Podcast appearances and mentions of Margaret Atwood

Programa cargado de cine y poesía. Como todos los días, damos un repaso a la actualidad en 'Gente Que Trabaja'. Hablamos de Julian Barnes, galardonado con el Premio Princesa de Asturias de las Letras de este año y del Óscar que la Academia del Cine les dará a Glenn Close, Ridley Scott y Floyd Norman.Después hablamos de una historia de amor en los invernaderos entre un hombre trans y una mujer de origen marroquí. Son Iván & Hadoum, película de la que hablamos en nuestro estudio con Ian de la Rosa, su director; Silver Chicón, actor y artista multidisciplinar; y Herminia Loh, actriz y artista musical.En 'Verso Suelto', Abraham Boba nos recita la poesía de la escritora estadounidense Margaret Atwood, más conocida por su prosa, pero cuya poesía no deja nada que desear. Hablamos de `Sinceramente´, su nuevo poemario, editado por Salamandra.Terminamos el programa con 'Más allá de John Williams', en donde conoceremos la banda sonora de la película `Backrooms´ de Edo Van Breemen & Kane Parsons; de la serie `The Witness´ de Oliver Coates y del thriller británico `Dragonfly´ de Raffertie.Escuchar audio

Junto a Abraham Boba nos adentramos en Sinceramente (Editorial Salamandra), el último poemario de Margaret Atwood. Una colección de textos lúcidos, afilados y profundamente humanos en los que la autora reflexiona sobre la pérdida, el paso del tiempo, la memoria y la belleza que se esconde en los pequeños detalles de la vida cotidiana.Escuchar audio

Neste Da Prateleira, recebo Beatriz Reder para conversarmos sobre o importantíssimo livro da Norma Braga (Quando o Amor Vira Diagrama) e pensarmos juntas sobre as muitas causas e consequências da cultura do abuso dentro da igreja a partir de teologias doentes. O Da Prateleira é um programa onde eu, Tamyres, indico livros, quadrinhos, filmes, séries ou álbuns que me agradam. Eventualmente com convidados, às vezes sozinha, estou aqui indicando obras e convidando vocês a discorrerem sobre suas impressões nos comentários. PARTICIPANTES: – Tamyres Palma – Beatriz Reder COISAS ÚTEIS: – Duração: 01h05m48s – Feed do Crentassos: Feed, RSS, Android e iTunes: crentassos.com.br/blog/tag/podcast/feed Para assinar no iTunes, clique na aba Avançado, e Assinar Podcast. Cole o endereço e confirme. Assim você recebe automaticamente os novos episódios. – Clube de Leitura da Crentassos, o “LivraSSos” CITADOS NO PROGRAMA: – Livro “Quando o Amor Vira Diagrama” de Norma Braga – Instagram Beatriz Reder – Podcast “Violência Contra a Mulher | Telescópio 162 (com Beatriz Reder) – Ilustração do guarda-chuva – Série “Felicidade Aparente” – Vídeo de Norma Braga e Iago Martins – Pregação da Pastora Helena Raquel na Conferência Gideões Missionários da Última Hora – Livro “O Conto da Aia” de Margaret Atwood – Gênesis 3:16 – Matéria “A campanha contra o voto feminino nos EUA” – 1 Pedro 3 – 1 Coríntios 7 – Efésios 5:25 – Livro “A Construção da Feminilidade Bíblica” de Beth Alisson Barr – Instagram Norma Braga – Substack Norma Braga TRILHA SONORA DO PROGRAMA: – “Postcards From Italy” – Beirut (Ukelele Instrumental por iamblinkin) GRUPOS DE COMPARTILHAMENTO DA CRENTASSOS: – WhatsApp – Telegram JABÁS: REDES SOCIAIS: Críticas, comentários, sugestões para crentassos@gmail.com ou nos comentários desse post. OUÇA/BAIXE O PROGRAMA: The post Quando o Amor Vira Diagrama | Da Prateleira 85 (com Beatriz Reder) appeared first on Crentassos Produções Subversivas.

Valstybinė kultūros paveldo komisija atliko „Dvarų sodybų paveldo apsaugos problemų tyrimą“, kurio išvados verčia suklusti.Tik 40 sekundžių tylos ir lietuviškas balsas, kurio nesitikėjo okupantai. Lietuvos radijo šimtmečio maršrutas veda į Sitkūnus, nedidelę gyvenvietę Kauno rajone. Čia buvo projektuojamos Pirmosios Respublikos ambicijos, uždarame radistų miestelyje kūrėsi šeimos, o radistas Petras Leškevičius Sausio 13-osios naktį per akimirką išgelbėjo laisvą eterį. Nors radijo stotis nebeveikia, atjaunėjusi miestelio bendruomenė bibliotekoje įsteigė jos atminimo muziejų. Su Sitkūnų veteranėmis čia susitiko Kotryna Lingienė.Lietuvoje išleista daugelį prestižinių literatūros apdovanojimų pelniusios Kanados prozininkės, poetės ir literatūros kritikės Margaret Atwood knyga „Popierinis laivelis“.Šiandien LRT KLASIKA 21.30 val. tiesiogiai iš Londono, „Wigmore Hall“ salės transliuos garsaus lietuvių dueto – Asmik Grigorian ir Luko Geniušo – koncertą.Kurortai Europoje ėmė plisti XIX a. pradžioje. Pajūriuose buvo įrengiami paplūdimiai vyrams ir moterims, su pintais krėslais besikaitinantiems saulėje, ėmė rastis kurhauzų, gydymo įstaigų, restoranų ir viešbučių. Palangoje maudyklės veikė jau 1824 m., po pusės amžiaus miestui suteiktos kurorto teisės. Apie Lietuvos pajūrio kurortų ir paplūdimių madas bei taisykles pasakoja Agnė Bukartaitė, aplankiusi savaitgalį Lietuvos jūrų muziejuje atidarytą parodą „Poilsiavimas Lietuvos pajūryje, 1806–1939 m.“.Ved. Donatas Šukelis

