Podcasts about Manuel Puig

In this powerful and thought-provoking episode, author Elias Miguel Muñoz reflects on his remarkable life—from growing up in revolutionary Cuba to forging a creative path as an immigrant writer in the United States. He opens up about the personal and political forces that shaped his identity, the movies that sparked his imagination, and the authors—like García Márquez and Manuel Puig—who inspired his voice. We explore the unexpected ways quantum physics, Hollywood melodrama, and the experience of being a queer Latino immigrant fuel his storytelling. With moments of deep vulnerability and insight, Muñoz offers wisdom on overcoming fear, embracing creative freedom, and finding empowerment through literature. ✨ "My writing became an escape." ✨ "I am fascinated by quantum physics." Whether you're a writer, reader, or lover of literary journeys, this conversation will move and inspire you. Topics include: • The Cuban Revolution's impact on personal identity • Creating stories from silent films • Magical realism and literary influences • Queer representation in Hollywood • Embracing creativity without fear Links to Books in this Episode: Encore! Encore! Amazon: https://amzn.to/40E2GaV Bookshop.org: https://bookshop.org/a/110292/9781955826518 #Podcast #EliasMiguelMuñoz #WritingJourney #CubanAmericanVoices #QuantumCreativity

In this powerful and thought-provoking episode, author Elias Miguel Muñoz reflects on his remarkable life—from growing up in revolutionary Cuba to forging a creative path as an immigrant writer in the United States. He opens up about the personal and political forces that shaped his identity, the movies that sparked his imagination, and the authors—like García Márquez and Manuel Puig—who inspired his voice. We explore the unexpected ways quantum physics, Hollywood melodrama, and the experience of being a queer Latino immigrant fuel his storytelling. With moments of deep vulnerability and insight, Muñoz offers wisdom on overcoming fear, embracing creative freedom, and finding empowerment through literature. ✨ "My writing became an escape." ✨ "I am fascinated by quantum physics." Whether you're a writer, reader, or lover of literary journeys, this conversation will move and inspire you. Topics include: • The Cuban Revolution's impact on personal identity • Creating stories from silent films • Magical realism and literary influences • Queer representation in Hollywood • Embracing creativity without fear Links to Books in this Episode: Encore! Encore! Amazon: https://amzn.to/40E2GaV Bookshop.org: https://bookshop.org/a/110292/9781955826518 #Podcast #EliasMiguelMuñoz #WritingJourney #CubanAmericanVoices #QuantumCreativity

Fins al 19 d'octubre a la sala vaixells del palau Maricel es pot veure 'L'elogi del dibuix, la col·lecció Manuel Puig' una mostra representativa del que es considera la col·lecció privada de dibuix més important de Catalunya. L'exposició, que és una joia visual magníficament presentada, ofereix un recull de 72 obres, de les quals 21 s'exposen per primera vegada, estructurat en quatre àmbits: acadèmia, rostres, relats i paisatges, i recull peces de Picasso, Warhol, Tàpies, Rusiñol, Fortuny, Rodin o De Chirico. A més, el muntatge dona especial rellevància a cinc dones artistes: Suzanne Valadon, Paula Rego, Remedios Varo o Natalia Gontxarova. Els comissaris de la mostra, Bonaventura Bassegoda i Francesc Quilez n'han comentat els aspectes més rellevants. L'entrada L’art del dibuix en una exposició imperdible a la sala vaixells de Maricel ha aparegut primer a Radio Maricel.

Novena temporada de Librero SonoroEpisodio 2Conducción:José Manuel Suárez NoriegaPistas utilizadas:1- Biblioteca compuesta por Ana Leyva Luna y Amaury Pérez Vega.2- "Juan Sánchez - Blue Nights" está bajo una licencia Creative Commons (CC BY-NC-SA 3.0) Música promocionada por Breaking Copyright: https://bit.ly/bkc-blue-nightsLibrero Sonoro es una iniciativa del programa Pasión por la Lectura del Tecnológico de Monterrey y en ellos participan la comunidad académica, ex estudiantes e invitados especiales.

En este episodio conversamos con Alberto Fuguet, un ícono de la literatura chilena y voz fundamental para los lectores contemporáneos. Con su estilo audaz y su mirada crítica, Fuguet ha desafiado las normas literarias y ha acercado la narrativa a la realidad urbana de América Latina. Repasamos algunas ideas de sus aclamados libros y novelas como “Missing”, “Por favor, rebobinar”, “McCondo”, y “Cierto chicos”, hasta sus reflexiones sobre la cultura pop, Fuguet nos invita a repensar la vida de los escritores, la relevancia de los libros y el rol de la literatura. En este episodio, hablamos sobre libros y chismes de autores como Manuel Puig, Roberto Bolaño Andrés Caicedo, Charles Bukowski, Fernando Vallejo y José Donoso, que revelan mucho de quién es realmente Alberto Fuguet.

En este capítulo hablamos de Cae la noche tropical, de Manuel Puig, una novela que cuenta la relación de dos hermanas ancianas que conviven durante un tiempo y conversan un poco sobre sus vidas, pero sobre todo sobre los amores de Silvia, una vecina psicóloga. El formato de diálogo, epístola y hasta testimonio judicial hacen de esta novela un texto diferente a lo usual, sin hablar del chisme como motivación de los personajes principales. Un viaje por el universo y los intereses de uno de los escritores más reconocidos del siglo XX en Argentina. Invitada especial: Magui Vuoto.

AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico ⁠cronicaslunares.sun@hotmail.com⁠ y nos encargaremos de borrarlo inmediatamente.  Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC 

AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico ⁠cronicaslunares.sun@hotmail.com,⁠ nos encargaremos de borrarlo inmediatamente.  Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  --- Send in a voice message: https://podcasters.spotify.com/pod/show/irving-sun/message

How do you fill the yawning chasm that arises after you finish a great book or a long group read? Is it a time of excitement and possibility, or a daunting and overwhelming trial? Fresh off of finishing several doorstops ourselves, we discuss how we approach what we want to read next.Summer Book ClubThe Mookse and the Gripes Summer Book Club 2024 is coming up fast! This year we are only choosing from William Trevor novels. After losing for the last two years, he will not lose again! But what will the book be? As in the past, we will be holding a vote over on Twitter / X! Watch my account on May 21!The Books:* The Children of Dynmouth (1976)* Fools of Fortune (1983)* Felicia's Journey (1994)* The Story of Lucy Gault (2002)Dates:* Voting starts May 21 and runs through the early hours of May 25 for us in the mountain time zone.* We will announce the winner in the next episode!* The episode discussing the winner will be Episode 86, coming out on August 8.ShownotesBooks* The Peregrine, by J.L. Carr* Flights, by Olga Tokarczuk, translated by Jennifer Croft* A Little Life, by Hanya Yanagihara* Lonesome Dove, by Larry McMurtry* Butcher's Crossing, by John Williams* Miss MacIntosh, My Darling, by Marguerite Young* Ulysses, by James Joyce* The Ambassadors, by Henry James* Tone, by Sofia Samatar and Kate Zambreno* The Rings of Saturn, by W.G. Sebald, translated by Michael Hulse* Austerlitz, by W.G. Sebald* The Anatomy of Melancholy, by Robert Burton* Urne Burial, by Robert Burton* Reinhardt's Garden, by Mark Haber* The Mill on the Floss, by George Eliot* Silas Marner, by George Eliot* The Eustace Diamonds, by Anthony Trollope* O Pioneers!, by Willa Cather* War and Peace, by Leo Tolstoy, translated by Anthony Briggs* Black Lamb and Grey Falcon: A Journey Through Yugoslavia, by Rebecca West* Grand Hotel, by Vicki Baum, translated by Basil Creighton with revisions by Margot Bettauer Dembo* The Brothers Karamazov, by Fyodor Dostoevsky, translated by Michael R. Katz* It Lasts Forever and Then It's Over, by Anne De Marcken* The Peasants, by Władysław Reymont, translated by Anna Zaranko* Parade's End, by Ford Madox Ford* Collected Fictions, Jorge Luis Borges, translated by Andrew Hurley* The Hour of the Star, by Clarice Lispector, translated by Benjamin Moser* The Complete Stories, by Clarice Lispector, translated by Katrina Dodson* Too Much of Life, by Clarice Lispector, translated by Margaret Jull Costa and Robin Patterson* The Murderer, by Roy Heath* The Oppermans, by Lion Feuchtwanger, translated by James Cleugh with revisions by Joshua Cohen* Green Equinox, by Elizabeth Mavor* Twice Lost, by Phyllis Paul* Betrayed by Rita Hayworth, by Manuel Puig, translated by Susan Jill Levine* Elena Knows, by Claudio Piñeiro, translated by Frances Riddle* A Little Luck, by Claudio Piñeiro, translated by Frances Riddle* Lies and Sorcery, by Elsa Morante, translated by Jenny McPhee* A Dance to the Music of Time, by Anthony Powell* Anniversaries, by Uwe Johnson, translated by Damion Searls* The Extinction of Irene Rey, by Jennifer Croft* The House on the Strand, by Daphne Du MaurierLinks* Miss MacIntosh, My Darling Substack* Jonathan Golding and Mark Haber on Instagram LiveThe Mookse and the Gripes Podcast is a book chat podcast. Every other week Paul and Trevor get together to talk about some bookish topic or another. We hope you'll continue to join us!Many thanks to those who helped make this possible! If you'd like to donate as well, you can do so on Substack or on our Patreon page. These subscribers get periodic bonus episode and early access to all episodes! Every supporter has their own feed that he or she can use in their podcast app of choice to download our episodes a few days early. Please go check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

En este nuevo encuentro en el café de Mendel, ⁠⁠⁠⁠José Carlos Rodrigo⁠⁠⁠⁠ y ⁠⁠⁠⁠Jan Arimany⁠⁠⁠⁠ hablan de Sant Jordi, Maria Arimany, Mariana Travacio, Toni Morrison, John Banville, Manuel Puig... Seas de café solo o de los que se alargan describiendo todos los ingredientes añadidos que desean, ¡no te olvides de acompañarlo con una buena lectura! --- Send in a voice message: https://podcasters.spotify.com/pod/show/elcafedemendel/message

DISFRUTA EL AUDIOLIBRO COMPLETO EL BESO DE LA MUJER ARAÑA, de MANUEL PUIG, más de 6 horas de grabación, con narración profesional, música de la novela a 11 USD

DISFRUTA EL AUDIOLIBRO COMPLETO EL BESO DE LA MUJER ARAÑA, de MANUEL PUIG, más de 6 horas de grabación, con narración profesional, música de la novela a 11 USD

