillian E. Smith, and more. https://www.piedmont.edu/calendar_event/world-premiere-how-am-i-to-be-heard/

“Reaching Deep” Black History Month 2022 “The Big Shot,” written by Jim Gordon. Louis, a Black man on his way home from his factory job at 2AM on a freezing night, and Carl, an elderly, well-dressed White man sitting on a bench in a dicey neighborhood in front of the apartment building where Louis lives with his mother, Bertha. Mistaken Identity in the Segregated South Written for Performance and performed by Susan Jacobson When a little white girl is seen in Colored Town in the small Southern town where Lillian E. Smith grew up in the early 1900s, the concerned townsfolk pluck the girl out from the wrong environment and deliver her to a more appropriate household. A White family. Bill Bosch in the late 1960s falls in seriously in love with a classmate. His father disapproves and makes a startling leave her or else challenge. Ina Chadwick was hired to develop a program to unite warring factions in an racially mixed community. She thought she was being polite but was startled to find what she believes was courteous was insult. Plus other stories.

In this episode, we speak with one of the first Lillian E. Smith Scholars, Emily Pierce. We discuss how she became an LES scholar, the impact that Smith has had on her thinking, and what she took away from the program.

In this episode, we speak with two recent Lillian E. Smith Scholars, Madison Hatfield and Mike Adams. We discuss how they became LES scholars, the impact that Smith has had on their thinking, and what they took away from the program.

In this episode, we speak with Dr. Melanie Morrison. She is the founder and Executive Director of Allies for Change, “a network of anti-oppression educators who share a passion for social justice and a commitment to creating and sustaining life-giving all relationships and communities.” Currently, she is working on a manuscript entitled Letters from Old Screamer Mountain. Her mother, Eleanor, along with some friends stayed a weekend with Lillian Smith on Old Screamer Mountain in 1939, and that weekend “was an unforgettable turning point” in the eighteen-year old's life. Dr. Morrison's manuscript contains letters that she penned to her mother when she made a pilgrimage to the Lillian E. Smith Center for a residency in 2012. Today, we will talk about Allies for Change, the impact of Lillian Smith on Dr. Morrison and her mother, and more.

The Alabama Prison Arts + Education Project (APAEP) at Auburn University is a community of educators, artists, and students dedicated to bringing quality educational opportunities to people incarcerated in Alabama. APAEP believes that education provides fertile ground for all people to express their creative voice and vision, explore inherent curiosities, and cultivate a lifelong relationship with learning.Auburn University's Alabama Prison Arts + Education Project (APAEP) is a national leader in providing quality educational opportunities for people incarcerated in Alabama prisons. Since 2002, APAEP has offered a wide range of continuing education courses in the arts and sciences and recently expanded to offer incarcerated students who meet Auburn's rigorous academic standards an opportunity to earn college credits while in prison.The Alabama Prison Arts + Education Project is a program at Auburn University dedicated to bringing educational opportunities to prisoners in Alabama. The program helps the adult prison population gain a quality education and also fosters a relationship with learning that will continue to grow for the rest of their lives. APAEP provides access to sustained and quality educational experiences in the arts, humanities, and sciences. APAEP follows the premise that education provides a fertile field for transformation and growth and that these learning experiences contribute to the positive development of the person.APAEP programming. She has served as a grants reviewer for the National Endowment for the Arts and the Alabama State Council on the Arts, was an inaugural member of an emerging arts administrators organization in Alabama, and works in advisory capacities nationally for individuals and programs seeking to develop arts and education programming within prisons. She is the fourth generation of her family to work in Outreach at Auburn University and was awarded an Auburn University Young Alumni Award for her efforts building APAEP. She was also an inaugural recipient of the Lillian E. Smith Writer in Service Award and continues to publish poems._____________________________________________________________________________MUSIC by permission       The following is extracted from WikipediaAnderson completed "The Typewriter" on October 9, 1950 "The Typewriter" received its first performance on September 8, 1953 Bell structureIts name refers to the fact that its performance requires a typewriter, while using three basic typewriter sounds: the sound of typing, the "ring" of the carriage return indicating an approaching end-of-line , and the sound of the typewriter's carriage returning. It has been called one of "the wittiest and most clever pieces in the orchestral repertoire".[6] Author Steve Metcalf has written that "Despite the almost total disappearance of typewriters in everyday life, the statistics show that "The Typewriter" is still a favorite Anderson item."[7]