[REBROADCAST FROM April 6, 2026] The series "The Testaments," which is based on Margaret Atwood's novel, is set in the same universe as The Handmaid's Tale. It follows Agnes, a teenager attending an elite prep school for future wives. Chase Infinity stars, and she joins us in studio -- along with series creator/showrunner Bruce Miller, before its April 8th premiere on Hulu. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In Episode 225, Sarah and Catherine of Gilmore Guide to Books catch up on the 12 new releases they shared in the Spring 2026 Book Preview, now that they've read them — or at least tried to!  They share their reading stats and discuss which books worked and which didn't…and why.   This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Get the 2026 Summer Reading Guide This year's Summer Reading Guide is bigger than ever — and now available as a full PDF with in-depth write-ups on every book. Here's how to access it: Full PDF Guide (with write-ups): Available to current paying members on Patreon or Substack  Start a free trial (Patreon: 7 days | Substack: 30 days) *Be sure to use the link above to access your free trial on Substack. Free Cheatsheet (no write-ups): Available to everyone on the blog Free Trials close: Friday, May 22 (Memorial Day weekend) When you sign up, you'll also get: 2–3 bonus podcast episodes per month Full back catalog of bonus content Weekly reading updates + more All the details in the recent IMPORTANT DETAILS bonus podcast episode and post. Highlights This time last year, Catherine was rocking a 100% success rate — this year's was "armageddon" Sarah had really successful spring with one 5-star book and only 1 DNF with a total average star rating of 4.15. They name their best and worst books picks for spring! Books We Read Before the Preview April Sarah's Pick The Midnight Show by Lee Kelly and Jennifer Thorne (April 7) | Amazon | Bookshop.org  [3:07]  Spring 2026 Circle Back April Sarah's Picks Into the Blue by Emma Brodie (April 7) | Amazon | Bookshop.org  [8:33]  Leave Your Mess At Home by Tolani Akinola (April 14) | Amazon | Bookshop.org [16:27]  Catherine's Picks American Fantasy by Emma Straub (April 7) | Amazon | Bookshop.org [5:45] Yesteryear by Caro Claire Burke (April 7) | Amazon | Bookshop.org  [12:25]  Like This, But Funnier by Hallie Cantor (April 7) | Amazon | Bookshop.org [19:23]  Other Books Mentioned All the World Can Hold by Jung Yun (2026) [7:59]  The Handmaid's Tale by Margaret Atwood (1985) [14:24]  August Lane by Regina Black (2025) [16:32]  Seven Days in June by Tia Williams (2021) [16:39]  Best Offer Wins by Marisa Kashino (2025) [20:24]  May Sarah's Picks The Mediator (Max Ringo, 1) by Robert Bailey (May 12) | Amazon | Bookshop.org [22:10] The Burning Side by Sarah Damoff (May 19) | Amazon | Bookshop.org [29:39] Returns and Exchanges by Kayla Rae Whitaker (May 19) | Amazon | Bookshop.org  [39:25]  Catherine's Picks The Liar's Playbook by Leslie Bradford-Scott (May 5) | Amazon | Bookshop.org [25:20] The Last Mandarin by Louise Penny and Mellissa Fung (May 12) | Amazon | Bookshop.org  [34:35] The Tapestry of Fate (Amina al-Sirafi, 2) by Shannon Chakraborty (May 12) | Amazon | Bookshop.org  [41:16]  Other Books Mentioned The Boomerang by Robert Bailey (2025) [22:17] Nowhere Girl by Cheryl Diamond (2021) [26:30]  The Bright Years by Sarah Damoff (2025) [29:43]  Culpability by Bruce Holsinger (2025) [33:24]  The Adventures of Amina al-Sirafi (Amina al-Sirafi, 1) by Shannon Chakraborty (2023) [42:06] 

Lucy Halliday lied her way into her first audition, went to medical school convinced acting would never happen for her, and is now starring opposite Elizabeth Moss in the sequel to ‘The Handmaid's Tale'. Lucy's journey to playing the rebel Pearl Girl Daisy in ‘The Testaments' has been anything but straightforward.  In this chat with Josh, Lucy opens up about landing only her third professional job, what it was like to film her first week on set with Elizabeth Moss, and the life-changing advice James McAvoy gave her on the set of California Schemin' that has become her mantra. She also talks candidly about growing up without drama school training and why she would never call herself an actor until very recently. Lucy gets into why The Testaments feel so urgent right now, why the line between the show and reality is terrifyingly thin, and what she thinks needs to change to make young women safer in society today. Oh, and she tells the full story of hyperventilating in Margaret Atwood's face, sitting elbow to elbow with her watching the first episodes back, and what Margaret pulled out of her bag at lunch that nobody was expecting…

Margaret Atwoods debutroman, Den spiselige kvinnen, utkom i 1969. Den handler blant annet om identitet, kjønnsroller og samfunnsstrukturer – alt som er med på å gi vilkårene for et kvinneliv. Står den seg fortsatt, og i så fall på hvilken måte? Oda Cornelia Knudsen leser og forteller.

On the Saturday May 16, 2026 edition of The Richard Crouse Show we’ll meet Jess Gibson. She is a Canadian-born writer (daughter of Margaret Atwood and the late Graeme Gibson), art historian with a Yale PhD, who has lived all over the world. Her first book "The Good Eye" is already generating buzz as a sharp, original, and "bewitching" debut. The stories explore themes like perception vs. reality, the limits of what we "see," betrayal, revenge, and everyday life tilting into the strange or magical. Then, we get to know Nick Fradiani. He rose to national fame in 2015 as the winner of Season 14 of American Idol. His debut album Hurricane featured the hit single “Beautiful Life,” and he has since built a thriving independent career with albums like Past My Past, multiple tours, and heartfelt original music. He is currently bringing Neil Diamond to life in A Beautiful Noise – The Neil Diamond Musical, now playing at the Princess of Wales Theatre in Toronto until June 7. See Mirvish.com for more details.

On the Saturday May 16, 2026 edition of The Richard Crouse Show we'll meet Jess Gibson. She is a Canadian-born writer (daughter of Margaret Atwood and the late Graeme Gibson), art historian with a Yale PhD, who has lived all over the world. Her first book "The Good Eye" is already generating buzz as a sharp, original, and "bewitching" debut. The stories explore themes like perception vs. reality, the limits of what we "see," betrayal, revenge, and everyday life tilting into the strange or magical. Then, we get to know Nick Fradiani. He rose to national fame in 2015 as the winner of Season 14 of American Idol. His debut album Hurricane featured the hit single “Beautiful Life,” and he has since built a thriving independent career with albums like Past My Past, multiple tours, and heartfelt original music. He is currently bringing Neil Diamond to life in A Beautiful Noise – The Neil Diamond Musical, now playing at the Princess of Wales Theatre in Toronto until June 7. See Mirvish.com for more details.