In the first episode of Season 1, co-hosts Annie Liontas and Lito Velázquez speak with LitFriends Angela Flournoy & Justin Torres about their enduring friendship, writing in a precarious world, and chosen family. Links https://sites.libsyn.com/494238 www.annieliontas.com www.litovelazquez.com https://linktr.ee/litfriendspodcast https://www.instagram.com/litfriendspodcast/ https://www.facebook.com/profile.php?id=61553436475678 https://justin-torres.com/ https://www.angelaflournoy.com/ https://www.asalisolomon.com/ Transcript Annie & Lito (00:01) Welcome to LitFriends! Hey LitFriends! Annie: Welcome to the show. Lito: Today we're speaking with the great writers and LitFriends, Justin Torres and Angela Flournoy. Annie: About chosen family, the dreaded second novel, and failure and success. Lito: So grab your bestie and— 
 Both: Get ready to get lit! Lito: That's so cute. Annie: It's cute. It's cute. We're cute! Lito: Cute, cute… So you had a question? Annie (00:29) I do. I have a question for you, Lito. Are you a cat or an ox? Lito: I mean, I would hope that the answer is so obvious that it almost bears not asking the question. I'm a cat. Annie: Okay, so Asali Solomon at The Claw asked us all, are you an ox or a cat? Lito: That's a great question. Annie: And as a writer... You know, the oxen are the people who work every day in the field, clock in, clock out, pay themselves a quarter an hour. I'm literally talking about me. The cats are people who are playful, exploratory, when the mood strikes them… Lito: Why are you looking at me when you say that? Annie Lito (01:26) So are you an ox or a cat? Lito: I'm a cat. I think anyone who's ever met me would say I'm a cat. Annie: How does that show up in your writing? Lito: Well, I mean, play is so important to me—she'll be on the  podcast in a couple of episodes, but when I first...was studying with Lucy, that was one of the first things that she spoke about in our class, and it kind of blew up my whole world. I had been writing for a long time already, but I hadn't thought of it as play, or there was some permission I needed or something. So the idea of play is really central to what I do and love. You wouldn't necessarily know that from the novel that I'm writing, which is sort of a dark book. Um, but it did start out with a lot of play and, I'm also, as you could probably just hear, my cat is coming into the room. Annie: Your cat is like, yes, Lito is us. RiffRaff is like, "Lito is cat." Lito: My cat Riff Raff, yes. Smarty pants. Um, he needed to join in on this conversation. Anyways, I'm a cat. I, I'm fickle when it comes to my work. Um. I don't want to work on my novel all the time, which is great because life has found so many ways to prevent it from happening. So in the new year, in 2024, it will be 7 years since I've started writing this book, and it's still, it's going to take a few more months at least. And what about you? Annie:  (03:09) I'm four oxen pulling a cart carrying all of my ancestors. I am very much the immigrant who says, get up, go do the work, come back, go do the work. And believe it or not, for me, there is a lot of joy in that. It's a... It allows, you know, it's Csikszentmihalyi's Flow, actually. So it doesn't feel like drudgery, usually. It does feel like joy. And I'm actually curious for all you LitFriends out there, if you're an ox or a cat. Lito: Yes, that's such a great idea. Please email us at litfriendspodcast@gmail.com, and tell us if you're a cat or an oxen or share on all your socials. Annie: Yeah, maybe we should poll them. That would be fun. Lito: That's a good idea. #LitFriendsPodcast. Annie: The reason I'm asking is because, of course, both Justin and Angela, who we speak with today in this episode, talk about what it's like to go for 10 years between books. "A banger a decade," is what Angela says. Lito: It's so funny. Annie: And you, you know, part of that, they have this very rich conversation about how, when you put everything into the first book, it takes a lot to get to the second book. But I think also there's a lot of play, right? And there's a lot of understanding that writing appears in different forms. And it might be the second novel, but it might be something else. Lito: For sure. I really like how they talk about— that the practice of writing is actually a practice of reading. And I think that any serious writer spends most of their time reading. And not just reading books, but texts of all kinds, in the world, at museums, as Justin points out, art, television, even the trashiest TV show has so much to offer. Annie: (05:12) And there's such a generosity to the way they think of themselves as artists, and also generosity in how they show up for one another as friends, and acknowledging when they fail one another as we as we see in this episode. And I remember my introduction to Justin when I was a grad student at Syracuse. I read We the Animals and fell in love with it, asked him to come do a reading at Syracuse, which was wonderful. And my wife who, at that time was my Bey-ancé, she was turning 30. We had no money. I couldn't buy her anything. Not in grad school. So I asked Justin if he would autograph his story, "Reverting to a Wild State," which is about a breakup in reverse, for Sara. Lito: Oh, I love that story. Annie: And he did, and he thought it was so beautiful, and I was like, "let me send it to you." He's like, "no, I've got it." He just shipped it to me. He didn't know me. We didn't know each other. Lito: He knew you because of books. He knew you because he loved literature. Annie: Yeah. And I remember that in it. I held on to it at a time when that act really mattered. Lito: One of the things I love about our interview with Justin and Angela is how much all of us talk about generosity, and how Justin and Angela display it in their conversation with each other and with us. And I'm just curious, how do you see that coming through also in Angela's work? Annie: (07:00) You know, I remember her talking about how the idea for the book began with this image of people moving around a house at night. This is The Turner House. And she says this image opens up a lot of questions. And one of the things that really stays with me about that book is how masterful she is at shifting perspective, particularly between siblings, which I find to be such a challenge for writers, right? Like your siblings are the people who are closest to you and sometimes also the farthest away. And she gets that so intimately on the page. And of course, in our conversation with Angela and Justin, one of the things they talk about is being family, essentially being siblings. And that's one of the most powerful echoes of the conversation. They talk about being a chosen family and having to choose again and again and again. And that spirit of consciousness and connection, I feel that very much in Angela's work, and of course in Justin's too. Lito: Oh Annie, I choose you again and again, I choose you. Annie: Oh, I choo-choo-choose you! Lito: So stupid. Annie: (08:05) After the break, we'll be back with Justin and Angela. Annie: (08:24) And we're back. Lito: I just wanted to mention, too, that we spoke with Angela and Justin in October during the writer's strike in Hollywood, and just before Justin's new book, Blackouts, was released. And just last week, as you're hearing this podcast. Annie: Just last week. Lito: Just last week! He won the National Book Award for a book that took him 10 years to write. Annie: Absolutely. Annie: Justin Torres is the author of Blackouts, a novel about queer histories that are hidden, erased and re-imagined. Blackouts won the 2023 National Book Award for fiction. His debut novel, We the Animals, has been translated into 15 languages and was adapted into a feature film. He was named National Book Foundation's Five Under 35. His work appears in the New Yorker, Harper's, Granta, Tin House, Best American Essays, and elsewhere. He lives in Los Angeles and teaches at UCLA. Lito: Angela Flournoy is the author of The Turner House, which was a finalist for the National Book Award, won the VCU-Cabel First Novel Prize, and was also a finalist for both the Center for Fiction First Novel Prize and an NAACP Image Award. Angela is a contributing writer at the New York Times Magazine, and her nonfiction has appeared in The Nation, the Los Angeles Times, The New Yorker, and elsewhere. Angela is a faculty member in the low residency MFA program at Warren Wilson College. Lito: (10:36) I'm so grateful that you guys found time to meet with us today, and I've thought about you two as friends since I think this is like the first time you've done something like what you did in 2017, the "Proper Missive"—do you remember that—you published in Spook? And it stuck with me. I was like a big, nerding out, and I bought it and I have it still. And I thought about that. And Justin, you know that you're very personal— there's a personal connection with me because I found your book on my way to my first master's program. No one had said anything about it to me where I was coming from, and it was really great. And Angela, I first found your book. I was so amazed and moved by the talk you don't remember at Syracuse. Angela: I don't remember the lunch. I remember being at Syracuse, and there being a talk, yes. Lito: You inscribed your book, "Here's to Language," which I think is hilarious and also really sweet. And I think we must have said something about language at some point. But anyways, thank you so much both for being here. Justin: Thank you for having us. Angela: Very happy to be here. Lito: So let's start. Why don't you tell us about your friend in a few sentences? So Angela, you can go first. Tell us about Justin. Angela: (11:23) Justin is the first person that I met in Iowa City when I was visiting and deciding if I was going to go there, but was I really deciding no? I'll let you go there. But that I could like, deciding whether I would be miserable while I was there. And so Justin was the first person I met. And feel like Justin is five years older than me. It has to be said.  Justin: Does it? Angela: When I think about people, and I think about like mentors, I have other like amazing mentors, but like, I think that there's really something special about somebody who some people might think is your peer, but like, in a lot of ways you've been like looking up to them and, um, that has been me with Justin. I think of him as like a person who is not only, he's a Capricorn, and he has big Capricorn energy. I am an Aquarius. I do not want to be perceived— Justin: I don't agree with any of this. But I don't know. I don't follow any of this. Angela: But Justin is in the business of perceiving me and also gathering me up and helping me do better. My life is just always getting better because of it. I'm grateful for it. Annie: That is beautiful, all of that is beautiful. Justin, tell us about Angela. Justin: I can't follow that, that is so...  Angela: Acurate! Justin: You're so prepared! You're so sweet! I'm so touched! Angela: Only a Capricorn would be touched by somebody saying that you perceive them and gather them up and make them feel better. Ha ha ha! Justin: I like that, I do like that. Let's see, yeah. I mean, I think that when we met, I had already been in Iowa for a year, and within two seconds, I was like, oh, we're gonna be friends, and you don't know it yet. But I knew it intensely. And yeah, I think that one of the, I agree that I think we keep each other honest, I think. I think that one of the things that I just so appreciate about Angela is that, you know, yeah, you see my bullshit. You put up with it for like a certain amount of time, and then you're like, all right, we need to talk about the bullshit that you're pulling right now. And I love it, I love it, love it, love it, because I don't know, I think you really keep me grounded. I think that, yeah, it's been really (14:09) wonderful to have you in my life. And like, our lives really, really kind of pivoted towards one another. You know, like we've, it was not just like, oh, we were in grad school and then, you know, whatever, we have similar career paths, so we stayed friends or whatever. It's like, we became family. And, you know, every, every kind of major event in either of our lives is a major event, a shared major event, right? And that's like, yeah, I don't know. I can't imagine my life without you. I honestly can't. Angela: Likewise. I gave birth in Justin's home. Annie: Oh! Sweet! Justin: In my bathroom, over there. Right over there. Lito: Whoa, congratulations, and also scary(?)! Angela: It's in a book I'm writing, so I won't say so much about it, but it was a COVID home birth success story. And yeah, like family. Lito: Was that the plan or did that just happen? Angela: Well, It wasn't the plan and then it was the plan. Justin: Yeah, exactly. COVID wasn't the plan. Angela: No. Justin: The plan was Angela was gonna sublet my place with her husband and she was pregnant. And then, COVID happened Angela: There were a lot of pivots. But we did, it was like enough of a plan where we got his blessing to give birth in his home. Justin: It wasn't a surprise. Angela: It was a surprise that it was in the bathroom, but that's a different story. Annie: You blessed that bathroom is all I can say. Angela: Yeah. Lito: We'll be right back. Back to the show. Annie: (16:22) Well, I want to come back to what Lido was saying about proper missives. I love the intimacy. I mean, I know you weren't writing those to one another for kind of public consumption, but the intimacy and the connection, it's so moving. And I was thinking about, you know, Justin, you, you talk about Angela as kind of pointing the way to beauty and helping you see the world anew or differently. And Angela, you talked about how Justin encourages you to take up space as a political act. I'm just wondering what else you all have taught one another. What has your LitFriend taught you? Justin: Yeah, I mean, we did write that for public consumption. Angela: Yes, it was the editor-in-chief of Spook, Jason Parham. Spook is relaunching soon, so look out for it. He just told me that, like, the other day. And he's moving to L.A. So many things are happening. But he reached out to us and was really interested in—he's a big archives guy and like how—he thought it was valuable the way that writers of past generations, they have these documents of their letters to each other, to their editors, to their friends, to their enemies, and how this generation, because we're just texting through it, we don't really have that. And so that was really just the extent of the assignment, was to write letters to each other, which, of course, we still ended up using email to do. But we really tried to keep it in the spirit of a letter and not just something you kind of dash off. Justin: And we were not living in the same place at that time. Angela: No. Justin: So it was, it did feel kind of— Angela: I was in Provincetown, I think. Justin: Yeah, I remember I was on a train when I was, when I was doing— I can't remember where I was going or, but I remember a lot of it was— or a few of those correspondences— because it went over days, weeks. Lito: Yeah, you were going to Paris. Angela: Oh. Glamorous train. You were on the Eurostar. Justin: Wow. Annie: You basically said the same thing then, Angela. Call him out. Justin: (18:32) Yeah, and I think that what I was saying was that one of the things I loved about that was it really forced us to dive deeper, right? To kind of— Sometimes we can stay very much on the surface because we talk every day. And so it was really nice to see, not just what was kind of on your mind in the background, but also how you were processing it, how you kind of made language and meaning out of it. I was just like... I don't know, it's like, I know you're so deep, but then we also love to be shallow. And so it's so nice to be like, to connect from that deep place. Annie: One of the things that I'm so drawn to about both of your work is how you write about family, the way it shapes us, the way it wounds us, what it means to watch family members suffer. You talk about it as the question of the donut hole in "Proper Missive. Angela, I remember you were writing about your father. When you were writing about him, you talk about, "the assumption that a flawed person should be subject to anyone's definition." And Justin, I'm thinking quite broadly in terms of, you know, chosen or logical family. One of my favorite pieces that I teach in my creative non-fiction class is "Leashed," and you write there, "my friends, those tough women and queers were all too sharp and creative for their jobs. If I'm nostalgic, it's not because I was happy in those precarious years, but because I was deeply moved by our resourcefulness." I'm just wondering how you think about, you know, (20:09) family, logical family, and how your lit friendship fits into this? Justin: Who's going first? Angela: You. Justin: Let's see, I think that it's such a great question. I actually like, I use that little short kind of tiny little piece that you referenced. I use that in my book, in Blackouts, that's coming out. I think that, which is a book about chosen family as well, and lineages, and what do you do when you feel there's some kind of disruption, right? That like if you're estranged from your biological family or you know or you just need these connections, these kind of queer connections to and other ways of thinking about family that are not related to (21:06) bloodlines. Like we said earlier, we