Join us for readings and discussion inspired by the Washington Writers' Publishing House's new anthology, This Is What America Looks Like: Poetry and Fiction from DC, Maryland, and Virginia, 111 works by 100 writers. Editor Kathleen Wheaton describes this anthology as "a picture of our time, our shared losses, our shared life."The event features a panel of writers representing the anthology.Poet Sarah Browning’s books are Killing Summer and Whiskey in the Garden of Eden. She co-founded and for 10 years directed Split This Rock. Her fellowships include ones from the Lillian E. Smith Center, the DC Commission on the Arts and Humanities, Yaddo, Mesa Refuge, the Virginia Center for the Creative Arts, and the Adirondack Center for Writing.Hayes Davis is the author of Let Our Eyes Linger (Poetry Mutual Press, 2016). His work appears in many journals and anthologies. He was a member of Cave Canem’s first cohort of fellows. A high-school English teacher, he lives in Silver Spring with his wife, poet Teri Ellen Cross Davis.Caron Garcia Martinez is a writer, teacher, and former diplomat who grew up in Los Angeles. A graduate of Williams College, the London School of Economics and Political Science (MS, Psychology), and George Mason University (MFA), Caron has taught at American University since 2008. Caron's published work is in short fiction and essays, and her current writing project is a novel set in Mexico in 1910, built on family stories recalled by her abuela, Celia.Adam Schwartz’s debut collection of stories, The Rest of the World, won the Washington Writers' Publishing House 2020 prize for fiction. His stories have won prizes sponsored by Poets & Writers, Philadelphia Stories, and Baltimore City Paper and appeared in numerous literary journals. He has stories forthcoming in Raritan and Gargoyle. He has an MFA from Washington University in St. Louis. For 23 years, he has taught high school in Baltimore.Panel moderator Kathleen Wheaton grew up in California, studied at Stanford University, and worked for 20 years as a journalist in Spain, Argentina, Brazil, Mexico, and Bethesda, Maryland. Her fiction has appeared in many journals and three anthologies, and she is a five-time recipient of Maryland State Arts Council grants. Her collection, Aliens and Other Stories, won the 2013 Washington Writers' Publishing House Fiction Prize. Since 2014, she has served as president and managing editor of the Washington Writers’ Publishing House.The anthology's poetry editor, Jona Colson, and fiction editor, Caroline Bock, will also feature in this event.Learn more about This Is What America Looks Like.Recorded On: Wednesday, April 21, 2021

In this episode we speak with Carlton Chamblin, owner of Farm 2 Cocktail, and Julie Adams, co-owner of Blue Ridge Roasters, about creating drinks commemorating the life and work of Lillian E. Smith. Carlton created the Lillian which uses his Peach Lavender shrub. Julie created the Laurel Leaf, a coffee roast named after the newsletter that Lillian sent to campers and parents at Laurel Falls Camp. Check out their websites: Farm 2 Cocktail: https://farm2cocktail.com/ Blue Ridge Roasters: https://blueridge.coffee/

In this episode of "Dope With Lime," we are speaking with Nicole Robinson, the Narrative Medicine Coordinator at Akron Children’s Hospital in Ohio. Previously, she worked as the Assistant Director of the Wick Poetry Center at Kent State University. She has an MFA from Ashland University a BA in English from Kent State University. Recently, she was an artist resident at the Lillian E. Smith Center. Today, we are going to talk about her work as the narrative medicine coordinator and her stay at the LES Center.

In this episode, we speak Dr. Ben Railton, Professor of English and Coordinator of English Studies at Fitchburg State University, about his talk at the 2019 Lillian E. Smith Symposium, about how Smith would use social media to convey her message and about individuals on social media who carry on Smith's legacy through their writing.

In this episode of “Dope With Lime,” we speak with Dr. Eileen Boris, Hull Professor, Distinguished Professor of Feminist Studies, Professor of History, Black Studies, and Global Studies at the University of California Santa Barbara. We talk about how she discovered Lillian E. Smith, Smith's continued relvance, and the appearance of Smith's novel "Strange Fruit" (1944) in Chester Himes' "If He Hollers Let Him Go" (1945). Note: We apologize. We had issues with the audio, so please bear with it in this episode.

In this episode of “Dope With Lime,” we speak with Dr. Michał Choiński, Assistant Professor of English Studies at Jagiellonian University in Krakow, Poland. We talk with him about teaching Lillian E. Smith in Poland and his recent visit to Piedmont College.