Years ago, Teri Lesegne wrote a book called Reading Ladders, about meeting readers where they are and then guiding them to new heights. It's a lovely image. I've got my own twist on it; I like to think of helping kids get onto the reading escalator. They read the first book I hand them, or their best friend forks over after staying up til midnight to finish it, and boom, they're on that escalator cruising toward the next book without even realizing it. Sometimes it's a series that helps them on, or realizing that audiobooks count, or discovering Jason Reynolds for the first time. Sometimes it's a genre - they grab a Rick Riordan, then the next twelve, then realize that "fantasy" is a thing and cruise straight into Fablehaven, Skandar, and the Unicorn Thief, and Harry Potter. It's a genre I want to talk about today, one that has exploded in popularity over the last twenty years, and just keeps going. Sometimes I think Neal Schusterman is keeping it alive singlehandedly, but then I remember that Margaret Atwood, Adam Silvera, Megan Freeman, and Darcie Little Badger are part of the movement, along with so many others. Have you guessed? Yep, it's dystopia. Dystopia provides a fast-paced reading escalator, with many series integrated inside. Students might pick up The Hunger Games, move through the whole series, snag The Maze Runner, move through the whole series, snag The Uglies, move through the whole series, pick up Scythe, move through the whole series, pick up Divergent, move through the whole series. You get the idea! There are many series-based, fast-paced starting points where students can step onto this reading path and find themselves carried upwards with a whoosh. Then, as they start to understand the genre more and more, and become intrigued with it, there are new angles to explore. They might try Megan Freeman's novel-in-verse, Alone, and its new companion, Away. They might pick up the graphic novel version of The Giver. They might imagine their lives with their internet feed planted inside their head, by reading Feed. Eventually, deep in the genre, they might be ready for Animal Farm, Fahrenheit 451, or another book that will stretch them further. Or, they might be much better positioned to engage those books in your whole class curriculum. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Launch your choice reading program with all my favorite tools and recs, and grab the free toolkit. Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the 'gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

Bekah Eaton is back for another round of book chatter, and this time we're trying not to say the word “interesting” so much! It's very unsuccessful. Even so, we manage to wrap up our discussion of Margaret Atwood's The Blind Assassin, dig into the squirrelly metaphysics and absurdism of There Is No Antimemetics Division, and extol the virtues of recent reads like Chuck Tingle's Lucky Day, George Saunders's Vigil, and Mona Awad's Bunny! It all concludes with a few favorite or not-so-favorite book-to-film adaptation picks.

Margaret Atwood, in conversation with Richard Wolinsky, recorded in the KPFA studios OCtober 3, 2013 while on tour for the novel “Maddaddam.” These days, the great Canadian author Margaret Atwood is best known for her books The Handmaid's Tale and its 2019 sequel, The Testaments, both of which have become acclaimed television series and miniseries, respectively. But along with several other novels, story and essay collections, there's a somewhat satirical dystopian speculative fiction series, known collectively as the Maddadam trilogy, consisting of Oryx and Crake, the Year of the Flood and Maddaddam. I interviewed Margaret Atwood for each book in the series, and this interview, the most recent interview to date, concerned that third novel, Maddaddam. This is the last of eight interviews with Margaret Atwood conducted between the years 1989 and 2013, and has not aired in over a decade. The post Margaret Atwood, The Maddaddam Trilogy, 2013 appeared first on KPFA.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Margaret Atwood:  “Maddaddam,” 2013 Margaret Atwood 2013. Photo: Jean Malek Margaret Atwood, in conversation with Richard Wolinsky, recorded in the KPFA studios OCtober 3, 2013 while on tour for the novel “Maddaddam.” These days, the great Canadian author Margaret Atwood is best known for her books The Handmaid's Tale and its 2019 sequel, The Testaments, both of which have become acclaimed television series and miniseries, respectively. But along with several other novels, story and essay collections, there's a somewhat satirical dystopian speculative fiction series, known collectively as the Maddadam trilogy, consisting of Oryx and Crake, the Year of the Flood and Maddaddam. I interviewed Margaret Atwood for each book in the series, and this interview, the most recent interview to date, concerned that third novel, Maddaddam. This is the last of eight interviews with Margaret Atwood conducted between the years 1989 and 2013, and has not aired in over a decade.     Walter Mosley: The Easy Rawlins and King Oliver Suspense Novels, 2025 Walter Mosley in conversation with Richard Wolinsky, recorded March 5, 2025 discussing his two recent novels, “Been Wrong So Long It Looks Like Right,”  a Joe King Oliver novel, and “Farewell, Amethystine,” an Easy Rawlins novel, now out in trade paperback. Today, Walter Mosley is one of America's leading authors. He is best known for his series of mystery novels featuring the characters of Easy Rawlins and Mouse. To date, there are now twenty non-series novels by Walter Mosley, the most recent titled Touched, published in 2023, Along with three Fearless Jones novels, six Leonid McGill mysteries, three Socrates Fortlow books, three books in the Crosstown to Oblivion series, three books in the King Oliver series, plus two graphic novels, two plays, and six works of non-fiction. Always Outnumbered became a television film in 1998 starring Laurence Fishburne, and a TV miniseries titled The Last Days of Ptolemy Gray, based on Walter Mosley's book, starring Samuel L. Jackson, on Apple+. At present, an adaptation of his novel The Man in My Basement is in post-production. Walter Mosley's follow-up Easy Rawlins novel, Grey Dawn, was published in September 2025. The next King Oliver novel, Hanging and Burning, will be published in October 2026. A stand-alone novel, Ghalen: A Romance in Black, will be published in May, 2026.   The post Bookwaves/Artwaves – April 23, 2026: Margaret Atwood – Walter Mosley appeared first on KPFA.

Following her buzziest — and busiest — awards season yet, Chase Infiniti is starring in Hulu's The Testaments. Based on Margaret Atwood's novel of the same name, the TV series is a coming-of-age drama set in Gilead, 15 years after the events of The Handmaid's Tale. Chase sits down with Tom Power in the Q studio to talk about stepping into Margaret Atwood's world, what she learned on the set of One Battle After Another, and her love of Grease and K-pop choreography.

„Testamenty” na podstawie powieści Margaret Atwood wyrażają bunt młodych kobiet wychowanych w opresyjnej rzeczywistości. Własną definicję wolności podają gwiazdy serialu Disney+, Chase Infiniti, Lucy Halliday oraz znana z „Opowieści podręcznej” Ann Dowd.  Artykuł przeczytasz pod linkiem: https://www.vogue.pl/a/testamenty-serial-recenzja

The final season of "The Handmaid's Tale" wrapped less than a year ago, yet here we are, back inside Gilead. "The Testaments," Hulu's spinoff series based on Margaret Atwood's second novel of the same name, takes viewers several years past the events of the final season. The red cloaks of handmaids are nowhere to be seen. Instead, we follow Plum Girls and Pearl Girls as a new generation of young women navigates this dystopian future, in a show starring Chase Infiniti as Agnes MacKenzie/Hannah Bankole. Infiniti is coming off her starring performance in the Oscar-winning "One Battle After Another." In this episode, co-host Bruce Miller talks with Mattea Conforti (Becka Grove) and Rowan Blanchard (Shunammite), two of the new cast members, who share their thoughts on the current and former series. Additionally, co-host Terry Lipshetz shares his thoughts on the new seasons of "For All Mankind" and "Shrinking," the new film "Project Hail Mary," and AMC's switch from the annual popcorn bucket to its new Popcorn Pass. About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is the retired editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. The show was named Best Podcast in the 2025 Iowa Better Newspaper Contest. Theme music Thunder City by Lunareh, used under license from Soundstripe. YouTube clearance: FV694ULMCJQDG0IY

Merriam-Webster's Word of the Day for April 11, 2026 is: subterfuge • SUB-ter-fyooj • noun Subterfuge is a formal word that refers to the use of tricks to hide, avoid, or get something. // They obtained the documents by subterfuge. See the entry > Examples: “Despite her difficult childhood, Mavis [Gallant] persevered, through grit, bloody-mindedness, an absence of self-pity, and an ironic sense of humor. Lunch with her was always hilarious and often horrifying: the tales she told about her life exceeded in unlikely gruesomeness even her own fiction. She certainly had the ‘cold eye' that Yeats recommended for writers, and she saw through subterfuge, no matter who was trying it on.” — Margaret Atwood, The New Yorker, 6 Apr. 2025 Did you know? Though subterfuge is a synonym of deception, fraud, double-dealing, and trickery, there's nothing tricky about the word's etymology. English borrowed the word with its meaning from the Late Latin noun subterfugium, which in turn comes from the Latin verb subterfugere, meaning “to escape, evade.” That word combines the prefix subter-, meaning “secretly” (from the adverb subter, meaning “underneath”) with the verb fugere, which means “to flee” and which is also the source of words such as fugitive and refuge, among others.