are family, and we've known that for quite a while. It was something that, I don't know. You know, it's like something that I don't think you ever really need to say. It's just you know who your people are. And I think that, and I think that it's a choice that you make and remake again and again and again. And that is something that is, I don't know, it's so exceptional, right? Compared to bloodlines and biological family, which can be hugely important and bring a lot of meaning to people. But that you're choosing this again and again. Like almost like the kind of past tense chosen family is like, it's like a little bit inaccurate, right? It's like the family you choose, and keep choosing, and you're choosing right now, you know? So I love that. Yeah. Angela: Just that the continuity of it, not in the sense that it's always going to be there, but that like you are, you're like an active, uh, engager like in it. In it, I just think about, I think about that, like, uh, at this point we know each other for 14 years. And the way that there's just necessarily we're not the same people but you have to keep, and you have to keep engaging, and you have to keep figuring out how to navigate different things and I think particularly as like LitFriends there's the huge thing you have to navigate which is especially if you're friends before that you're just like some kids who got into this program that people think are fancy, but you're just like, anything can happen, right? From there to being the capital— going from just like lowercase w, "writer," to capital A, "Author." And like what that, I mean, I've seen many a friendship where that is the rupture. And so particularly figuring out, like, how are you going to navigate that, and how are you going to still be in each other's lives. (23:16.33) Um, one thing I think about, as a person who thinks about family a lot is, with your family, sometimes you can like harm one another, and you'll just take some time off, or you'll just be like, that's how they are. But with the family that you continue to choose, you have to, ideally, you gotta do something about it. You have to actually have the engagement, and you have to figure out how to come out on the other side of it. And that is something that is harder and really in so many ways, all the more precious because of it. And it requires a kind of resilience and also just like a trust. And again, because Justin, you know, likes to gather me up, there's been a few times when I was like, "Oh, no, like, we've got beef, what's gonna happen?" And Justin is like, "we're family, what's gonna happen is we're gonna have to talk about this beef, and then move on." Justin: Yeah. And I think that I think that also you have, you're really good at reminding me to be responsible, right? That just because I've made this commitment, in my mind, right, Like we're committed forever. Like we're family. Like we can't, we can't break up, right? Like it's just like, that's just the way it is. It doesn't get me off the hook of showing up in other ways and being responsible and like, you know, that I can be quite flaky. Angela: I mean, that's just, you've been in L.A. long enough. It's just, you're just becoming native. Justin:  I think I always don't, I don't wanna disappoint you. I don't want you ever to feel like you were looking around for support, and I wasn't there. Angela: Do people cry on this podcast? Annie: We time it. Right at the half hour. Justin: There's been a few moments when I feel it, when I've felt (25:21) maybe that wasn't there enough, you know? And, you know, and if, you know, and like, I don't know, that's when you know it's the real stuff because it like keeps me up at night. You know, I'm just like, wow, you know, what does she need? What can I give? How can I be there? And yeah. Angela: Wow.  There you are. Justin: Here we are. Annie: Lito and I are also family, and it sort of feels never too late. But what you're saying about kind of the like renewing your vows, renewing your commitment over and over, it feels very, very true. Lito: Very true. Yeah yeah yeah. Annie: And life-saving, you know, like life affirming. Lito: It feels real. Justin: Yeah. Look at us. I'm proud of us. I'm proud of you guys too. Lito: It's a love fest over here. Angela: Thanks for having it. Annie: We'll be right back. Annie: (26:26) Welcome back. Angela: Also, particularly again, thinking about a lot of the friends that you have, they're not necessarily also sometimes colleagues. And I think that one thing that Justin really modeled, because I didn't have anything to be transparent about, was just transparency about things. Not just how much he's getting paid for things, but just like what was worth it, what's not worth it, like what is just the way something is and you can like take it or leave it. And I think that in the beginning it was more of me kind of taking that information because I didn't have anybody offering me anything. But now I feel like it's really an exchange of information. And I think that there are people who I love, like, in this industry, if you will, who that's just not our relationship. That doesn't mean we don't have great friendships, but like that is something that like if I'm broke, he knows I'm broke. I never feel the need to pretend and hide or like, you know, and likewise, like if he don't got it, I know he don't got it. It's not, it's just, it just, and I feel like that is something also that is a, it's, um, I think it's important. Especially because you write a book, you know, it does well. And then there are some years in between before you write another. Some of us in this room, maybe take a decade. All of us in this room, maybe take a decade. But yeah, so just really being able to be, to feel like you can still show up at any point in whatever you're doing creatively. Justin: (28:16) Because this is about literary friendships, I think that it's, yeah, there's those two sides, right? There's the business side, which can cause a lot of friction, especially if, you know, things go differently for different books and people have different trajectories. I mean, you're like, you know:  you've surpassed.  Angela: I don't know if that's true.  Justin: But there's that like business side of it. And then there's the literary side as well. And I think that sometimes if it just slides too much into talking about—it's like we could both be selling sprockets, right? There's so much minutiae. It's like we could talk about contracts and whatever and like gigs and da-da-da ad nauseam. And we have to remember to talk about literary side, the literature, the work, the sentences, what we're reading in order to kind of sustain the literary quality of a literary friendship, right?  Angela: One thing I remember you told me, I don't know, ages ago that I thought at the time like oh he's gassing me he's practicing things that he says his students tell me—but now I realize that it is also one of the reasons why our friendship has sustained is you were like ,you know, we can talk about whether a book is successful in 800 ways, but we have to try to remember to just be fans, to be fans of books, of literature, of people writing. And I think that is something that I not only try to practice, but that's something that I think is really foundational to relationship. Everyone can be a hater, and it can be fun sometimes, but like… (30:08) We really do like want to put each other on to the books that we're like excited about. Like I remember when you read or reread Seasons of Migration to the North by Tayeb Salih, and I hadn't read it before.  I mean, it's like a, it's a seminal or really a really famous African text, but I had never read it. Or like Maryse Condé, like I hadn't read it as like a real adult and being able to just like talk about that and know that there's a person who's, you know, you could be in polite conversation with somebody who you think is really smart and then you're like you know what I decided I wanted to reread—I don't know—something a person might wanna reread and they're like, Oh, what are you gonna do next? You gonna read a Moby Dick? And you're like, Oh damn, they just shamed me. You know, they just shamed me for being a nerd. But that's not gonna happen here. Yeah, beautiful. Yeah, yeah, absolutely.  Annie: I do wanna go back to something you were alluding to. Angela, you were talking quite openly about it, too, which is shifting from writer to capital A author and the pressure that comes with that.  For the two of you, you had incredible well-deserved success early in your career, but I imagine that doesn't come without a lot of sleepless nights, right? I'm thinking about an interview I heard with Ta-Nehisi Coates where he talks about his friends not reaching out thinking, like, He's good, like, You blew up, you're good. And talking about actually what a lonely position that can be. I'm just wondering, you know, how you've both managed to take care of one another through those highs and lows, or being on that track alongside one another.  And even, you know, competition between lit friends. Justin: (32:13) Yeah, I mean, I think that we're just kind of, like our dispositions: we're very lucky in that I think we, before we met, it wasn't something that we like decided on. It was just before we met, I think we're just boosters, right. We're like, The people we love, their success is our success, right? And I think that's one of the reasons to where we are such good friends, it's because we share that, right? So that I think makes it slightly easier as far as like the competition side of things goes. I think that if it really does feel like you're a family and you're community and like you understand that this is a kind of shared win. I don't know, it's hard to talk about though because we both got really lucky.  Angela: Yeah.  Justin: You know, I mean, who wants to hear from people who got really lucky with their first books talking about how hard it is? You know what I mean?  We just, we didn't have, we didn't have any kind of that disparity between— Angela: Yeah, I'm sure, but—I would say even so—if we had different dispositions, we might be trying to split hairs about who got what. But I think for me—and Justin and I grew up very differently in some ways, but I think we grew up from a class background similarly, and we're both like, We're not supposed to be here, like, what can we get? Like, what can we get? And like, who has the information to help us get it? And so I've never been like, why is he in that room when I'm not in that room? I'm like, give me the intel about the room. That might be the closest I ever get to being in there, but I need to know like what's going on in there. And that has, I think, been the way that I just view any success of anybody that I know. that I feel like I can ask those questions to is like, not necessarily like, oh, can you put me on? Like now that you have something, can I have some of it? But just like, just information, just like, what's it like? And that to me is really useful. But also I think that one thing, when you have people, not just Justin, but like other friends and mentors of mine, when you have people who are honest and upfront about whatever kind of success they've had, you… you just realize that there's a lot of different ways to feel successful, right? Because I have friends who, to me, I'm like, they made it, but they're not convinced they have. And I have other friends that, like, to the outside world, they'd be like, wow, they have a little book, nobody cares. But they feel like they did it, you know? And so I realized it's so much about disposition also. Lito:   Do you feel that a lot about being each other's boosters? I mean, obviously it's about your personalities and who you are as people. I'm also curious how much of that, like Angela, you said you were a gatecrasher. You feel like a gatecrasher a lot. I don't know. What are your thoughts on intersectionality? How does it inform your work and your friendship? How does it affect how you boost each other? I'm also curious if there's something particular about lit friendships that intersect with intersectionality and those categories, especially for people who form intimate relationships with men.  Justin:   Wait, say more.  Like how do blowjobs come in?   Angela:  (36:01.171). I was like one thing we have in common is— Lito: More like, less blow jobs, more like having to deal with men and the various ways they, you know, respond to patriarchy.  Justin: Yeah, I think you kind of said it, right? I think that there's something about hustling and figuring out, like, how am I gonna find some stability in this world.  And I mean we have nominated each other for every single thing that there is. If either one of us gets a chance.  Angela: Till the end of time.  Justin:   Till the end of time, right? And it's just, and I think that, and we've shared all information about everything. There's no, and I think that that's kind of like that quote that you read before, right, about this nostalgia and feeling nostalgic, not for the precarity, but for the way that it bonds people, right? The way that the precarity, like you pull, you share resources, you pull resources, you come together and you talk shit and you don't let people get too down in the dumps and depressed. And you're like, no, we're going to do this. We're going to get ourselves out of this hole and we're going to pull each other up. And, and that I think is like, that's, that's the secret, I think.  Angela: Are you answering the question about men?  Justin:   Oh, men!  Angela: And dealing with men.  Justin: I love that I was just like, oh, you're talking about blow jobs. But no, you were talking about patriarchy.  Lito: Same thing, really.  Annie: In the room I'm in, we do not think there's a difference.  Justin: It's fascinating, right? Because when we were at Iowa together, I remember some of the critiques I got from some of the men, some of the straight men, some of the white straight men, was about a kind of provincialism to my writing, right? That what I was writing about was small and minor and just about particularities of identity and that it wasn't broad and expansive and it wasn't universal. That was expected. That was the kind of critique that was expected. The world has changed so much and so quickly in the last 15 years. It's hard for me to kind of wrap my mind around because that kind of thing, I wasn't, I didn't feel indignant. Maybe I felt a little.  Angela: Yeah, you just, but you just like knew you were going to ignore them. Like, you know, like, but no, but you didn't feel like you were going to, like it was worth, except there were some instances we're not going to get into details, but like, it didn't feel like it was worth spending, like unpacking it or trying to call them out. You just were like, Oh, boop, you're over here. Like, you're not.  Justin: Yeah, yeah. Like, I've been hearing this shit my whole life. Like, it wasn't like, there's no space for this kind of thing in the workshop. I was like, this is the world. This is unexpected. But now I don't think that would fly, right?  Angela:   No. I think maybe in like 70% of workshop spaces that I have been in. Well, I guess I've been running them. But like, I just don't, but like also just the disposition of the students is that they assume that somebody is going to like say something or push back on that. But also I guess maybe more broadly the idea of when you say intersectionality, what do you mean exactly? Lito: I think I wanted to keep it open on purpose. But I think I mean the ways that all of these different identities that we take up and that are imposed upon us, how they intersect with one another, race, class, et cetera. Yeah. Angela: I think one of the reasons why Justin and I gravitated toward each other probably in the beginning and why we ended up in Spook is because I think that—which maybe is also not happening 15 years from then—there is a way that back then, there was a way that even your identity could be flattened, right? Like you're Puerto Rican, which means that you are like a lot of things, right? One of those things like, one of it's like we're both diasporic people, right? But that's one of the things that I think a lot of people would not necessarily think is like a kinship between us, but like I've seen pictures of Justin's cousins. I know I'm giving Primo over here. Like I know what I'm doing. And like that's one way that I think that our relationship feels like, like we just felt like kin when we first met because of that. I think that there's just a lot of ways that in a lot of spaces in this country, you're just not allowed to like have all of those parts of you in the room because people just don't understand it or they do, but they just don't want you to be that also.  Justin: It's not convenient.  Angela: Right. Which is why I was like, of course, Jason would ask you and I to be in Spook, which is a magazine that's a black literary magazine. Cause Jason gets it. Shout out to Jason again.  Justin: I can't believe he's moving to L.A., that's so exciting.  Angela: Supposedly like any day now, he's just gonna arrive. There's just ways that when you find your people, you don't have to always separate these parts of you and you don't always have to keep reminding them also, they sort of understand. But also parts of you change obviously and the way that you feel about your identity changes and your people will embrace that and keep, you know, keep making space for that too. Justin: Making space.  