Let’s start by celebrating our democratic editorial policy by seeing which of the many titles we came up we should use! “Bag O’Wigs,” “Just the Tip,” or “I Find it Aching (Oh, Yeah)?  This week’s podcast consisted of three of our “well-hydrated” original members, the OGs, Kathleen, Marion and Jason, along with the co-op, Britt. At the center of our table were poems by Sarah Browning, who allowed us to dissect her poems like a turkey (see below) on Thanksgiving.  The first poem up for discussion was “For the turkey buzzards,” which Marion described as “ghasty but beautiful” (both the buzzards themselves and the images in the poem). We’ve provided you with an image so will understand why Britt would never want to be reincarnated into one. This poem possessed metaphors that had our crew members meeting at a crossroads. Be sure to listen in to find out our destination (aha-see what I did there?).  We skipped the main course and jumped right to desert as we discussed the poem “Desire.” Let’s just say Kathleen was a little too excited to volunteer to read this one! This brought back childhood memories for Britt, as it reminded her of evocative songs like Candy Shop by 50 Cent and Ego by Beyoncé. It even had us playing the roles of relationship counselors as we tried to get into the head of the woman going through such terrible heartbreak.  Lastly, we deliberated “After I Knew,” a soap-opera-like piece that will certainly get you in the feels, if you were not in it already.  Just when we thought things could not get anymore steamier, Kathleen brought up a dream by Bryan Dickey’s (a family friend of PBQ) partner, but that is one you must listen in to learn more about. We are so excited for you guys to tell us your interpretations of this scandalous dream. Furthermore, should this dream be turned into a poem or has enough been said?  Is purse slang for the vagine? Could Marion’s cat sitter be no ordinary cat sitter, but…a spy?  Okay, okay! You have read enough here; go listen.    We are SO SAD we have bruises from beating our breasts, but “Desire” was snapped up by Gargoyle before we got to Sarah!!! We’ll put the hyperlink here when it goes up, but until then, check Gargolye out anyway.  We are SO HAPPY that Sarah agreed to our edit of “Turkey Buzzards” that the neighbors complained about our dancing (to “Candy Shop” and “Ego,” of course.  Until next time, Slushies!       Sarah Browning stepped down as Executive Director of Split This Rock in January 2019, after co-founding and running the poetry and social justice organization for 11 years. She misses the community but not the grant reports… Since then she’s been vagabonding about the country, drinking IPAs in Oregon, sparkling white wine in California, and bourbon in Georgia. She’s also been privileged to write at three residencies, Mesa Refuge, the Lillian E. Smith Center (where she won the Writer-in-Service Award), and Yaddo. She is the author of Killing Summer (Sibling Rivalry Press, 2017) and Whiskey in the Garden of Eden (The Word Works, 2007) and has been guest editor or co-editor of Beltway Poetry Quarterly, The Delaware Poetry Review, and three issues of POETRY. This fall she begins the MFA program in poetry and creative non-fiction at Rutgers Camden.       For the turkey buzzards   who rise ungainly from the fields,             red heads almost unbearable   to regard, crooked and gelatinous,              how they circle their obsession   on the scent of the winds, always             circling back, returning to settle   on that one dead thing that satisfies,              the past to be pecked and pondered –   forsaken fare for others, but for              the scavenger the favored meal –   like us, the poets, who eat at the table             of forgetfulness, ask the dead   to nourish us, beg forgiveness             as we circle and swoop, descend,   fold our wings, bend to the maggoty flesh,            gorge on the spoiled, glistening feast       Desire   I took your large hand and raised it. Just this, I said, the tip of a finger or two –   just to the nail or so – into my mouth, which had dreamed of just that. You made a sound   I hoped was a gasp and I wanted – as I had for 30 years – to do it: open my   mouth and take your two large fingers all the way inside my throat, the size of them   filling me. But I stopped, in shame and desire – I blush writing – because you said we would   say goodbye inside my rental car outside your hotel: Even now, days later, miles apart,   I am hungry for such thick and full.       After I Knew   I drove alone through the farmland of central New York – the open vistas and steep drops – towns with names like Lyle unexplored, their secrets hoarded, as I was hoarding my own secret then. I-88 was empty as always and I followed its long high valley, driving away from you. We had not yelled or broken mere things. I did not cry. I drove fast, but not recklessly.   I stopped for a nap before Albany, a middle-aged woman sleeping alone in an aging Geo Prism. For a few more miles I hoped I could just drive away.