POPULARITY
4 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
2 episodes with maryse cond
Hello vous,J'espère que vous allez bien. Que ce mois de juin vous laisse un peu de temps pour souffler, ressentir, peut-être créer. Aujourd'hui, je vous retrouve avec une newsletter un peu particulière, à la frontière entre le journal intime, la réflexion spirituelle, et le partage de cœur à cœur.J'ai vu un film. Et ce film m'a bouleversée.C'est pour ça que j'ai eu envie de vous proposer une lecture émotionnelle — pas une critique technique, pas une analyse de scénario, non. Juste une prise de parole à hauteur d'âme. Une tentative de mettre des mots sur ce que ce film a réveillé, soulevé, dérangé, apaisé aussi, en moi.Ce film, c'est Sinners.
La comédienne Natahaly Coualy présente le spectacle Enfin libre, Désirada, adaptation du roman Désirada de Maryse Condé. La représentation est prévue le 10 mai à Champigny-Sur-Marne. Sandrine Nnanga, artiste musicienne camerounaise, en concert au théâtre Traversière, à Paris, ce vendredi 9 mai. Pour visionner les clips, cliquez sur les titres des chansons : Brenda Fassie – Vul'indelaCharlotte Dipanda – Promesses manquéesSandrine Nnanga – Ton feuSandrine Nnanga feat Locko – Pas de toi sans moiSandrine Nnanga – MélodieRetrouvez notre playlist sur Deezer.
La comédienne Nathaly Coualy présente le spectacle Enfin libre, Désirada, adaptation du roman Désirada de Maryse Condé. La représentation est prévue le 10 mai 2025 à Champigny-Sur-Marne. Sandrine Nnanga, artiste musicienne camerounaise, en concert au théâtre Traversière, à Paris, ce vendredi 9 mai. Pour visionner les clips, cliquez sur les titres des chansons : Brenda Fassie – Vul'indelaCharlotte Dipanda – Promesses manquéesSandrine Nnanga – Ton feuSandrine Nnanga feat Locko – Pas de toi sans moiSandrine Nnanga – MélodieRetrouvez notre playlist sur Deezer.
durée : 00:31:10 - Les Nuits de France Culture - par : Philippe Garbit - Maryse Condé dans cet entretien de 1987 dans l'émission "Agora" parle de son roman "Moi, Tituba, sorcière de Salem", de son rapport à l'Afrique, aux Antilles, de la langue créole et des problèmes qu'elle pose aux féministes... - réalisation : Virginie Mourthé - invités : Maryse Condé Écrivaine, journaliste et professeure de littérature guadeloupéenne
Hoy hemos empezado por lo último de Antonio Manzini, «Ay el amor el amor», libro con el que ilustramos el pódcast. «Condenados a escribir» de Daria Galateria es la segunda de las novedades; y «Animales difíciles», de Rosa Montero, la tercera.En cuanto al resto de recomendaciones: «Café y cigarrillos», de Ferdinand von Schirach; «Vera», de Elizabeth von Arnim; «Suave es la noche», de Scott Fitzgerald; y «Victoire. La madre de mi madre», de Maryse Condé.
In deze speciale eindejaarsaflevering blikken we terug op bijzondere mensen die het afgelopen jaar overleden. (01:25) Annette van Soest praat met Mony Rusch, weduwe van Yab Yum-oprichter Theo Heuft die op 10 juni 2024 overleed. (21:14) Botte Jellema praat met boekrecensent Annemarie Terhell over jeugdboekenschrijver Tonke Dragt die op 12 juli 2024 overleed. (39:30) Inge ter Schure praat met Henk Schiffmacher, vriend van beeldend kunstenaar en schrijver Jan Cremer. Hij overleed op 19 juni 2024. (59:16) In het tweede uur aandacht voor Michaela DePrince. Ze groeit op in een weeshuis in Sierra Leone. Door haar enorme doorzettingsvermogen en grote talent lukt het haar om topballerina te worden. Op 10 september overleed ze. Ze werd 29 jaar. (01:11:05) U hoort over Dries van Agt, de markante drievoudig oud-premier en CDA-leider. Hij overleed samen met zijn vrouw Eugenie van Agt-Krekelberg. Ze stierven hand in hand. (01:27:45) En over de ‘grande dame' van de Franstalige literatuur: Maryse Condé. Voor de Nobelprijs voor de Literatuur bleef de Guadeloupse een eeuwige favoriet. (01:43:40) Ook opnieuw aandacht voor striptekenaar Akira Toriyama, de bedenker van Dragon Ball, de wereldwijd bekende mangareeks waar later de populaire animatieserie Dragon Ball Z op is gebaseerd.