Annie: We'll be back in a moment with Angela and Justin. Lito: (42:22) Hey Lit Fam, we hope you're enjoying our conversation with Justin and Angela. We are quite awed by their thoughtful discussion and moved by their deep love for each other and their art. If you love what we're doing, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcasts on Apple Podcasts, Spotify, and wherever you listen to podcasts. Just a few moments of your time will help us so much to continue bringing you great conversations like this week, after week. Thank you for listening. Annie: (42:59.178) Back to our interview with Justin Torres and Angela Flournoy.  Lito: Justin, you have your sophomore book. How do you feel about it? Are you going to write a sequel for We the Animals like you talked about at one point? Angela, same question. Are there sequels coming forth for you, Angela, to Turner House, or are you moving on to something else? Or you sort of briefly mentioned another book about, uh, I remember you mentioning at some point a book about friends, four female friends, if I remember correctly. Anyways, what's coming next?  Annie: Yeah, and I wanna know about the dreaded second novel because I feel like that's where I'm at. I feel like that's where a lot of writers get stuck. Jutin: Second novel's awful. I mean, you think the first one's bad. You think it takes everything that you have inside of you and then you're like, oh, I've gotta do it again. And yeah, I don't know. I really had a very hard time with it. And I mean, nobody knows better than Angela. I really, really didn't feel like I was up to the task. I knew that I wanted to do something different. I knew I wanted to kind of change the way I write and be a different kind of writer, but I just felt like I was falling on my face.  Even after it was done and out until like last week, I was just, I just felt anxiety about it, and I felt really neurotic and I was being really neurotic. And I remember the other night we were hanging out and drinking and maybe there was some mushroom chocolate involved. I was just, like I was just on my bullshit and Angela was just like stopped and she was just like, What is it gonna take to make you happy? Like what is it gonna take? Like look around. And it was like, it was a really good intervention. But then it also led to this conversation about happiness, right? And about like whether that is the goal, right? Like feeling kind of tortured and, and feeling like this gap between what you want for your book and your own capabilities. And that never goes away. You just live in this, in this torturous phase. And like, maybe it's about just coming to acceptance with that, rather than striving for happiness. I don't know. But it's still ringing in my ear. What is it gonna take?  Lito: It's a great question.  Angela:   Maybe some projection, I don't know, on my part.  I am still working on that novel. It's due at the end or at the beginning of next year. It's gonna come out in 2025. You know, God willing. And... similarly the second novel, I think it depends on your disposition, but I think both of us are very interested in and task ourselves with having real skin in the game with what we right. That means sometimes you got to figure out where you get that skin from.  Lito: There's only so much.  Angela: Like, if you played yourself for the first book, then it's gonna take a while. And when I think about, like, when I try to count for the years, I don't know I could have done it any quicker. Like, I just don't know. And I don't think that's gonna be the case for every book, but I do think between that first and that second, especially, were you 30? Where were you? I was 30, yeah. And then I was 30, too. I was 30 also when my book came out. You're just a baby.  You're just a baby.  Lito: Do you fall into the trap of comparing yourself to other people? Well, they wrote a book in two years and I— Justin:  (47:07) Yeah, sure. I mean, I also like compare myself to people who took longer like that feels good. That feels good.  Angela: Listen, I'm like Deborah Eisenberg. Just a banger every decade. That's it. That's all I owe the world. A banger a decade. Lito: A banger a decade. I like that. I like comparing myself to Amy Clampitt, who wrote her first collection of poetry, like in her 70s or something and had some success.  Justin: I generally wish people would slow down. I mean, I get that sometimes there's just like an economic imperative, right? But if you're lucky enough that, I don't know, you get a teaching job and you can slow down, why not slow down, right? Like, I don't know, sometimes I feel like there are a lot of books in this world. And the books that somebody spent a lot of time over, whether or not they are my tastes—I'm just so appreciative of the thoughtfulness that went in.  You can feel it, right? That somebody was really considering what they're building versus dashing it off. They should slow down, if they can.  Angela: But I also feel like we need both kinds. There are people who I appreciate their books, their kind of time capsules of just like, this is the two years, this is where I was. I think of Yiyun. We need an Yiyun Li and we need an Edward P. Jones. Edward P. Jones, you're gonna get those books when you get the books. And Yiyun Li, every couple years, you're gonna get something that, to me, I still, they still feel like really good books, but they're also just like, this is where she is right here, and I respect it and I appreciate it. Everybody can't be one or the other, you know?  Justin: You're right, you're right, you're right. It's much fairer.  Annie: She's someone who, I mean, you know, seems to have changed so much even within that time period. And we had her on a couple of episodes ago and yeah, she's just on fire. She's amazing.  Justin: (49:06) And people speed up as well, right? Because her first couple of books, there were big gaps. And then same thing with like Marilynne Robinson, right? She had massive gaps between books. And then suddenly it starts to speed up. And they're coming out every year, every two years. Yeah. Annie: It's the mortality.  Lito: Well, and life, well, I think lifestyle too, right? Like what you do, how busy you are and what you do out in the world. Like going out and meeting people and being gay in the world, that takes up time.  Annie: And your work has had other lives too. I mean, I'm thinking about how We the Animals was adapted to film in that beautiful, intimate portrait. And I know, you know, Angela, you've been working with HBO and some projects as well. I'm just, just wondering if you want to talk about your work in these other media, how it's been, and even thinking about the strikes, right? Like the WGA-SAG strikes and how that has been on the ground too.  Angela:  Very happy that the strike is over. Solidarity to our SAG-AFTRA brothers and sisters still out there. I passed them on the way here on Sunset. I did honk, wish I was out there today. But I think that for me, it's just like a bonus. Like I, especially now, there's a way that right now writers will say things that are a little snobby like, Oh, I could never be in a writer's room, the group project, man. But like when now that I know so many TV writers living here and I've met so many over the past 146 days on the line, I realized that it is, you just have to be so nimble and agile and you have to also be so not precious about story. But no less smart. A lot of things might end up on TV dumb, but I don't want to blame the writers for that. Now that I really have a real understanding of just how the sausage is made and just how big of like a game of telephone it is—and how much you have to relinquish control because at the end of the day it's like you're making this text, it's literary, but it's also like an instruction manual. It's a completely different way to think about writing. And I don't know how long I live in LA or how many like of those kind of projects I will do but I'm really grateful. And one reason I'm really grateful is because doing those projects and having those years where people thought I wasn't doing anything, but I was actually writing so much and like doing so many revisions.  It helped me realize that there is a way that I blame MFAs for making us like feel very siloed. And like, if you're supposed to be a fiction writer, that's the only thing that you do that's like an output that anyone cares about. But it's so new—like, how many screenplays did Joan Didion write? Like James Baldwin wrote screenplays. Before, it was just like, you're writing, you're writing. Like it's all, it all is the job. And I think every time a poet friend of mine like puts out a novel, sends it to me, read, sends it for me to read—first off, they usually are very good. But then also I'm just like, yes, fiction writers, I think, I don't know who did it. I blame graduate programs, but they have put themselves in this small box. Justin: But yeah, I mean, it's like the MFA, a lot of them feel like teacher training programs and that the next step is teaching. But if you don't want to teach the old models, definitely like you just write for TV. Angela: You write for film, you write for magazines, newspapers, you just do the thing. And that has felt very freeing to me, to just see meet more people who are doing that and also to allow myself to do that. Justin (52:49) Yeah, I mean, I really enjoyed the process of having my film—the book made into a film. I think I had an unusual experience with that. Like a lot of times the author is cut out or, you know, is not deferred to in any way, or nobody's inviting you in. I think because it was such a low budget film, and the director is just a really wonderful person who is incredibly collaborative.  He wanted me involved in every single part of it, and so I loved that. I think, I don't know, I think I might wanna adapt Blackouts for a play. I've been thinking about it lately. Angela: You should. I mean, in so many ways, it is kind of like a two-hander. Yeah. I could see it. Yeah.  Justin: A two-hander. Look at you ready to lingo. No, that's some biz lingo.  Lito: That's going to be the title of this podcast. It's a two-hander. How has art shaped your friendship? And I mean, art, like other genres, we've talked about getting out of the box of fiction, but what movies or art or music do you love to talk about or do you just talk about everything or anything that you're watching and how have other genres affected your work? Like, do you listen to music? Are you influenced by visual art?  Angela: You wanna talk about things you watch on television? You ready to come out in that manner?  Justin: No.  Lito: You watch lots of TV? No. Are you a Housewives person?  You're a Housewives watcher, aren't you?  Justin: Housewives is too highbrow for me. I have like a…I have a secret fetish that is mine. Angela: You have to keep some things for yourself. Justin: Yes. But it's just like, that's how I turn my brain off when my brain needs to be turned off.  Annie: I will wait another decade for that story. Justin: I also like culture and high art as well. You write about art a lot. You do profiles. Angela: I do. I wish I did it more. It's just everything, you know, takes time. I think for me, like when I think about—I just am learning different ways to make a life out of, you know, out of your mind and out of art. And one thing that I've learned when I talk to, like visual artists, particularly, is this idea—I think poets also have this—but fiction writers, a friend of mine actually, a poet, recently asked me, like, how does a fiction writer get a practice, like a practice of writing? Practicing their craft in a way that like a visual artist, you know, they go to the studio practice or poet might have a practice. And I don't believe necessarily that sitting down to write every, you know, three hours every day is the same thing. Because like if you don't know what you're writing, but I really do think that practice is more grounded in reading.  Justin: And reading, I think reading literature for sure, but also reading the world, right? And that's what you do when you go to an exhibit or you go to a museum or you go to a concert or whatever, right, you're like reading, you know, and you're reading the experience, you're reading for other things.  Lito: Is there anything you're both fans of that you both talk about a lot? Any artists or musicians or movies? Justin (56:26) You know, I think that we have some lowbrow sharing tastes. But I think that our highbrow, I don't know. We don't talk a lot about our pursuant— I think I'm into a lot of, like when I was looking at, when I was putting together Blackouts, I was looking at a lot of archival photos and like the photos of Carl Van Vechten, I just, I'm obsessed with…  I've been spending a lot of time with them, thinking about him and his practice. I think that, you know, I like all kinds of stuff. I'm like a whatever, what's that horrible term? Culture vulture?  Angela: I don't think that's what you wanna say. But I know what you mean, yeah.  Justin: Yeah, I am democratic in my tastes. I'm just like, I like everything. We don't have a lot of shared tastes, I don't think.  Angela: Um... No?  Justine: No.  Annie:  I sort of love that. I mean, it, um, the friendship, belies, that, you know, it's only a bonus in that way. I think Lito and I also have very different tastes. There's something kind of lovely about that. Lito: I remember Annie making fun of me for not being hardcore enough in my taste in hip-hop. Annie:    I guess we're putting our dirt out there too.  Lito:   We'll be right back with the Lightning Round. Annie:   Ooh, Lightning Round. Annie: (58:12) Thank you both for talking with us today. This was really wonderful. We really feel the honesty and warmth in your friendship and we're so appreciative that you're sharing that with us today and with all of our LitFriends. We're excited for both your books and we're so grateful you spent the last hour with us.  Angela: That was a pleasure.  Justin: Thank you. Lito: All right, we're gonna we— wrap up the podcast with a Lightning Round, just a few questions. We will ask the question and then I guess we'll do it this way. When I ask the question, Angela, you can answer. And when Annie asks the question, Justin, you answer first. Sorry, first answer first. You're both going to answer the question. What is your first memory?  Angela:  My sister roller skating through sprinklers and falling and hitting her head. Justin: I literally have no idea. I, yeah, I don't know. It's a blackout.  Angela: How many times have you said that?  Lito:  Very on brand.  Angela: You've had a long book tour. Justin: I'm practicing.  Annie: Who or what broke your heart first?  Angela: Is it too deep to say my daddy? I know.  Justin: I was going to say my daddy.  Angela: That's why we're friends.  Justin: I know. It's so sad.  Angela: (59:37) Daddy issues.  Lito: Who would you want to be lit friends with from any time in history?  Angela: Toni Morrison.   Justin: Yeah, maybe Manuel Puig. He seemed really cap and hilarious. And also a brilliant genius.  Angela: I need Toni Morrison to tell me how to raise my child. And to still write books. Someone help me. Annie: What would you like to see your lit friend make or create next, maybe something collaborative or something different or a story they haven't told yet?  Justin: I mean, I think I would love to see you actually write something kind of ekphrastic. Like I'd love to see you write about art. I love when you write about art. I love your thoughts about art and art makers. So maybe, like, a collection of essays about culture. I'd love that. Angela: Besides this two-handed, this play, which I would love for you to write. Maybe there's more, I mean, there's more voices in the book than two, though. So it doesn't have to be. Justin is a poet. I have said this since the beginning. I'm ready for this collection.  Justin: Never occurred to me in my life. Angela:   That is not true.  Justin:   Well, writing a collection. Angela:   Okay, well, I would love for you to write a collection of poetry.  Justin:   Maybe I will. Maybe you just gave me permission, as the children say.  Angela:   Mm-hmm. I know.  Lito: If you could give any gift to your LitFriend without limitations, what would you give them?  Angela: I would give him a house with a yard and a pool.  Justin: That's what I want.  Angela: In a city he wants to live in. That's the key.  Lito: That's the hard part. Justin:  (01:01:35) Um, I would give Angela time to be with her thoughts and her craft. I guess what does that involve?  Angela:   This is because I call myself a busy mom all the time.  Justin: You are a busy mom. Angela: (01:02:08) Thank you, that's a nice gift. Time is the best.  Justin: I mean, it's not as good as a house with a pool.  Angela: I know, because I can use my time as wisely as possible and yet—no pool. Lito: Well, that's our show. Annie & Lito: Happy Friendsgiving! Annie: Thanks for joining us, Lit Fam. Lito:   We'll be back next week with our guests, Lucy Corin and Deb Olin Unferth. Annie: Find us on all your socials @LitFriendsPodcast. Annie: I'm Annie Liontas.  Lito:   And I'm Lito Velázquez.  Annie:   Thank you to our production squad. Our show is edited by Justin Hamilton. Lito:   Our logo was designed by Sam Schlenker.  Annie:   Lizette Saldaña is our marketing director.  Lito:   Our theme song was written and produced by Robert Maresca.  Annie:   And special thanks to our show producer, Toula Nuñez. This was LitFriends, Episode One.