THE TESTAMENTS – “First Look” (Disney)ANN DOWD Welcome back to Gilead? Well, we’re back, ready or not, and here to discuss the latest adventures of the latest generation making their way through Gilead’s oppressive society. In this first podcast, Paul and Caroline discuss the pilot episode, describe the new slate of characters, and compare what we’ve seen to the pages from Margaret Atwood’s novel. Look HERE for more Pod Clubhouse coverage of The Handmaid’s Tale. Follow the Show On Hulu | Facebook | Our Facebook Group | X Follow the Hosts on X Caroline | Paul This podcast was recorded, edited, and produced by Paul and Caroline Daley at Pod Clubhouse Studios and is a Pod Clubhouse Original Production.

Nicole Soroka of Agents of Fandom is joined by the cast of The Testaments at the red carpet of the Canadian premiere. She interviews Chase Infiniti, Ellen Olivia, Ann Dowd, Blessing Adedijo, Lucy Halliday, Zarrin Darnell-Martin, Randall Edwards, Eva Foote, Isolde Ardies, and Executive Producer Warren Littlefield about the new hit TV show set in the same world as Margaret Atwood's The Handmaid's Tale, streaming exclusively on Hulu and Disney+ internationally! (00:00) Warren Littlefield Interview(02:30) Ellen Olivia Interview(05:30) Ann Dowd Interview(07:00) Chase Infiniti Interview(07:45) Lucy Halliday Interview(09:00) Blessing Adedijo Interview(11:00) Zarrin Darnell-Martin Interview(14:00) Randall Edwards Interview(16:30) Eva Foote Interview(19:30) Isolde Ardies InterviewCheck out https://www.agentsoffandom.com for the latest TV and Movie reviews!

Únete a nuestro canal y apoya a FUERA DE SERIES: https://www.youtube.com/channel/UCFNyyACx7XbgZ4-S4jzNnGQ/join Analizamos sin spoilers The Testaments, la esperada secuela de The Handmaid's Tale basada en la novela de Margaret Atwood. Bueno… ¿merece la pena volver a Gilead? Esa es la gran pregunta. En este programa os cuento mis impresiones tras ver los primeros episodios: qué cambia respecto a la serie original, por qué el enfoque hacia una nueva generación funciona (o no), y cómo esta historia apuesta más por el 'coming-of-age' dentro de un sistema opresivo. Hablamos del papel clave de personajes como Agnes y Daisy, interpretadas por Chase Infiniti y Lucy Halliday, y de cómo la serie explora temas como el adoctrinamiento, la identidad o la libertad desde un punto de vista diferente. También comentamos el regreso de Aunt Lydia (Ann Dowd), uno de los personajes más complejos del universo, y cómo su evolución aporta nuevas capas a la historia.

Chase Infiniti har gjort kometkarriär i Hollywood. Hon slog igenom i Oscarsvinnaren One Battle After Another där hon spelade Leonardo DiCaprios tonårsdotter. Nu gör hon huvudrollen i The Testaments. Lyssna på alla avsnitt i Sveriges Radios app. Tv-serien ”The Testaments” på Disney Plus är baserad på Margaret Atwoods roman ”Gileads döttrar”. Ett coming-of-age-drama som utspelar sig i den totalitära och kvinnoförtryckande staten som vi först mötte i ”The Handmaid´s Tale”. I serien så kommer en ny tjej, Daisy, till skolan. En vänskap med Agnes, som Chase Infiniti spelar, växer fram och en rebellisk gnista tänds i Gilead.P1 Kulturs Björn Jansson har intervjuat Chase Infiniti och Lucy Halliday, som spelar Daisy. Medverkar gör också seriens showrunner Bruce Miller.

On this episode of The Movie Podcast, Daniel and Shahbaz are joined by Lucy Halliday and returning friend of the show Chase Infinity to discuss their new series THE TESTAMENTS. An evolution of The Handmaid's Tale, The Testaments is based on Margaret Atwood's novel of the same name and is a dramatic coming-of-age story set in Gilead. The series, which filmed in Toronto, follows young teens Agnes, dutiful and pious, and Daisy, a new arrival and convert from beyond Gilead's borders, as their bond becomes the catalyst that upends their past, present, and future. The Testaments premieres with three episodes on Wednesday, April 8 on Hulu on Disney+ in Canada. Watch and listen to The Movie Podcast now on all podcast platforms, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheMoviePodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. EXCLUSIVE NordVPN Deal ➼ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nordvpn.com/moviepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Try it risk-free now with a 30-day money-back guarantee! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out our new ⁠⁠⁠⁠The Movie Podcast Clips Channel!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hello@themoviepodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW US⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Daniel on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Shahbaz on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Anthony on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The Movie Podcast on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rotten Tomatoes⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special episode of Behind The Geeks, we sit down with Rowan Blanchard (Shunammite) and Mattea Conforti (Becka) from The Testaments. Based on the novel by Margaret Atwood, The Testaments continues the story of Gilead as a powerful coming-of-age drama set in the world established by The Handmaid's Tale. We discuss how Rowan and Mattea collaborated with writers, directors, and showrunners to bring their characters to life, and explore the complex dynamic between two young women navigating the same oppressive world in very different ways. While their friendship is strong, their beliefs—and what they want from Gilead—couldn't be more different. The Testaments premieres with three episodes on Wednesday, April 8 on Hulu on Disney+ in Canada, with new episodes dropping weekly.  Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord HEREFollow Eatcentric - Same geeks. New Eats

The series "The Testaments," which is based on Margaret Atwood's novel, is set in the same universe as The Handmaid's Tale. It follows Agnes, a teenager attending an elite prep school for future wives. Actor Chase Infinity talks about the series, along with creator/showrunner Bruce Miller, ahead of its April 8th premiere on Hulu. Still courtesy of Disney+