Earlier this week Diane hosted a special edition of The Diane Rehm Book Club, her monthly series held on ZOOM in front of a live audience. This month she asked some of her favorite book lovers to join her to talk about their favorite reads of year. And they did not disappoint. Her guests were Ann Patchett, novelist and owner of Parnassus Books, Eddie Glaude Jr., professor of African American Studies at Princeton University and author of several books on race and politics, and Maureen Corrigan, book critic on NPR's Fresh Air. She also teaches literary criticism at Georgetown University. See below for a list of each guest's top books of the year, along with all of the titles discussed during this conversation. Maureen Corrigan's top books of 2024: “James” by Percival Everett “Colored Television” by Danzy Senna “Long Island” by Colm Tóibín “Tell Me Everything” by Elizabeth Strout “Martyr!” by Kaveh Akbar “Creation Lake” by Rachel Kushner “Cahokia Jazz” by Francis Spufford “The God of the Woods” by Liz Moore “A Wilder Shore” by Camille Peri “The Letters of Emily Dickinson” edited by Cristanne Miller and Domhnall Mitchell Ann Patchett's top books of 2024: “James” by Percival Everett “Martyr!” by Kaveh Akbar “Colored Television” by Danzy Senna “Sipsworth” by Simon Van Booy “Tell Me Everything” by Elizabeth Strout “Mighty Red” by Louise Erdrich “Time of the Child” by Niall Williams “An Unfinished Love Story” by Doris Kearns Goodwin “The Backyard Bird Chronicles” by Amy Tan “Hotel Balzaar” by Kate DiCamillo (middle grade book) “Water, Water: Poems” by Billy Collins Eddie Glaude Jr.'s top books of 2024: “Slaveroad” by John Edgar Wideman “Recognizing the Stranger: On Palestine and Narrative” by Isabella Hammad “We're Alone” by Edwidge Danticat Other titles mentioned in the discussion: “Wide Sargasso Sea” with introduction by Edwidge Danticat “Demon Copperhead” by Barbara Kingsolver “The Dog Who Followed the Moon: An Inspirational Story with Meditations on Life, Experience the Power of Love and Sacrifice” by James Norbury “Afterlives” by Abdulrazak Gurnah “Someone Knows My Name” by Lawrence Hill “Moon Tiger” by Penelope Lively “Sandwich” by Catherine Newman “Windward Heights” by Maryse Condé “There's Always This Year” by Hanif Abdurraqib “Mothers and Sons” by Adam Haslett (publication date in January 2025) “Memorial Day” by Geraldine Brooks (publication date in February 2025) “33 Place Brugmann” by Alice Austen (publication date in March 2025) “Cloud Atlas” by David Mitchell “Independent People” by Halldor Laxness “The Great Gatsby” by F. Scott Fitzgerald “Beloved” by Toni Morrison “Sing, Unburied, Sing” by Jesmyn WardTo find out more about The Diane Rehm Book Club go to dianerehm.org/bookclub.