Qué entendemos por PACTO FICCIONAL? Y por TERTULIA? Qué es el GOOGLE POETICO? Y la ESCRITURA SAGRADA? Refrescamos poemas y narrativas de autores como Haroldo Conti, Ana Cristina Cesar, José Luis Peixotto, Augusto Monterroso, y Garcia Marquez, en las voces de nuestros locutores. Además, como es la historia de Manuel Puig y el teatro? Cuál es el origen de la Bossa Nova? Sabremos cómo se unen Saramago la fama y la religión. En el segmento de dramaturgos y dramaturgos nuestro invitado es NICOLAS ALLEGRO. Pensamos las letras de Catupecu Machu, Litto Nebia, REM, y The Doors, entre otros. Y como siempre, escuchamos las voces de nuestros oyentes quienes nos acercan sus propios textos o aquellos que escogieron de otros para seguir creando este infinito collage sonoro de lecturas compartidas. POESIA 1110 un espacio para pensar y resonar el acto poético en todas sus formas; la poesía de todas las cosas.

¿Qué entendemos por “Sujeto Lírico”? ¿Y por “Versos Blancos”? ¿Qué es el “Surrealismo Literario”? Refrescamos poemas y narrativas de autores como Amado Nervo, Juana Gorriti, Clarice Lispector, Rodolfo Walsh, Salvador Dalí, Liniers y John Keats, en las voces de nuestros locutores Además, ¿Qué artista plástico argentino tiene el honor de exponer su arte en numerosos libros de escritores? ¿Cómo comenzó a relacionarse Manuel Puig con el teatro? ¿Cuáles fueron los autores censurados durante la última dictadura militar en la Argentina? ¿En qué momento María Elena Walsh irrumpe en la literatura infantil provocando un giro fundamental en el género? ¿Cómo se describe en el film Bright Star la personalidad del poeta John Keats? En el segmento “Dramaturgos Dramaturgas” nuestra invitada es Cecilia Propato. Pensamos las letras de las canciones The Beatles, Mecano y Liliana Felipe, entre otros. Y como siempre, escuchamos las voces de nuestros oyentes quienes nos acercan sus propios textos o aquellos que escogieron de otros, para seguir creando este infinito collage sonoro de lecturas compartidas. POESIA 1110: Un espacio para pensar y resonar el acto poético en todas sus formas; la poesía de todas las cosas