Send us Fan MailWelcome to season 5 of the Another Way To See It Podcast. On this episode we talk about the blurred space that we're currently occupying. Facing the deluge of heartbreaking headlines, trying to decipher if the news is real,  if the videos we watch are real. Sometimes it can feel like were in Margaret Atwood's novel The Handmaid's Tale, or Isaac Asimov's I Robot. We need to feel real ground inside and outside of our bodies. On this episode we talk about ways to cultivate ground in turbulent times.Please reach out we love to hear from you, and please support our podcast by liking it on whatever platform you listen, sending it to a friend, and if possible donating. We are interdependent media creators and you, the listener, is the reason we keep showing up. Coaches:  Kim Moranhttps://www.kimmorancoaching.com/https://www.instagram.com/kimcalifornia/ Tracy Holemeyerhttps://www.uncontrollablyme.com/https://www.instagram.com/uncontrollably_me/Join our grief group:https://www.uncontrollablyme.com/befriending-grief Produced by: Kim MoranMusic: Wishing Star by Big Score Audio Support the show

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

Right out of the pages of Margaret Atwood's The Handmaid's Tale, Republicans in Ohio proposed a bill that would "allow the government to track every pregnancy, beginning to end." Ali Velshi explains.

Margaret Atwood is best known as the author of The Handmaid's Tale, and she's won a slew of awards for her novels, poetry collections, and children's books. Now, at the age of 86, she's written her first memoir, The Book of Lives. In this episode, Adam and Margaret break down her perspective on what creative jobs AI will and won't threaten and discuss the evidence on the benefits of reading banned books. They also muse about why heroes need monsters and what it means to be delightfully disagreeable.Learn more about our flagship conference happening this April at attend.ted.com/podcast Hosted on Acast. See acast.com/privacy for more information.

We're kicking off a fresh batch of FYIZ episodes with something new: a monthly check-in with Bekah Eaton where we discuss the books we've just finished reading, the books we're reading now, and the books we plan to read next. So, in other words it's the coolest thing in the world that anyone could listen to. Featured in this installment: Watership Down! Margaret Atwood's The Blind Assassin! A lengthy breakdown of J.M. Barrie's Peter & Wendy! And more!

What happens when you order two half-sheet cakes without knowing their actual size? You'll end up sending guests home with massive amounts of leftovers (which is exactly what happened at this birthday celebration).This week's conversation covers everything from questionable movie theater encounters to the most exciting 8-7 hockey game featuring multiple fights and power play goals. The Sabres' impressive turnaround under returning coach Lindy Ruff gets discussed, along with deep cleaning discoveries like smudged walls and dusty cabinet floors that somehow go unnoticed for months. There's also the bizarre turkey pot pie incident at West End Inn in Hamburg, imagine ordering pot pie and receiving spicy soup with pita bread instead. The kind waitress agreed it looked disgusting and offered to remove it from the menu entirely.The speakers also share their weekend activities, including a haul from Palette Bros in Hamburg where everything costs just five dollars on special days, watching Paradise with Shailene Woodley, and dealing with persistent dog accidents requiring enzymatic carpet treatment. They touch on reading The Testaments by Margaret Atwood, starting a new podcast called The Great Vine, and watching Heart Stoppers, a British series about LGBTQ+ youth that hits them emotionally.Tune in for all the entertaining details and relatable weekend chaos.

¿Sabías que Sor Juana Inés de la Cruz firmó su rendición con su propia sangre, que Violeta Parra llevó sus bordados al Louvre cuando nadie creía que una mujer latinoamericana podía estar ahí, o que Nina Simone compuso su canción más rabiosa en respuesta a un asesinato racial? En este Jueves de Biografías, exploramos las historias reales, y muchas veces silenciadas, de mujeres que transformaron la música, el cine, la literatura y la cultura popular a puro talento y valentía.  Mujeres que no esperaron que les abrieran la puerta, que pagaron un precio por atreverse, y cuyas historias siguen siendo más urgentes que nunca. Un episodio sobre  arte, feminismo, resistencia y cultura que no querrás perderte.

Découvrez la passionnante analyse de La Servante Écarlate, chef d'oeuvre de Margaret Atwood par Pauline Montassine, docteure en Littérature Canadienne. Anatomie d'un chef d'oeuvre Classique parmi les classiques, il fallait bien que nous fassions un épisode entier pour analyser ce chef d'oeuvre de la science-fiction. En 1985, la romancière canadienne Margaret Atwood écrit une des grandes dystopies littéraires à mettre au même niveau que 1984, Nous et Le Meilleur des Mondes. Margaret Atwood ,qui vient de la littérature générale, suit la première vague d'autrices SF des années 80 avec Joan D. Vinge, C.J. Cherryh, Connie Willis ou Lois McMaster Bujold. La Servante Écarlate sera considéré comme un phénomène dés sa sortie et s'imposera comme étant incontournable. Le roman sera rédécouvert par la nouvelle génération avec l'élection de Donald Trump et l'adaptation du roman par Bruce Miller avec l'actrice Elisabeth Moss en tête d'affiche. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode, we talk to Courtney Barnett, who broke into the musical mainstream a little over a decade ago as an Aussie singer-songwriter with deadpan delivery, with work veering from the witty and rambling to something evoking Margaret Atwood. The Grammy-nominated artist chats to Konrad Marshall from her home in Los Angeles, where she's about to release her fourth album, "Creature of Habit".See omnystudio.com/listener for privacy information.