Lecture par Marie-Julie Chalu Entretien avec l'autrice et ses co-traductrices, Myriam Rabah-Konaté et Mabeuko Oberty, mené par Amandine Nana Interprète : Valentine Leÿs Dans les profondeurs de l'océan, une symphonie silencieuse se déploie. Les mammifères marines – baleines, dauphins ou otaries – naviguent dans les eaux bleues, témoins silencieux de la beauté et de la fragilité de notre planète. Inspirée par ces créatures majestueuses, Alexis Pauline Gumbs explore les intersections entre le féminisme noir et l'écologie, deux mouvements politiques puissants qui convergent vers un objectif commun : la justice sociale et environnementale. En s'appuyant sur des figures influentes du féminisme noir telles d'Audre Lorde, June Jordan, Sylvia Wynter ainsi que de l'histoire transatlantique esclavagiste, Alexis Pauline Gumbs révèle les enseignements précieux que nous pouvons tirer de ces mammifères marines. Ces créatures incarnent une résilience remarquable face aux défis de notre époque : survivre dans des environnements hostiles, résister à la chasse et à l'exploitation humaine, tout en préservant leur communauté et leur écosystème. D'une puissance rare, un ouvrage à la croisée de la théorie politique et de la poésie qui réinvente notre lien au vivant. Soirée présentée en partenariat avec le Palais de Tokyo À lire – Alexis Pauline Gumbs, Non-noyées, Leçons féministes noires apprises auprès des mammifères marines, trad. de Emma Bigé, Myriam Rabah-Konaté et Mabeuko Oberty, éd. Burn Août et Les liens qui libèrent, 2024 À regarder – « Tituba, qui pour nous protéger ? » Exposition collective librement inspirée du roman de Maryse Condé, Moi, Tituba, sorcière noire de Salem (Folio) – Palais de Tokyo
durée : 00:34:59 - Les Nuits de France Culture - par : Philippe Garbit - Maryse Condé dans cet entretien de 1987 dans l'émission "Agora" parle de son roman "Moi, Tituba, sorcière de Salem", de son rapport à l'Afrique, aux Antilles, de la langue créole et des problèmes qu'elle pose aux féministes... - invités : Maryse Condé Écrivaine, journaliste et professeure de littérature guadeloupéenne
durée : 00:31:10 - Les Nuits de France Culture - par : Philippe Garbit - Maryse Condé dans cet entretien de 1987 dans l'émission "Agora" parle de son roman "Moi, Tituba, sorcière de Salem", de son rapport à l'Afrique, aux Antilles, de la langue créole et des problèmes qu'elle pose aux féministes... - réalisation : Virginie Mourthé - invités : Maryse Condé Écrivaine, journaliste et professeure de littérature guadeloupéenne
Enzo et Luna discutent de leurs pires lectures et de ce qui rend un livre marquant... Livres mentionnés : Yellowface, Rebecca Kuang Klara et le soleil, Kazuo Ishiguro Auprès de moi toujours, Kazuo Ishiguro Je vais mieux, David Foenkinos Numéro deux, David Foenkinos Ils meurent tous les deux à la fin, Adam Silvera Call me by your name, André Aciman Find me, André Aciman Orgueil et préjugés, Jane Austen Cléopatre et Frankenstein, Coco Mellors Mémoire d'un chat, Hiro Arikawa Circe, Madeline Miller Le chant d'Achille, Madeline Miller Ecstasy, Ryu Murakami Danse, danse, danse, Haruki Murakami My year of rest and relaxation, Ottessa Moshfegh La vie invisible d'Addie Larue, V.E. Schwab Emily Wilde's Encyclopedia of faeries, Heather Fawcett Le problème à trois corps, Liu Cixin La forêt sombre - Liu Cixin Les jours mauves, Kalindi Ramphul Moi, Tituba sorcière, Maryse Condé
durée : 00:05:58 - La chronique de Juliette Arnaud - par : Juliette ARNAUD - Maryse Condé, écrivaine guadeloupéenne, est morte en avril 2024. À cette occasion, Juliette a lu pour la première fois "Moi, Tituba, sorcière", et ce, pour son plus grand plaisir.
durée : 00:05:58 - La chronique de Juliette Arnaud - par : Juliette ARNAUD - Maryse Condé, écrivaine guadeloupéenne, est morte en avril 2024. À cette occasion, Juliette a lu pour la première fois "Moi, Tituba, sorcière", et ce, pour son plus grand plaisir.