El beso de la mujer araña, de Manuel Puig.

Der zweite Teil wendet sich den Analogien zwischen Manuel Puig und seinem Vorbild Julio Corzear zu, dessen Roman Rayuela die Montagetechnik und Verstrickung von Fiktion und Realität, Libido und Politik, bereits als Paradigma einführt. Im Mittelpunkt des Beitrags steht daher sein experimenteller Roman "Himmel und Hölle", der dem Roman "Der Kuss der Spinnenfrau" Pate steht.

Welcome to the Instant Trivia podcast episode 819, where we ask the best trivia on the Internet. Round 1. Category: eggs 1: When hard boiling eggs, add a pinch of this to the water to keep the eggs from cracking. salt. 2: "Joy of Cooking" says not to use a bowl made of this metal when beating eggs, as it will cause the eggs to gray. aluminum. 3: If you buy a dozen eggs weighing 2 oz. each, they'll have this size designation. large. 4: Of all reptile eggs, it's the type most commonly eaten. turtle eggs. 5: Japanese savor the tiny eggs of this game bird and eat them raw on top of sushi. quail. Round 2. Category: pets 1: Of the more than 25 Amazon species of these birds, most have green body feathers. parrots. 2: To impoverish his enemies, the king of Siam gave them elephants of this color, not allowed to work. white. 3: From Greek for "bloodlessness", this condition can affect cats suffering from too many fleas. anemia. 4: Basic obedience training makes a dog comfortable, because he sees you as the leader of this group. a pack. 5: William Howard Taft was the last prez to have one of these grazing at the White House; her name was Pauline Wayne. a cow. Round 3. Category: napoleon 1: The cast-off mistress of revolutionary leader Paul Barras, she married Napoleon in 1796. Josephine. 2: As a child Napoleon Bonaparte hated France for its bloody conquest of this island of his birth. Corsica. 3: Napoleon was "The Little" this; hey, one more promotion and he makes little sergeant. Corporal. 4: In 1793 24-year-old Napoleon was seriously wounded in the thigh by one of these musket attachments. a bayonet. 5: In 1798 Napoleon struck at England by occupying this country, threatening trade routes to India. Egypt. Round 4. Category: international books and authors 1: Explorer "of Arabia" who wrote "Seven Pillars of Wisdom". T.E. Lawrence. 2: Moses Isegawa's 2000 novel "Abyssinian Chronicles" is set partly in Kampala in this, his native country. Uganda. 3: Argentina's Manuel Puig gave us the "Kiss of" this "Woman"; I read about it on the "web". "Kiss of the Spider Woman". 4: This author of "Shogun" called himself a "half-Irish Englishman...born in Australia". James Clavell. 5: Former first lady Jehan Sadat called her moving memoir "A Woman of" this country. Egypt. Round 5. Category: people on the map 1: He wrote the songs "There's No Business Like Show Business" and "White Christmas". Irving Berlin. 2: This Los Angeles Lakers star with 3 championship rings speaks fluent Italian. Kobe Bryant. 3: He was nominated for an Emmy for his role as Buddy Sorrell on "The Dick Van Dyke Show". Morey Amsterdam. 4: Among the many larger-than-life characters he created are Captain Wolf Larsen and Buck the sled dog. Jack London. 5: This British-born actor has starred in "Cabaret", Logan's Run" and "Austin Powers". Michael York. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Cumpliría 99 años dado que nació el 5 de mayo de 1924, en la ciudad de Buenos Aires, y murió el 8 de septiembre de 1978. Figura fundacional de nuestro cine moderno, Leopoldo Torre Nilsson tuvo una prolífica carrera como realizador, productor y escritor. Ávido lector y autodidacta, comenzó a trabajar en la industria cinematográfica como asistente de dirección de su padre, Leopoldo Torre Ríos. En 1947 estrenó su primer cortometraje, "El muro", basado en un cuento escrito por el mismo Torre Nilsson, que representaba el más puro cine de autor. En 1950 realizó junto a su padre "El crimen de Oribe", inspirada en la novela de Adolfo Bioy Casares "El perjurio de la nieve". Estuvo casado durante cuatro años con Pilar, con quien tuvo dos hijos pero, en 1951, Ernesto Sábato le presentó a Beatriz Guido, quien años más tarde sería su mujer y con quien formaría una dupla creativa. Su cine puede dividirse en tres grandes categorías que no siguen un orden cronológico: Épico-histórico, adaptaciones literarias, cine espectáculo. "La casa del ángel", de 1956, le valió el reconocimiento de la crítica europea y fue incluida por la prestigiosa revista Cahiers du Cinéma entre las diez mejores películas de la época junto a las de directores como Ingmar Bergman y Kenji Mizoguchi. Adaptó también Los siete locos, de Roberto Arlt, con la que obtuvo un premio en el festival de Río de Janeiro; Boquitas pintadas, de Manuel Puig, galardonada en el festival de San Sebastián (1974), y La guerra del cerdo, de Adolfo Bioy Casares, en 1975. Dirigió a uno de sus actores favoritos, Alfredo Alcón, en La mafia, y en 1975 rodó su última obra, Piedra Libre, prohibida por la censura debido a su "contenido inmoral y disolvente". Otros títulos destacados de su filmografía son El secuestrador (1958), La caída (1959), Setenta veces siete (1962), La terraza (1963), Martín Fierro (1968) y El pibe Cabeza (1974). Fue el primer director argentino en obtener reconocimiento internacional en diferentes festivales como San Sebastián, Cannes, Santa Margherita Ligure. Tanto por sus temáticas como por su tratamiento, la crítica nacional e internacional destacó el aporte de Nilsson al cine de autor. Lo recordamos a través de un informe elaborado, musicalizado y editado por Fabián Panizzi, con testimonios del Archivo Histórico de Radio Nacional. FICHA TÉCNICA Testimonios y música: 1976 Leopoldo Torre Nilsson (Programa  A Fondo TVE) 1950 El crimen de Oribe – Fragmento de la película de Torres Ríos y Torre Nilsson Fernando Martín Peña, Historiador del cine – Fragmento del programa Filmoteca, emitido por la Televisión Pública 1952 La Tigra – Fragmento de la película de Torre Nilsson `En Carne Propia´ (Manuel Sucher - Carlos Bahr) por Diana Maggi 1954 Días de odio – Fragmento de la película de Torre Nilson Duilio Marzio, actor 1955 Para Vestir Santos – Fragmento de la película protagonizada por Tita Merello y Jorge Salcedo y dirigida por Torre Nilsson 1956 Graciela  – Fragmento de la película que contó con la actuación de Elsa Daniel y la dirección de Torre Nilsson 1956 El Protegido – Fragmento de la película que contó con la actuación de Mirko  Alvarez y la dirección de Torre Nilsson 1957 La casa del Ángel - Fragmento de la película que contó con la actuación de Elsa Daniel y  Guillermo Battaglia, bajo la dirección de Torre Nilsson Manuel Antín, novelista y director de cine 1960 Fin de fiesta - Fragmento de la película que contó con la actuación de Graciela Borges y Leonardo Favio, bajo la dirección de Torre Nilsson Leonardo Favio, actor cineasta, cantante y compositor. Graciela Borges, actriz 1960 Un Guapo del 900 - Fragmento de la película que contó con la actuación de Alfredo Alcon y Lydia Lamaison, bajo la dirección de Torre Nilsson Alfredo Alcón, actor Lydia Lamaison, actriz 1961 Piel de verano - Fragmento de la película que contó con la actuación de Graciela Borges y Alfredo Alcón,

Esta semana en Radio Universidad de Chile comentamos "The Buenos Aires Affair" de Manuel Puig, un relato inspirado en la novela negra pero que tiene más de un giro temático y varios jugueteos estéticos.

Esta semana en Radio Universidad de Chile comentamos "The Buenos Aires Affair" de Manuel Puig, un relato inspirado en la novela negra pero que tiene más de un giro temático y varios jugueteos estéticos.

¿Qué entendemos por “Poesía Tanka”? ¿Y por “Meta Poesía”? ¿Qué es un “Recitativo”? ¿A qué le llamamos “Platónico” y “Barroco”? Refrescamos poemas y narrativas de Akiko Baba, J C Tudor, Jobim, Manuel Puig y André Bretón en las voces de nuestros locutores Además, ¿Cuál era el deporte que más odiaba Jorge Luis Borges? ¿Cuál fue el disparador que utilizó J C Tudor para escribir su famosa novela “El hombre de tiza”? ¿Qué nos narra la película “El paciente inglés” y cuál fue el origen de esta historia? ¿Cómo fue la incursión de los gatos en el universo de la literatura? ¿Qué particularidad tuvo el encuentro entre Artaud y la pintora María Izquierdo? Pensamos las letras de las canciones Louane, Bob Marley, Red Hot Chili Peppers y Gustavo Santaolalla, entre otros. Como siempre, escuchamos las voces de nuestros oyentes quienes nos acercan sus propios textos o aquellos que escogieron de otros, para seguir creando este infinito collage sonoro de lecturas compartidas. POESIA 1110: Un espacio para pensar y resonar el acto poético en todas sus formas; la poesía de todas las cosas.

Na 154ª edição do podcast da Página Cinco: - Papo com a jornalista e tradutora Mariana Sanchez, pesquisadora de literatura latino-americana. - Aqui o caminho para a newsletter da Página Cinco: https://paginacinco.substack.com/ - E o caminho para o episódio 87 do podcast: https://open.spotify.com/episode/7qPxZhqxodpassegafv3SM?si=L-YngFKmQ2yz9uTQSsqfIA Na arte do podcast, “América Invertida”, de Joaquín Torres García. Contribuição do ouvinte Carlos Segato: Livros e autores mencionados pela Mariana Sánchez neste PodCast Página 5: 1 - Alejandra Costamagna, chilena (1970 - ), autora de "Sistema do tato" e "Impossível sair da terra" (citados), "Animales domesticos" e "Últimos fuegos", dentre outros. 2 - Pedro Mairal, argentino (1970 - ), autor de "Salvatierra" (citado) e "A uruguaia", dentre outros. 3 - Mariana Enriquez, argentina (1973 - ), autora de "A irmã menor - um retrato de Silvana Ocampo" e "As coisas que perdemos no fogo" (citados), dentre outros. 4 - Lina Meruane, chilena (1970 - ), autora de "Tornar-se Palestina" (citado), dentre outras obras. 5 - Sara Gallardo, argentina (1931-1988), autora de "Eisejuaz", "Enero" e "Los galgos, los galgos" (citados), dentre outros. 6 - Silvia Molloy, argentina (1938-2022), autora de "Varia imaginación" e "Vivir entre lenguas". 7 - Samantha Schweblin, argentina (1978 - ), autora de "Pájaros en la boca" (que contém o conto citado "A mala pesada de Benevides") e "Distancia de Rescate" (citados); 8 - Antonio di Benedetto, argentino (1922-1986), autor de "Zama" e "El silenciero". 9 - Juan Hermann, poeta e escritor argentino (1930-2014). 10 - Felisberto Hernández, uruguaio (1902-1964). 11 - Julio Ramón Ribeyro, peruano (1929-1994). 12 - Mario Levrero, uruguaio (1940-2004). 13 - Selva Almada, argentina (1973 - ), autora de "O vento que arrasa" (citado). 14 - Pedro Lemebel, chileno (1952 - ). 15 - Camila Sosa Villada, argentina (1982 - ). 16 - Néstor Perlongher, argentino (1949-1992). 17 - Paul Preciado, espanhol (1970 - ), autor de "Um apartamento em Urano" (citado). 18 - Karina Sainz Borgo, venezuelana (1982 - ). 19 - Juan Gabriel Vásquez, colombiano (1973 - ). 20 - Margarita García Robayo, colombiana radicada na Argentina (1980 - ) 21 - Pilar Quintana, colombiana (1972), autora de "La perra" e "Los abismos" (citados). 22 - Aurora Venturini, argentina (1921-2015), autora de "As primas" e "Nós, os caserta" (citados). 23 - César Aira, argentino (1949 - ), autor de "As noites de Flores" (citado). 24 - Damiela Eltit, chilena (1947 - ). 25 - Gabriela Cabezon Camara, argentina (1968 - ), autora de "As aventuras da China Iron" (citado). 26 - Fernanda Melchor, mexicana (1982 - ), autora de "Temporada de Furações" (citado). 27 - Armonia Somers, uruguaia (1914-1984), autora de "La mujer desnuda" (citado). 28 - Josefina Vicens, mexicana (1911-1988), autora de "El libro vacío" (citado). 29 - Fernanda Trias, uruguaia (1976 - ), autora de "Gosma Rosa" e "La azotea" (citados). 30 - Adolfo Bioy Casares, Jorge Luís Borges e Júlio Cortázar (escritores argentinos mais conhecidos, já clássicos contemporâneos, também mencionados na entrevista). 31 - Manuel Puig, autor de "Boquitas Pintadas" (citado)

Llamamos al actor Igor Yebra, protagonista junto a Eusebio Poncela de "El beso de la mujer de araña", obra de Manuel Puig, que se representará en el Teatro de las Esquinas el viernes 14 y el sábado 15 de abril a las 20:30 horas.

En esta emisión, Graciela Borges converso con el novelista, dramaturgo, guionista de cine y director de teatro marplatense, Carlos Balmaceda, Secretario de Cultura del partido de General Pueyrredón y autor de numerosos éxitos premiados a nivel local e internacional. Balmaceda hizo un repaso a sus inicios en el mundo de la cultura y como el sueño de ser marino y la relación con el mar despertaron su amor por la literatura y la ficción, en este sentido recordó su primera participación en un concurso internacional de literatura, invitado por una de sus maestras durante la escuela secundaria, tras lo cual su vida fue consagrada a la escritura. También se refirió al ejercicio creativo de encontrar respuestas novedosas para la transformación y abordaje a los problemas de su ciudad, explicó acerca de las políticas culturales llevadas adelante, la forma en que se hizo frente al cierre de actividades durante la pandemia y el proceso de reconstrucción en el sector, reapertura de espacios, generación de nuevos contenidos y recuperación de confianza en el público. Además, contó acerca de su ficción biográfica “Contigo a la distancia” sobre la vida de Manuel Puig y desatacó el valor del patrimonio cultural marplatense y la calidad de sus artistas.