“If you disestablish Christianity, then Christian leaders need to make Christianity a consumer product. They need to give the American people something they want.” — Matthew Avery SuttonOver the years, Keen On has done many shows on the relationship between the United States and organized religion. Daniel Williams argued that smart people still believe in God. Jim Wallis warned that a false white gospel is threatening America. But we've never quite done a show on Christianity as “the thing in itself”—the force that made America what it is, for better and for worse. That's what this conversation is about.Historian Matthew Avery Sutton's new book, Chosen Land: How Christianity Made America and Americans Remade Christianity, is a sweeping argument that Christianity is not just part of the American story—it is the American story. The founders created a godless Constitution not out of principle but pragmatism: they couldn't pick a winning denomination. The unintended consequence was to open the floodgates. Powerful Protestant groups seized even more power, building an unofficial establishment that shaped everything from westward expansion to the Civil War to the rise of the religious right.Sutton's most provocative insight is that disestablishment turned Christianity into a consumer product. Forced to compete for adherents against entertainment, sports, and media, American churches became entrepreneurial, technologically savvy, and relentlessly current—reinventing themselves every generation. That's what sets American Christianity apart from the rest of the Western world. It also helps explain Trump: a president who uses Christianity in a “crass, overt, and hypocritical” way, but who is doing something that generations before him built the infrastructure to enable. Whether this is Christianity's last gasp or the prelude to another great revival, Sutton says, nobody knows. But the air we breathe in America is Christian air, and this book explains how it got that way. Five Takeaways•       The Godless Constitution Backfired: The founders couldn't pick a winning denomination, so they disestablished religion. It was pragmatic, not ideological. But this opened the floodgates. The Christians who already had the most power—Methodists, Baptists, Episcopalians, Presbyterians—seized even more, creating an unofficial Protestant establishment that determined who was in and who was out.•       Christianity Became a Consumer Product: Disestablishment forced churches to compete for adherents. They had to be aggressive, entrepreneurial, current—competing with entertainment, sports, and media. They became masters of new technologies and communication, reinventing Christianity every generation. That's what sets American Christianity apart from the rest of the world: an unintended consequence of the First Amendment.•       The Civil War Was Christians Killing Christians: Presbyterians killing Presbyterians, Methodists killing Methodists. It exposed the fragility of the effort to build a Christian utopia when you can't settle the question of slavery. The Confederates actually wrote God and Jesus Christ into their constitution—they believed the Union had gone off the rails because its Constitution was too godless.•       The Liberationists Are the Heroes: Indigenous preachers who saw Jesus as liberator, Black Christians, gay rights activists in the 1960s and 1970s, Barack Obama. There have always been alternative visions of Christianity in America. Sutton's heroes are those who see Jesus as a radical figure who wants to overturn hierarchies and bring equality.•       This May Be Christianity's Last Gasp—Or Not: Just under two-thirds of Americans now identify as Christian—a historic low. Trump's hypocrisy is driving young people away. In anointing Trump as their savior, the religious right may have hammered the final nail into their coffin. But every time scholars predict secularization, America has a revival. Nobody knows what's next. About the GuestMatthew Avery Sutton is the Claudius O. and Mary Johnson Distinguished Professor and chair of the Department of History at Washington State University. He is the author of Chosen Land: How Christianity Made America and Americans Remade Christianity as well as American Apocalypse and Double Crossed, and a recipient of a Guggenheim fellowship.ReferencesPrevious Keen On episodes mentioned:•       Daniel Williams on why smart people still believe in God•       Jim Wallis on the false white gospel and faith and justice•       Margaret Atwood on The Handmaid's TaleAbout Keen On AmericaNobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States—hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,800 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting.WebsiteSubstackYouTubeApple PodcastsSpotify Chapters:(00:00) - Introduction: Christianity as "the thing in itself" (02:11) - Is this really a surprise? (04:05) - Which Christianity? Questions of power (06:36) - The founders and the godless Constitution (08:55) - Was it a coup? (11:15) - Jacksonian democracy and revivalism (12:56) - Colonizing the West and Native Americans (16:03) - What does evangelical actually mean? (17:31) - The Civil War as a religious war (21:05) - Max Weber and Christianity as consumer product (28:02) - Margaret Atwood and The Handmaid's Tale (30:17) - Peter Thiel and the Antichrist (36:31) - Is this Christianity's last gasp?

A conversation between two acclaimed Canadian authors – Margaret Atwood and Michael Crummey on ‘The Art of the Story'. A live discussion about writing, reading, what makes Canadian authors unique and the publishing landscape. Atwood is one of Canada's most celebrated writers, recently published Book of Lives: A Memoir of Sorts. Crummey is the author of numerous short stories, poetry and novels, his most recent work being The Adversary. This recording was from a live event at The Globe and Mail headquarters in Toronto on Dec.1, 2025, as part of celebrations for The Globe 100, an annual list of the most notable reads. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Host Jo Reed and Laura Rossi dive into three Earphones Award–winning audiobooks: James Patterson's Return of the Spider, Margaret Atwood's Book of Lives, and Ryan Goldberg's Bird City. They talk about Dion Graham and Fred Berman's gripping dual performance in Patterson's 34th Alex Cross thriller; Atwood's reflective memoir in her own gravelly, unmistakable voice; and the charm of an unexpected New York City birding adventure to which Evan Sibley brings a naturalist's clarity to the narration. Together, they explore how each audiobook offers a distinct listening experience—from high-stakes suspense to literary self-examination to close observation of the natural world. Audiobooks Discussed: Return of the Spider: An Alex Cross Thriller by James Patterson, read by Dion Graham and Fred Berman (Hachette Audio) Book of Lives, written and read by Margaret Atwood (Random House Audio) Bird City: Adventures in New York's Urban Wilds by Ryan Goldberg, read by Evan Sibley (Hachette Audio)   Learn more about your ad choices. Visit megaphone.fm/adchoices

Author Margaret Atwood talks with Jon Wertheim about her dystopian classic, "The Handmaid's Tale", and why she thinks it became a cultural touchstone. Salman Rushdie came to terms with the attempt on his life the only way he knew: by writing about it in his book, "Knife". He detailed the experience in his first television interview following the attack, when he sat down with Anderson Cooper in 2024. Correspondent Cecilia Vega takes us behind the scenes of the Guinness World Records to reveal a rigorous auditing system—one that proves that, as impossible as the feats may seem, every one is real. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Carney's speech made headlines around the world and positions Canada as a global thought leader. Why did it capture so much international attention, and will Carney's Davos kudos benefit Canada in the long run? Jan Wong joins to unpack Carney's rhetorical triumph and to dish on Margaret Atwood's lunch beef 30 years later. Host: Jesse BrownCredits: James Nicholson (Producer), Kattie Laur (Associate producer and Fact Checking) Caleb Thompson (Mixing and Mastering), max collins (Director of Audio), Jesse Brown (Editor)Guest: Jan Wong Call in to Off The Record on Thursday, January 29 from 4:30pm to 6:30pm EST by going to callinstudio.com/show/canadaland or dialing in at 888-401-7056 Further reading: Carney's Davos speech draws reaction from around the world | CBC News Mark Carney's Davos speech: Reaction from BBC, NYT, Rolling Stone - CTV News Mark Carney's Davos speech is a ‘manifesto of free people.' Here's what else the world is saying - Toronto Star As the world inches back to a pre-WW2 order, the 'middle powers' face a grave new challenge - BBC New Zealand is fiddling while the world ruptures. We need to listen to Mark Carney - Steve Maharey - New Zealand Herald ‘A rupture, not a transition': The Davos bombshell that Australia can't ignore - Sydney Morning HeraldCarney makes clear the world's choice - The Japan Times Time for Western middle powers to wake up - Opinion - Chinadaily.com.cn Michael Taube: I'm a speechwriter. Carney did better than Trudeau at Davos. But that's a low bar - National PostPierre Poilievre: Carney's Davos speech highlights that it is Liberal rhetoric that doesn't match reality- National Post Margaret Atwood can read your palm and holds a grudge - The National - CBC [Video]Federal Conservatives trade journalists for partisan cheerleaders | Canada's National Observer: Climate News Sponsors: Squarespace: Check out Squarespace.com/canadaland for a free trial, and when you're ready to launch use code canadaland to save 10% off your first purchase of a website or domain.MUBI: To stream great cinema at home, you can try MUBI free for 30 days at mubi.com/canadaland.BetterHelp: Visit BetterHelp.com/canadaland today to get 10% off your first month. If you value this podcast, Support us! You'll get premium access to all our shows ad free, including early releases and bonus content. You'll also get our exclusive newsletter, discounts on merch at our store, tickets to our live and virtual events, and more than anything, you'll be a part of the solution to Canada's journalism crisis, you'll be keeping our work free and accessible to everybody. Hosted on Acast. See acast.com/privacy for more information.