Te gast Daan Roovers over Immanuel Kant. Op 22 april is de 300e geboortedag van de Duitse filosoof waarmee op 16 april de biografie ‘Kant' van Marcus Willaschek verschijnt. Een uitnodiging voor een kritische discussie waarmee er een poging wordt gedaan om Kant's denken voor moderne lezers en lezeressen zonder filosofische achtergrond, levendig te maken. We gaan in gesprek met Daan Roovers, Nederlandse filosoof en politica, over Immanuel Kant als persoon en het belang van zijn revolutionaire werk. Wie was hij? En hoe is zijn denken vandaag de dag nog steeds actueel? Verder in Wat blijft: zanger en drummer Max Werner en Margot Dijkgraaf, kenner van Franse literatuur, over schrijfster Maryse Condé. In het tweede uur en de podcast van Wat blijft: Theatermaker Jozef van den Berg kreeg internationaal succes met zijn poppentheater waarbij hij zélf als speler zichtbaar werd. Hij bekeerde zich in 1989 tot het orthodoxe christendom en beëindigde plotseling zijn carrière. Hij trad nooit meer op, verliet zijn gezin en leefde vanaf nu als kluizenaar in de achtertuin van mensen in Neerijnen. Kees van den Bosch volgt zijn spoor terug en sprak met mensen die hem goed gekend hebben, onder wie zijn dochter, ook theatermaker, Lotte van den Berg. Wat blijft, na de dood van Jozef van den Berg? ---- Redactie radio: Laura Iwuchukwu, Nina Ramkisoen, Geerte Verduijn, Jessica Zoghary. Eindredactie: Bram Vollaers --- Meer over Wat blijft: https://www.human.nl/wat-blijft Zie voor de playlist met alle muziek uit Wat blijft: https://open.spotify.com/playlist/1Gu8KXUHeVhLYE9M2jKkwu?si=cf8248e5824a48e5
Aujourd'hui avec Valentine Sabouraud, nous revenons sur le parcours de Maryse Condé, une très grande dame de la littérature. Auteure d'une oeuvre souvent axée autour de l'identité et des origines, elle était aussi une inlassable gardienne de la mémoire de l'esclavage et une figure majeure de la lutte contre le colonialisme.
Toutes les semaines dans Pépites, on vous partage nos coups de cœur culturels. Dans cet épisode, Agathe le Taillandier vous recommande l'œuvre de l'écrivaine guadeloupéenne Maryse Condé, décédée en avril 2024, et notamment Moi, Tituba sorcière… Noire de Salem (1986).Également cités dans cet épisode :- La migration des coeurs, roman de Maryse Condé inspiré d'Emily Brontë et Les Hauts de Hurlevent (1847)- Maryse Condé s'inspire du Manifeste Anthropophage d'Oswalde de Andrade (1928) et de la notion de cannibalisme littéraire - Les Sorcières de Salem (The Crucible), une pièce de théâtre d'Arthur Miller (1953)- La version audio de Moi, TItuba sorcière, interprétée par Audrey Fleurot, disponible sur la plateforme StorytelPépites est un podcast d'interviews culturelles de Louie Media présenté par Agathe Le Taillandier et Sébastien Thème. Cet épisode a été réalisé et mixé par le studio La Fugitive. La musique est de Michaël Liot. L'illustration est de Marie Guu. Charlotte Pudlowski est à la direction éditoriale. Elsa Berthault est en charge de la production. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Un nombre important de figures culturelles et politiques telles que Jean-Marc-Ayrault, Christiane Taubira, Leïla Slimani et Omar Sy, réclamaient un hommage national en l'honneur de la romancière guadeloupéenne, une éminente voix de la littérature francophone, qui nous a quittés le 2 avril à l'âge de 90 ans. Ce fut chose faite le 15 avril 2024 à la Bibliothèque nationale de France (BNF) à Paris En 2005, elle était au micro de Jean-Noël Ducasse.