Luis Romani platica con el escritor Mario Bellatin.En el episodio, nos sumergimos en la mente de uno de los autores más emblemáticos e importantes de la literatura hispanoamericana en la actualidad. Mario nos cuenta sobre sus concepciones y creencias respecto a los libros, el medio editorial y sus búsquedas en la escritura. Hablamos sobre las indefiniciones, las escuelas de escritura, lo politicamente correcto; sobre Pedro Lemebel, Manuel Puig, y algunos libros de Bellatin como Efecto invernadero, La matanza, y claro, su icónica novela: Salón de belleza. ¡Descubre cuál es la escritura del milagro laico en palabras del autor!Si te gustó el episodio, suscríbete y activa la campanita de notificaciones en Spotify.Síguenos en:Ig: @preciososbastardos Tw: @LuisRomani Fb: www.facebook.com/preciososbastardos Sigue a Mario Bellatin en Instagram:@mbellatinContacto profesional: preciososbastardos@gmail.comY recuerda que... #LoPersonalEsLiterario

General Vallejos es un pueblo que queda lejos de todo. Enclavado en medio de la llanura pampeana, está lejos del mar, de Buenos Aires, de la cordillera, de otras grandes ciudades. Allí hay sólo campo y horizonte. Y un cine. Lo suficiente para que Manuel Puig transformara a su pueblo en el escenario desde donde dio vuelta la literatura argentina y castellana. Un lugar para huir y para encontrar un mundo. Para crear un mundo. Apertura de Pablo Marchetti del programa 756 de AUNQUE ES DE NOCHE (23-1-2023) AUNQUE ES DE NOCHE. De lunes a viernes de 2 a 5 AM (hora Argentina) por Radio AM 750. Conducción: Pablo Marchetti. Con Rama Preckel y Laura Szerman. Operación técnica: Charly Escalante. Mensajes a nosoypablomarchetti@gmail.com Mirá, escuchá y leé todo lo que hago, acá www.pablomarchetti.com

163. Cap.3 La despensa del escritor El narrado omnisciente, el narrador cuasi omnisciente. El primero de ellos es el narrador visible, presente en el texto. El segundo pretende la invisibilidad absoluta. Desde un punto de vista técnico, la mayor dificultad que tuve al escribir A sangre fría fue permanecer completamente al margen de la narración. (Truman Capote) Para este episodio vamos a contar con la voces de William Faulkner, Enrique Anderson Imbert, Manuel Puig, Honoré de Balzac, José Saramago, Luis Landero, Pablo Neruda, Virginia Woolf y Miguel Ángel Asturia. Lectura recomendadas Madame Bovary de Gustave Flaubert La muerte de Artemio Cruz de Carlos Fuentes Muchas gracias por escucharme y espero que te guste. Puedes visitar mi web para mantenerte informado de nuevos estrenos https://curiosihistoria.com Un saludo virtual

He aquí por fin la tertulia sobre Manuel Puig, con Raúl Bas y Nacho M. Segarra, encargada por Romancero Books para el Festival de Literatura Queer en Español de Londres y producido por la embajada argentina. Lo pasamos tan bien que acumulamos unas cinco horas de audio que hubimos de podar para no buscarnos la ruina. Agradecimiento eterno a Romancero B. por conducirnos hasta Puig, al que los Dioses que habitan el Anchuroso Cielo tengan en su Gloria.

Mariana Travacio es una autora argentina que en los últimos años consiguió acuñar una voz propia en la literatura argentina a partir de novelas que se insertan en una tradición narrativa que hace de la oralidad y la errancia de los personajes sus puntos esenciales. Mariana nació en Rosario en 1967, vivió durante su infancia en Brasil y en la actualidad vive en Buenos Aires. Es psicóloga y trabajó como docente de la cátedra de Psicología Forense. Es traductora de francés y portugués y cursó la maestría de Escritura Creativa que dirige María Negroni en la UNTREF. Es autora de los libros de relatos Cotidiano y Cenizas de Carnaval y de las novelas Como si existiese el perdón (que recibió una mención especial en el Premio Nacional de Literatura) y Quebrada, que aunque pueden leerse de manera autónoma, comparten escenarios y algunos personajes, de modo que habitan en una misma forma de la fábula. En la sección En voz alta, Alejandra Kamiya leyó el poema "Con mi hija en auto" de María Teresa Andruetto. Alejandra nació en Buenos Aires y se formó en los talleres de Abelardo Castillo y de Inés Fernández Moreno. Su último libro es El sol mueve la sombra de las cosas quietas y está próximo a aparecer "La paciencia del agua sobre cada piedra" En la sección Mesita de luz, el periodista Carlos Ulanovsky, columnista del programa “Ahí vamos” nos cuenta que libros está leyendo. En Bienvenidos, Hinde habló de “Nada será como antes. ¿Hacia dónde va Chile?”, de Juan Elman (Futurock), “Feminismo e Islam”, compiladora Zahra Ali (Capital Intelectual) y “La cocinera de Frida”, de Florencia Etcheves (Planeta) y en Libros que sí recomendó “La encomienda”, de Margarita García Robayo (Anagrama), “Maldición eterna a quien lea estas páginas”, de Manuel Puig, con prólogo de Claudia Piñeiro (Seix Barral) y “La condesa sangrienta”, de Valentine Penrose, con prólogo de María Negroni (Interzona)

Entrevistamos a Carlota Ferrer e Igor Yebra, directora y uno de los protagonistas de "El beso de la mujer araña". Se puede ver en el Teatro Bellas Artes desde el 7 de septiembre y es una obra del escritor argentino Manuel Puig y en la que también aparece Eusebio Poncela que cuenta la historia prohibida sobre dos compañeros de celda que saca a la luz la necesidad de amar del ser humano. Los protagonistas son dos personajes en un viaje existencial y de liberación y mientras en el exterior abundan la muerte y la tortura, ellos sueñan con un mundo que sigue esperando una revolución. Escuchar audio

Entrevistamos a Carlota Ferrer e Igor Yebra, directora y uno de los protagonistas de "El beso de la mujer araña". Se puede ver en el Teatro Bellas Artes desde el 7 de septiembre y es una obra del escritor argentino Manuel Puig y en la que también aparece Eusebio Poncela que cuenta la historia prohibida sobre dos compañeros de celda que saca a la luz la necesidad de amar del ser humano. Los protagonistas son dos personajes en un viaje existencial y de liberación y mientras en el exterior abundan la muerte y la tortura, ellos sueñan con un mundo que sigue esperando una revolución. Viajamos con Óscar Checa por Campo de Criptana (Ciudad Real), aprovechando que acaban de inaugurar su centro de interpretación de los Molinos Manchegos. Visitamos ese centro, los molinos (y contamos la molienda en directo que realizan una vez al mes). Despedimos la primera hora con el Espeluznarte de Cristian Salomoni charlando sobre el amor no correspondido y obsesivo del pintor expresionista Oskar Kokoschka hacia su musa, Alma Mahler, y cómo llevó esa obsesión hasta pedir que hicieran una muñeca con sus mismos rasgos.   Escuchar audio

En este otro episodio de estreno, Luis Romani y los preciosos bastardos charlan con el consolidado escritor colombiano Jaime Manrique. En la conversación, Jaime cuenta el inicio de su relación con el escritor Manuel Puig así como de su amistad con Reinaldo Arenas. Nos habla sobre el proceso que vivió para escribir su libro "Maricones eminentes", así como de las obsesiones que lo llevan a elegir qué historias contar. Jaime también nos dice qué significa realmente ser un escritor latinoamericano en un país extranjero. No olvides anotar el sombrío consejo que da a la nueva generación de autores ¡Te dejará sin palabras!Suscríbete al podcast y síguenos en:Instagram: www.instagram.com/preciososbastardos/ Facebook: www.facebook.com/preciososbastardos Twitter: www.twitter.com/LuisRomanii Sigue a Jaime Manrique en:www.facebook.com/jaime.manrique.35 Y recuerda que... #LoPersonalEsLiterarioContacto profesional: preciososbastardos@gmail.com

Marcelo Canda, Rubén Stella, Beto Valdez, Cacho Lemos, Marcelo Moreno, Diego Fisherman, Beatriz Antico y Sergio Elguezabal nos comparten sus textos elegidos. ¿Qué entendemos por “Melodrama”? ¿Y por “Antonomasia”? ¿En qué consiste el “Genero Dramatico”? ¿Qué es un “Fanzin”?Albert Camus le envía una carta a su maestro Germain luego de obtener el Nobel de Literatura Además, ¿Quién era Safo de Lesbos?¿Qué escritoras famosas utilizaban el neologismo “Matria” en sus obras?¿Qué representó el pueblo Pardo en la historia de Bioy Casares?¿Qué relación existió entre Alejandro Dumas y el mundo gastronómico?¿Cuál era la Barcelona de la que más hablaba Carlos Ruiz Zafón? Refrescamos poemas y narrativas de los autores Juan Carlos Mestre, Isabel Allende, Cesar Aira, Sartre, Francisco Urondo, Roberto Arlt y Manuel Puig , en las voces de nuestros locutores Nos detenemos a pensar las letras de las canciones de artistas como La Portuaria, Madonna, Camille, Lorena Astudillo, entre otros, Como siempre, escuchamos las voces de nuestros oyentes quienes nos acercan sus textos propios o aquellos que escogieron de otros, para seguir creando este infinito collage sonoro de lecturas compartidas. POESIA 1110: Un espacio para pensar y resonar el acto poético en todas sus formas; la poesía de todas las cosas.

Franco Torchia nació en Ensenada, provincia de Buenos Aires, en el año 1976. Es periodista, conductor de radio y TV, escritor y reconocido militante por los derechos de la comunidad LGBT+. Recientemente editorial Mansalva publicó su primera ficción, “Te arrancan la cabeza”, un caleidoscopio que reconstruye la infancia de un joven en el marco de un club náutico del conurbano a comienzos de los 80; una novela de iniciación que se desarrolla a través de los testimonios de tres personajes, uno de ellos el chico que está entrando a la pubertad y vive y observa. La riqueza de la narración está justamente en la oralidad, en los matices de esos relatos singulares y en la caracterización de los personajes ya a partir de nombres como La Rimbambita, Caballo Desbocado, la Takiche o el Cirujano Atorado. Se trata de una particular versión de novela coral, con géneros fluidos, sexo y deseos prohibidos, pedofilia sin nombre, envidias de pueblo chico y de heladeritas ajenas en un hermoso homenaje siglo XXI a Manuel Puig, el gran traductor del habla argentina al formato literatura. “Te arrancan la cabeza” tiene clima, poesía, gozo y dolor. Tiene, también, el pulso de la melancolía de los veranos de infancia, cuando la vida era aquello que pasaba mientras el aire hervía entre el olor a Sapolán y el rumor del agua. En la sección Libros que sí Hinde recomendó  “El enigma del oficio”, de Guillermo Schavelzon (Ampersand) y “La librería”, de Penelope Fitzgerald (Impedimenta) y en Bienvenidos habló de “Un cuarto propio,” de Virginia Woolf, comentado por Agustina de Diego (editorial FERA), “Corazón geométrico”, de María Luque (Sigilo) y “Un país que empieza con A”, de Nathalie Jarast y Daniela Szmulevich (Pupek) En Voz alta, la actriz Alejandra Flechner leyó “Manifiesto de niños: hoteles. De Pequeño Mundo ilustrado”, de María Negroni. Alejandra actua en la obra Tarascones, todos los martes a las 20 hs en el Teatro Metropolitan. Y en la sección Mesita de luz, Humphrey Inzillo, periodista, editor de la revista Rolling Stone, host del podcast La Vida Circular y columnista de La trama y el desenlace (Radio Nacional) que acaba de publicar El corazón adelante. Sonidos, imágenes y sabores de una educación sentimental, en el nuevo sello Híbrida Editora, nos contó que libros está leyendo.