Host Meg Wolitzerpresents three stories about characters who try an end run around trouble, sometimes doing more harm than good.  In Joe Meno's “Animal Hospital” a well-meaning father is surprised by his kids response to “let's play doctor.”  The reader is Becky Anne Baker, and an interview with Meno is featured in the show.  In “The Silk Handkerchief,” by Sait Faik Abasiyanik, a thief and a night watchman have a moment of rapport.  It's read by Amir Arison.  And Margaret Atwood's recurring couple Tig and Nell try to stave off the inevitable by taking a  “First Aid” class. The reader is Maggie Siff. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jann, Caitlin, and Sarah are reunited for episode two of season six! They discuss the overwhelming feelings of uncertainty and worry in today's world, particularly in light of global events. They explore the importance of creativity and connection coping strategies, and the emotional toll of being aware of global issues. They also discuss the importance of understanding differing perspectives, tolerance, and the role of empathy in navigating difficult conversations. They also spend a few minutes discussing the Golden Globe Awards, celebrating how Good Hang with Amy Poehler won the first Golden Globe award in the Best Podcast category. Come join us on Patreon to hear about Sarah's trip to Costa Rica and upcoming book club plans for this month's zoom for Margaret Atwood's Book of Lives. #ASKJANN - want some life advice from Jann? Send in a story with a DM or on our website. Leave us a voicenote! ⁠www.jannardenpod.com/voicemail/⁠⁠ Get access to bonus content and more on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/JannArdenPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.jannardenpod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/jannardenpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/jannardenpod (00:00) Navigating Uncertainty in Today's World (06:01) The Fight for Freedom in Iran (11:59) The Impact of Global Events on Personal Well-being (20:01) Finding Balance: Creativity and Connection (28:01) Wishes for a Better World (32:32) Understanding Polarization and Human Behavior (38:42) The Rise of Podcasting and Its Impact (40:10) Navigating Difficult Conversations (46:14) The Future of Podcast Awards Learn more about your ad choices. Visit megaphone.fm/adchoices

The Handmaid's Tale is often framed as a warning about America's future but is it rewriting America's past? Author Margaret Atwood has argued that the story reflects real historical patterns.But Dr. Phil and historian and author Danny Stein challenge that claim, arguing the story is pure fiction that misrepresents and attacks America's religious roots.Thank you to our sponsor:NMLS 182334, https://nmlsconsumeraccess.org. APR for rates in the 5s start at 6.196% for well qualified borrowers. Call 888-841-1319, for details about credit costs and terms. Or https://americanfinancing.net/PhilWatch Dr. Phil on TV (Subscriptions needed):Spectrum/Charter - https://www.spectrum.com/cable-tv/channel-lineup (Search for Envoy TV; Channel may vary by location)Frndly TV - https://watch.frndlytv.com/channel/live/envoy_tvFAST (No subscriptions needed):SamsungTV Plus - Channel 2977 or found in the category Lifestyle & Pop CultureLocal Now - Download the app on your CTV or stream via Web https://localnow.com/channels/envoy-fastVIDAA on Hisense TV's:Watch on Hisense TV's with VIDAA OS or download the VIDAA App:IOS: https://apps.apple.com/gb/app/vidaa/id1526408639Google Play: https://play.google.com/store/apps/details?id=com.universal.remote.multi&hl=en_USSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We live in an ever-changing world, but it is not always obvious what kinds of evolutionary change we are seeing in the broader web of life: in physiology, behaviour, language - and human responses to these.  How plastic is the natural world? How resilient?  How capable - or not - of adapting to the chaos of the climate emergency, the cascade of toxins in our air, soil and water, to the plastics, heavy metals and other detritus we throw out into the world as if the entire planet were one vast sewer for waste we forget about as soon as we've had the dopamine drip that acquiring it evoked? How thin is the ice on which we are skating?  And how can we change the ways we do things so we don't fall into the void of extinction. Our guest this week spends his life exploring these questions. David Farrier is Professor of Literature and the Environment at the University of Edinburgh. David's first book, Footprints: In Search of Future Fossils, looked at the marks we are leaving on the planet and how these might appear in the fossil record in the deep future. It was named by both The Times and Telegraph as a book of the year, earned praise from Robert Macfarlane and Margaret Atwood, and has been translated into ten other languages. His most recent book is the one we're going to be exploring today - Nature's Genius: Evolution's Lessons for a Changing Planet is one of the few non-fiction books I've come across that is capable both of going deep into the science of the anthropocene - the full genetic, chemical, noise-pollution havoc of it and going deep into how we can engage with indigenous cultures, languages and ways of thought so that we in the western trauma culture might become something new.  As he says early in the book, 'We pollute because we see ourselves as separate from the rest of the living world, but…learning to coordinate our time with nature's rhythms…could revolutionise our politics.'  The whole quote is in the episode. What you need to know now is that this is a genuinely ground-breaking, mind-opening book and I cannot imagine better reading as we step into 2026.  If you need to know I'm not alone in thinking this, it has been shortlisted for the Wainwright Prize for Conservation Writing, and the Saltire Award (Scotland's national book awards) for non-fiction. For the New Scientist and Waterstone's bookshop, it is 'Best popular Science Book of 2025'.  You do need to read this.  And in the meantime, enjoy a conversation that left me buzzing for long after we stopped recording. David's booksFootprints: In Search of Future Fossils https://uk.bookshop.org/p/books/footprints-david-farrier/6489943Nature's Genius: Evolution's Lessons for a Changing Planet https://uk.bookshop.org/p/books/nature-s-genius-evolution-s-lessons-for-a-changing-planet-david-farrier/7811885David on BlueSky https://bsky.app/profile/david-farrier.bsky.socialDavid on Instagram https://www.instagram.com/proffarrier/If you'd like to support us, the best way is to come and join the Accidental Gods Membership: that way you can share in the ideas, the programme that will help you connect to the Web of Life in ways that will last—and you can come to the Gatherings half price. Or if that doesn't appeal, come along to one of the Gatherings. Or buy a subscription/Gathering for a friend... do something that feels like a good exchange of energy and minimises our connection with old economic paradigm. Remember that if any of this is difficult, contact us and we'll find something that works for you. Details below: What we offer: Accidental Gods, Dreaming Awake and the Thrutopia Masterclass If you'd like to join our next Open Gathering offered by our Accidental Gods Programme, it's 'Honouring Fear as your Mentor' on Sunday 8th February 2026 from 16:00 - 20:00 GMT - details are here You don't have to be a member -but if you are, all Gatherings are half price.If you'd like to join us at Accidental Gods, this is the membership where we endeavour to help you to connect fully with the living web of life. If you'd like to train more deeply in the contemporary shamanic work at Dreaming Awake, you'll find us here. If you'd like to explore the recordings from our last Thrutopia Masterclass, the details are here