Nouvelle édition de “Sans langue Degois”, le débat hebdomadaire qui met Françoise Degois, journaliste, chroniqueuse pour plusieurs médias, ancienne conseillère politique qui se considère comme rose vif, face à un contradicteur. Et comme souvent, elle est face à Paul Elek, analyste politique pour Le Média. Au sommaire : la controverse autour des déficits publics sera-t-elle celle qui va finalement faire tomber, sinon Emmanuel Macron, du moins le pouvoir macroniste ? En tout cas, alors que la gauche accuse le gouvernement de vouloir faire payer la note à la population, la droite LR menace l'exécutif d'une motion de censure s'il ne satisfait pas à un certain nombre de conditions quasi impossibles qu'elle lui pose. Ira-t-elle jusqu'au bout, alors qu'Emmanuel Macron, Gabriel Attal et la liste “Renaissance” en vue des Européennes sont au plus bas dans les sondages ? Si oui, à qui cela profitera-il ? On évoquera également les débats sur ce qui est décrit comme une explosion des violences en milieu scolaire et plus généralement parmi les jeunes, suite à l'assassinat de Shamseddine à Viry-Châtillon et à l'agression de Samara à Montpellier. La Macronie, la droite et l'extrême droite ont-elles raison quand elles parlent d'ensauvagement ? Les faits divers sont-ils devenus des sujets politiques surinvestis par une partie du spectre politique français ? Françoise nous parle également de son “coup de coeur” : son hommage à la romancière guadeloupéenne Maryse Condé, décédée le 2 avril.
Née en 1934 à Pointe-à-Pitre (Guadeloupe), Maryse Condé est l'auteure d'une œuvre considérable : la trilogie Ségou, La Migration des cœurs, La Traversée de la mangrove, Désirada, La Belle Créole, Histoire de la femme cannibale, Les Belles Ténébreuses, publiée aux Éditions Robert Laffont et au Mercure de France. Elle a reçu le prix Tropiques, le prix de l'Académie Française et le prix Marguerite Yourcenar. Après avoir longtemps enseigné à l'Université de Columbia, elle se partage aujourd'hui entre Paris et New York.On retrouve dans En attendant la montée des eaux, son dernier roman, ses thèmes et ses paysages de prédilection, l'empire de Ségou, les sociétés antillaises, la terrible Haïti. → Une interview-portrait de Maryse Condé sur le blog La ville est ailleurs. Les choix musicaux de Maryse Condé- Philippe Lavil Kolé seré- Gloria de Vivaldi- Lena Horn Stormy weather- Requiem d'Anton DvorjakRediffusion du 9 septembre 2010.
Cette semaine, le Club RFI Lagos au Nigeria parle de son anniversaire et de ses activités autour de la francophonie. Dans cette émission, nous rendons également un hommage à une grande voix de la littérature francophone, la Guadeloupéenne Maryse Condé décédée le 2 avril 2024, à l'âge de 90 ans. Prolifique, elle a écrit plus d'une trentaine de romans, parmi lesquels Hérémakhonon (1976) ; Ségou (1984) ; Moi, Tituba, sorcière noire de Salem (1986) ; La Colonie du Nouveau Monde (1993) ; La Migration des cœurs (1995) ou encore Haïti chérie (1998) et La Belle Créole (2001). Elle laisse une œuvre de renommée mondiale. Maryse Condé a enseigné entre 1960-1968 en Côte d'Ivoire, en Guinée, au Ghana au Sénégal, et à l'Université de Columbia (USA) de 1985 à 2002. L'écrivaine a été journaliste à la BBC et à Radio France internationale (RFI) où elle produisait l'émission « Les grandes figures du Tiers Monde ». Intellectuelle engagée, elle était favorable à l'indépendance de son île natale, la Guadeloupe.Elle a présidé le Comité pour la mémoire et l'histoire de l'esclavage (2004-2006) en vue de l'application de la loi Taubira qui, en 2001, a reconnu la traite négrière et l'esclavage comme crimes contre l'humanité. En 2018, Maryse Condé a reçu à Stockholm le « Prix Nobel alternatif de littérature », à la suite d'un scrutin mondial réunissant plus de 30 000 votants.Avec la participation de Fabienne Kanor, écrivaine et réalisatrice martiniquaise ; Mohameb Olowoloba, président du Club RFI Lagos au Nigeria et Frank Salin, dit Frankito, écrivain, réalisateur, metteur en scène, guadeloupéen.Musique : « Je suis amoureux », Fasipe Jérémiah Abiola. Réalisation : Cécile Bonici.
durée : 01:58:17 - Les Matins du samedi - par : Quentin Lafay - . - invités : Françoise Vergès Historienne et politologue; Romuald Fonkoua Universitaire, rédacteur en chef de " Présence Africaine".; Xavier de Jarcy Journaliste à Télérama; Nehir Tuna réalisateur de « Yurt »
durée : 00:58:17 - La librairie francophone - par : Emmanuel Kherad - Nous sommes en Belgique, à la Foire du Livre de Bruxelles, sur le magnifique stand de la RTBF. On célèbre à nouveau la richesse de la francophonie, dans un esprit collectif ! De l'ambiance, des invités prestigieux et de l'émotion aussi.