Graciela Speranza es crítica de literatura y arte, narradora, ensayista y guionista de cine. Enseñó Literatura Argentina Contemporánea en la UBA y fue profesora visitante en la Universidad de Cornell en Estados Unidos. En la actualidad enseña Arte Contemporáneo en la Universidad Torcuato Di tella. Algunos de sus libros son Guillermo Kuitca. Obras 1982-1998; Manuel Puig. Después del fin de la literatura; Fuera de campo. Literatura y arte después de Duchamp; Atlas portátil de América latina y Cronografías. Arte y ficciones de un tiempo sin tiempo. Es autora de las novelas Oficios Ingleses y En el aire. Como periodista cultural colaboró en los suplementos culturales de los principales diarios de Argentina y desde hace varios años dirige junto con Marcelo Cohen la prestigiosa revista Otra parte. Su último libro es Lo que no vemos, lo que el arte ve. En este ensayo publicado por Anagrama, Speranza se propone revisar de qué modo los artistas contemporáneos consiguen plasmar en sus obras la preocupación por el futuro del planeta y la inminente catástrofe ambiental y cómo el arte y la literatura también consiguen revelar claves de la nueva era del capitalismo de la vigilancia en un mundo que es cada día digitalmente administrado. En la sección Libros que sí Hinde recomendó “Todas las crónicas”, de Clarice Lispector (FCE) y “The modernist songbook”, de Mariano Siskind (Beatriz Viterbo)y en Bienvenidos habló de “La locura de Holderli”n, de Giorgio Agamben (Adriana Hidalgo), “Crónicas bananeras”, de Roberto Herrrscher (Tusquets) y “Rusia”, de Anthony Beevor (Crítica) En Voz alta, Voz alta Olivia Gallo leyó un fragmento de “La ciudad invencible”  de Fernanda Trías. Olivia recibió una mención del Premio Municipal de Literatura Manuel Mujica Láinez En 2019, publicó su primer libro de cuentos: Las chicas no lloran por Tenemos las máquinas e Intranquilas y venenosas, un intercambio de mails de cuarentena con Tamara Talesnik y autoras invitadas publicado  por Odelia Y en Mesita de Luz, el escritor y abogado Bernardo Beccar Varela, que acaba de publicar “Quemacoches” por The Orlando Books nos contó que libros está leyendo.

Manuel Puig (1932-1990) es uno de los escritores más relevantes de la segunda mitad del siglo XX. Un autor tremendamente adelantado a su tiempo, con un estilo propio y diferenciado del de sus contemporáneos, la crítica y muchos colegas no tuvieron peidad con él, pues se resistía a aceptar como valiosa una obra que incorporaba referencias a la cultura popular. El paso de los años le ha dado la razón a Puig, y a él le dedicamos este podcast. Seix Barral se ha embarcado en un precioso proyecto para recuperar todas sus obras, y aquí entrevistamos a su directora editorial, Elena Ramírez, para charlar sobre la denominada 'Operación Puig'. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Hechos con Palabras - Manuel Puig by Radiotelevisión de Veracruz

Volvemos con lo incorrecto, lo falso, lo desacertado. Volvemos con los errores que cometimos en el pasado o los que cometieron los demás. Elisabeth Hardwick, Marguerite Duras y Natalia Ginzburg fueron víctimas de los errores de otros. También lo fue Manuel Puig, y pagó las consecuencias. El error nos arrasa lo quieras o no, ¡es ley de vida! ¿Podemos rectificar antes de que sea demasiado tarde? Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

Ante una realidad cada vez más agobiante, en este nuevo spin off sobre libros y literatura, nos sumergimos en cuatro novelas plagadas de personajes hundidos en la soledad. En una de ellas, dos presos se cuentan películas para sobrevivir al encierro y encontrar alguna clave que los hermane en medio del terror. En otra, una mujer decide refugiarse en un departamento lujoso en Nueva York, mientras abraza su apatía con el consumo de fármacos y películas de Harrison Ford. También hablamos de un viaje por carretera que emprenden un hijo y un padre, cuyos vínculos familiares están plagados de cortocircuitos y recuerdos borrosos. Por último, una novela sobre una pandemia que se enfoca, antes que en el reporte minucioso del caos, en las angustias y vacíos que vive su protagonista desde una trinchera emocional. *En este episodio hablamos de: - “El beso de la mujer araña” de Manuel Puig - “Mi año de descanso y relajación” de Ottessa Moshfegh - “Camanchaca” de Diego Zúñiga - “Mugre rosa” de Fernanda Trías

En #DemasiadoHumano 2022 hablamos de “la muerte de Dios” Entrevistamos al poeta y pensador Hugo Mujica y al escritor Mariano Dorr quienes hablaron del tema desde la perspectiva religiosa/poética, y desde la obra de Friedrich Nietzsche. En la sección literaria recomendamos “Cae la noche tropical” de Manuel Puig.

22 julio Acontece: 1919: en Londres se estrena El sombrero de tres picos, de Manuel de Falla, con decorados de Pablo Picasso. 1924: en Bayreuth se reanudan los festivales wagnerianos interrumpidos durante la Primera Guerra Mundial. Nace: 1766: Franz Xaver Süssmayr, compositor y clarinetista austriaco (f. 1803). 1882: Edward Hopper, pintor estadounidense (f. 1967). 1889: James Whale, cineasta británico (f. 1957). Fallece: 1990: Manuel Puig, escritor argentino (n. 1932). Una Producción de Sala Prisma Podcast. 2021

emitida originalmente en Biblioteca iP, por iP noticias

"La voluntad", de Eduardo Anguita y Martín Caparrós; "Dos veces junio", de Martín Kohan; "Diario de una princesa montonera", de Mariana Eva Pérez; "El beso de la mujer araña", de Manuel Puig; "Los Pichiciegos", de Fogwill. Si una noche de invierno un viajero se emite los jueves a las 23.59 por El Destape Radio; y viernes a las 23 (hora de España) por Onda Polígono.

Si una noche de invierno "un golpe" Fecha: 24-04-2022 Buscá el episodio completo en este podcast y en El Destape Radio.

Dos hombres presos en una cárcel de Buenos Aires evaden su realidad relatando películas. Un activista político que recuerda su pasado y un homosexual que sueña con el amor romántico son los protagonistas, a los que la soledad y sus miedos los llevarán a ser algo más que amigos. Homosexualidad, tortura, activismo político, dictadura, películas, solidaridad, explotación, evasión, boleros, bisexualidad, los roles de la mujer y del hombre en la pareja, así como la transmedialidad son algunos de los temas de esta novela.

En el episodio de hoy para finalizar con la reflexión y el análisis a partir de EL BESO DE LA MUJER ARAÑA, de Manuel Puig, lectura que compartimos con les integrantes del club de lectura 2020 leeré un fragmento en clave de audio libro, o audilectura, como gusten llamarlo. Les cuento en clave de resumen que la misma relata el encuentro entre dos presos, en Argentina, en los 70s, durante la dictadura cívico militar. Uno de ellos, es Molina y es el principal narrador, se trata de una mujer transgénero que ha sido encarcelada por “corromper a un menor”. Y el otro protagonista es Valentín es el principal oyente implícito, es un revolucionario, encarcelado por pertenecer a una organización de izquierda que intenta derrocar al gobierno. Ambos, diametralmente opuestos en su concepción del mundo, y política, comienzan una conflictiva relación que a medida que pasa el tiempo, y limitades por el encierro, va dando lugar, a un conocimiento más profundo de esa otredad extraña, y quizás, una posible transformación entre éstos dos personajes. Uno de los puentes que los unirá, será precisamente la ficción, y más específicamente, el cine… ya que Molina para pasar el tiempo, le irá contando a Valentin el argumento de algunas películas… Producción: La Crespo Estudio Conducción y locución: Facundo Rubiño Música original del programa: Jorge Soldera INFO SOBRE ACTIVIDADES, CURSOS Y LINK A COLABORACIONES https://linktr.ee/InfoMonstruosBrujasYmagas --- Send in a voice message: https://anchor.fm/monstruosbrujasymagas/message

"Hay muchas historias alrededor de Pubis Angelical, de 1982, una película dirigida por Raúl de la Torre, escrita por de la Torre y Manuel Puig, sobre la novela homónima de Puig. Trabajé junto a Alfredo Alcón y Pepe Soriano."

Created by Latino Theater Co., "Offstage/Unmasked" are bravely curious conversations with Latinx theater artists across the country. Join us once a month as we talk about the State of Latinx Theater a year into the Covid-19 pandemic. We shut down, we masked up, went online, we connected and we're still here. How has covid impacted our programming? What kept us going? When are we coming back to the stage and what changes do we need to make to get there? This week we interview José Luis Valenzuela, Artistic Director of the Latino Theater Co at The LATC in Los Angeles, CA., and Rosalba Rolón, Artistic Director of Pregone PRTT in Bronx, NYC. JOSÉ LUIS VALENZUELA is the Artistic Director of the Latino Theater Company (LTC), and The Los Angeles Theatre Center (LATC) and is also a Distinguished Professor at UCLA's School of Theater, Film & Television. Valenzuela is an award-winning theater director, and has been a visionary and an advocate for Chicanx/Latinx Theater for over 30 years. He has directed critically acclaimed productions at major theaters both internationally and nationally including the LATC where he created the Latino Theatre Lab in 1985 and the Mark Taper Forum where he established the Latino Theater Initiative in 1991. He has directed, The Mother of Henry, Solitude, Premeditation, Dementia, and A Mexican Trilogy for the Latino Theatre Company. Most recently he also directed Macbeth at Oregon Shakespeare Festival, and Karen Zacarias' Destiny of Desire at Arena Stage, South Coast Rep, The Goodman Theatre, and Oregon Shakespeare Festival. His international directing credits include Henrik Ibsen's Peer Gynt at the Norland Theatre in Norway and Manuel Puig's Kiss of the Spider Woman at the National Theatre of Norway. He produced the national Encuentro Festival in 2014 and national and international Encuentro de las Americas in 2017. ROSALBA ROLÓN is the Artistic Director of Pregones + Puerto Rican Traveling Theater (PregonesPRTT). She is an accomplished director and dramaturg specializing in the adaptation of literary and non-literary texts for stage performance with live music. Recent productions include ¡Guaracha!, which premiered Off-Broadway in 2019, We Have Iré (with playwright Paul S. Flores and composer Yosvani Terry), which premiered at YBCA/San Francisco, Dancing In My Cockroach Killers, Betsy! (with Roadside Theater/KY), Brides (with partners in Belgium and the Slovak Republic), and others. Recent distinctions include 2019 Creative Capital Award, and 2018 Doris Duke Artist Award. She is a member of the Tony Awards Nominating Committee and co-Chair of the Association of Performing Arts Professionals 2021 National Conference. With PregonesPRTT Ensemble she has traveled to 37 states/500+ cities in the U.S., and 18 countries.

In this episode we are joined by Wallace scholar Lucas Thompson.  Lucas Thompson is the author of the new book Global Wallace (Bloomsbury) which is the first volume in a new series called "David Foster Wallace Studies" edited by Stephen Burn. Global Wallace centers around the often overlooked sources of influence on Wallace's work. Thompson explores Wallace's connection and borrowing from Manuel Puig, Dostoevsky, hip hop culture, and many others. Thompson is a Research Fellow at the United States Studies Centre at the University of Sydney, Australia. He has published articles in Texas Studies in Literature and Language, Journal of American Studies, The Cormac McCarthy Journal, and Critique: Studies in Contemporary Fiction. Forthcoming book chapters appear in The Cambridge Companion to David Foster Wallace, MLA Approaches to Teaching: David Foster Wallace, and MLA Approaches to Teaching: Jewish American Fiction. His reviews have appeared in US Studies Online, The European Legacy, and Philament, and he has also written for The LA Review of Books.