On this week's episode of The Big Interview, the author of The Handmaid's Tale, Margaret Atwood talks about Elon Musk, political resistance, and why she still has hope for America's future.Join WIRED's best and brightest on Uncanny Valley as they dissect the collision of tech, politics, finance, and business, from Alexis Ohanian's newest tech venture to the effects of inaccurate information from artificial intelligence (AI) chatbots on social protests. Learn about your ad choices: dovetail.prx.org/ad-choices

Margaret Atwood is a Canadian writer. She has published more than sixty books spanning novels, poetry, short stories, non-fiction, children's literature, and graphic novels, and has been called “one of the sharpest and most imaginative novelists writing in English”. She is one of only four writers to have won the Booker Prize twice: for The Blind Assassin in 2000 and for her 2019 follow-up to The Handmaid's Tale, The Testaments.Margaret was born in Ottawa in November 1939, shortly after the outbreak of World War II, the second of three children to Carl Atwood, an entomologist. During her early life, she would spend the warmer months in the remote forests of northern Quebec and Ontario where her father tracked insect infestations, and the winters in the city (first Ottawa, later Toronto). She didn't attend school for a full year until the age of twelve.Her childhood scribblings – a “novel” about an ant called Annie, a volume of rhyming poems about cats, and a play about a giant – turned into a more serious ambition to become a writer when Margaret was sixteen. After studying English at the University of Toronto, where she began publishing poems in the college magazine, her first novel, The Edible Woman, came out in 1969, following five collections of poetry. Her most famous work, The Handmaid's Tale, was published in 1985 and depicted a dystopian vision of the United States as a patriarchal and totalitarian place called Gilead. Although it was written during the Reagan era, it has become eerily relevant again in the wake of the election of Donald Trump. Margaret lost her life partner, the writer Graeme Gibson, in 2019. She lives in Toronto.DISC ONE: Anchors Aweigh - US Navy Band DISC TWO: Hearts of Stone - The Charms DISC THREE: Offenbach: Les contes d'Hoffmann, Giulietta Act: Barcarolle. Belle nuit, ô nuit d'amour. Performed by Joan Sutherland (soprano) Huguette Tourangeau (soprano), Plácido Domingo (tenor), Andre Neury (bass), Pro Arte Choir, Lausanne, Choeur Du Brassus, Choeur de la Radio Suisse Romande, Orchestre de la Suisse Romande, conducted by Richard Bonynge DISC FOUR: Four Strong Winds - Ian & Sylvia DISC FIVE: Barrett's Privateers - Stan Rogers DISC SIX: The Handmaid's Tale, Act I Scene 6: The Doctor. Composed by Poul Ruders and performed by Marianne Rorholm, Hanne Fischer (Mezzo-sopranos), Royal Danish Opera Chorus and Royal Danish Orchestra, conducted by Michael Schønwandt DISC SEVEN: We Praise the Tiny Perfect Moles - Orville Stoeber DISC EIGHT: Symphony No. 6 in F Major, Op. 68 "Pastoral": II. Scene am Bach. Andante molto moto. Composed by Beethoven and performed by Philharmonia Orchestra, conducted by Otto Klemperer BOOK CHOICE: How to Survive on a Desert Island by Samantha Bell LUXURY ITEM: A knife and matchbox CASTAWAY'S FAVOURITE: Hearts of Stone - The Charms Presenter: Lauren Laverne Producer: Sarah Taylor

Greg McKeown is the author of two New York Times bestsellers, Essentialism: The Disciplined Pursuit of Less and Effortless: Make It Easier to Do What Matters Most. 200,000 people receive his weekly 1-Minute Wednesday newsletter, and he recently released The Essentialism Planner: A 90-Day Guide to Accomplishing More by Doing Less. Sponsors:Momentous high-quality creatine for cognitive and muscular support: https://livemomentous.com/Tim (Code TIM for 35% off your first subscription.)Shopify global commerce platform, providing tools to start, grow, market, and manage a retail businessHelix Sleep premium mattresses: https://helixsleep.com/timCoyote the card game​, which I co-created with Exploding Kittens: https://coyotegame.com*Show notes: https://tim.blog/2025/01/09/personal-reboot-greg-mckeown/*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Margaret Atwood is best known as the author of The Handmaid's Tale, and she's won a slew of awards for her novels, poetry collections, and children's books. Now, at the age of 86, she's written her first memoir, The Book of Lives. In this episode, Adam and Margaret break down her perspective on what creative jobs AI will and won't threaten and discuss the evidence on the benefits of reading banned books. They also muse about why heroes need monsters and what it means to be delightfully disagreeable. Host & GuestAdam Grant (Instagram: @adamgrant | LinkedIn: @adammgrant | Website: https://adamgrant.net/)Margaret Atwood (Instagram: @therealmargaretatwood | Website: https://margaretatwood.ca/)Linkshttps://margaretatwood.substack.com/Follow TED! X: https://www.twitter.com/TEDTalksInstagram: https://www.instagram.com/tedFacebook: https://facebook.com/TEDLinkedIn: https://www.linkedin.com/company/ted-conferencesTikTok: https://www.tiktok.com/@tedtoks Podcasts: https://www.ted.com/podcastsFor the full text transcript, visit ted.com/podcasts/worklife/worklife-with-adam-grant-transcripts Hosted on Acast. See acast.com/privacy for more information.

For years, someone was tricking publishers into handing over yet-to-be-published manuscripts—from bestselling authors and total unknowns alike. There were no ransom demands. The books were not leaked. The motive was unclear. An international mystery that baffled the publishing world for years. But two journalists in lockdown set out to solve the mystery and uncover the peculiarly obsessed culprit.Chameleon is a production of Campside Media and Audiochuck.Follow Chameleon on Instagram @chameleonpod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Margaret Atwood is one of the most famous and prolific authors of the modern era. Though best known for her 1985 hit “The Handmaid's Tale,” her dozens of works span literary genres — poetry, novels, children's books, essays, short stories — and often defy neat categorization. Now, at 86, Atwood has written her first memoir. At roughly 600 pages, it's an intimate look at the ways her personal life inspired and shaped her writing.  Kara and Atwood talk about her lifelong passion for the outdoors, how she decided to become a poet when she was just a teenager, and her reputation for having an eerie prescience about major world events. They also talk about Atwood's fears about the Trump administration's use of power, and why she still considers herself to be a hopeful person despite her predilection for dark stories.  Questions? Comments? Email us at on@voxmedia.com or find us on YouTube, Instagram, TikTok, Threads, and Bluesky @onwithkaraswisher. Learn more about your ad choices. Visit podcastchoices.com/adchoices