durée : 00:44:04 - France Culture va plus loin le samedi - par : Quentin Lafay - Amour, féminité, esclavage, histoire de l'Afrique, conscience américaine... À travers une œuvre riche, Maryse Condé a abordé des thèmes nombreux. Portrait d'une autrice rebelle qui a entretenu une liberté de ton complète tout du long. - invités : Françoise Vergès Historienne et politologue; Romuald Fonkoua Universitaire, rédacteur en chef de " Présence Africaine".
Today marks the 75th anniversary of Nato. We assess the alliance's future at a worrying time for global security. Then we hear why the Philippines' navy is preparing for the worst-case scenario in the South China Sea and discuss the future of UK and US arms sales to Israel. Plus: McKinsey experts on the future of the urban environment, and the life and legacy of Guadeloupe's grand storyteller Maryse Condé, who has died at the age of 90.See omnystudio.com/listener for privacy information.
Le 4 avril dans l'Histoire est l'un de ces jours où évènements heureux et tragiques sont nombreux, où des personnalités par leur talent, ont marqué l'Histoire de l'humanité. Nous évoquerons Maya Angelou, Maryse Condé, Martin Luther King, l'indépendance du Sénégal, le World Trade Center et beaucoup de musiques d'Africa et de ses diasporas. Pour visionner les clips, cliquez sur les titres des chansons :Stevie Wonder - Happy BirthdayHugh Masekela - Afrobeats bluesIsmael Lo - SénégambieAbd Al Malick - 12 septembre 2001Maya Angelou - Run JoeLeïla Chicot - a aurait dû être moiEddy Mitchell - Quelque chose a changéBob Marley - Redemption songRetrouvez notre playlist sur Deezer.
durée : 00:04:10 - Chroniques littorales - par : Jose Manuel Lamarque - Née à Pointe-à-Pitre le 11 février 1934, Maryse Condé s'est éteinte dans le Vaucluse, à l'âge de 90 ans, dans la nuit de lundi à mardi dernier...
Le 4 avril dans l'Histoire est l'un de ces jours où évènements heureux et tragiques sont nombreux, où des personnalités par leur talent, ont marqué l'Histoire de l'humanité. Nous évoquerons Maya Angelou, Maryse Condé, Martin Luther King, l'indépendance du Sénégal, le World Trade Center et beaucoup de musiques d'Africa et de ses diasporas. Pour visionner les clips, cliquez sur les titres des chansons :Stevie Wonder - Happy BirthdayHugh Masekela - Afrobeats bluesIsmael Lo - SénégambieAbd Al Malick - 12 septembre 2001Maya Angelou - Run JoeLeïla Chicot - a aurait dû être moiEddy Mitchell - Quelque chose a changéBob Marley - Redemption songRetrouvez notre playlist sur Deezer.
Cliquez ici pour accéder gratuitement aux articles lus de Mediapart : https://m.audiomeans.fr/s/P-UmoTbNLs Maryse Condé est morte le 2 avril à l'âge de 90 ans. L'écrivaine guadeloupéenne, qui avait reçu en 2018 le prix Nobel alternatif, a porté dans son œuvre la mémoire de l'esclavage, mais a toujours résisté à la mythification du passé. Un article de Lise Wajman, publié le 3 avril 2024, lu par Christine Pâris.
Le Journal en français facile du mardi 02 avril 2024, 18h00 à Paris.Retrouvez votre épisode avec la transcription synchronisée et des exercices pédagogiques pour progresser en français : https://rfi.my/ATxt.A
Kaige-Jean Balé Simoès de Fonseca et Laura Mbakop, membres de la Famille de Couleurs Tropicales, font découvrir une chanson et posent des questions aux invités du jour.Invités : Scridge, artiste d'origine guyanaise. Autodidacte, il fait ses premiers pas dans la musique en 2008. Après une pause en République Dominicaine qui lui a permis d'élargir son public, il prépare son premier projet, dont la sortie est prévue cette année (2024).Et Osvalde Lewat, photographe et réalisatrice franco-camerounaise. Le 9 avril 2024, la chaîne Arte diffusera MK, l'armée secrète de Mandela, un film qui éclaire sur la création d'uMkhonto WeSizwe, une armée créée par Nelson Mandela pendant l'Apartheid.Enfin, hommage à Maryse Condé, écrivaine guadeloupéenne décédée ce 2 avril. Nathaly Coualy, comédienne, a joué au théâtre de Desirada, l'un des romans de l'écrivaine. Pour visionner les clips, cliquez sur les titres des chansons :Scridge - Ghost & TommyScridge - OmayeTelmary & HabanaSana - Digan Lo K DiganMathieu White feat Young Chang Mc - Coup de ventRetrouvez notre playlist sur Deezer.
'El tren fantasma' es la primera incursión de María Oruña, dedicada a la novela negra y de crímenes para adultos, en la literatura juvenil. Con la ilustración de Ana Zurita y este título entramos a la celebración del Día Internacional de Libro Infantil y Juvenil que conmemora el nacimiento de Hans Christian Andersen. El danés es el responsable de que todos conozcamos la historia de 'El patito feo', 'La sirenita', 'El traje nuevo del emperador' o 'La reina de las nieves'.También recordamos a Maryse Condé, la escritora guadalupeña ha fallecido a los 87 años. Es una de las autoras más importantes de la literatura del caribe. Su novela baila en los límites entre la fantasía y la ficción histórica. Charlamos con su editor en España, de la Editorial Impedimenta, Enrique Redel. Abrimos el melón del libre albedrío. Con nuestro hombre de ciencia, Miguel Ángel Delgado, y el neurólogo y biólogo Robert Sapolsky nos quiere decir que no, que no existe el libre albedrío. Lo hace con el libro del científico 'Decidido' publicado por Capitán Swing. Escuchar audio
Wüllenkemper, Cornelius www.deutschlandfunk.de, Büchermarkt
Brinkmann, Sigird www.deutschlandfunk.de, Büchermarkt
La littérature francophone a perdu une de ces grandes voix : Maryse Condé s'est éteinte ce mardi 2 avril 2024, à l'âge de 90 ans. Française originaire de la Guadeloupe, elle a longtemps vécu en Afrique de l'Ouest avec sa famille, sans jamais arriver à devenir Africaine, selon ses propres mots. Maryse Condé s'était ensuite consacrée à l'écriture, abordant l'esclavage, la colonisation ou encore les identités noires. La metteuse en scène Eva Doumbia, qui a adapté une œuvre autobiographique de Maryse Condé, « La Vie sans Fards » revient sur la vie et l'œuvre de celle qui était devenue son amie. Une vie marquée par de nombreux combats, en tant que femme noire confrontée à de nombreux stéréotypes : « c'est une femme libre, compliquée à définir car elle ne se définissait pas elle-même, pouvait dire une chose et son contraire dans la même période, de la même manière qu'elle avait plusieurs langues, plusieurs langues d'écriture ». « La Vie sans Fards », explique Eva Doumbia, était un récit d'émancipation de femme noire. Mais Maryse Condé n'avait pas la même position qu'Aimé Césaire ou Frantz Fanon, qui ont développé le concept de négritude : « la position de Maryse Condé était aussi beaucoup liée à son identité de femme, de mère ». Maryse Condé qui avait acquis une grande notoriété aux États-Unis.Gotson Pierre, le directeur du site d'information haïtien AlterPresse, revient sur les nouvelles images de chaos à Port-au-Prince, avec des tirs nourris de nouveau entendus ce lundi (1er avril). Les violences se répètent et la transition politique piétine. On attendait la mise en place du conseil présidentiel de transition ce lundi, mais le gouvernement sortant est accusé de traîner les pieds. Certains chefs de gangs disent aussi vouloir jouer un rôle dans la transition et ces messages, largement relayés sur les réseaux sociaux, posent la question de l'avenir des gangs. Enfin, le Journal de la 1ère consacre son édition à Maryse Condé : l'écrivaine francophone était née à Pointe-à-Pitre en 1934.À lire aussiMaryse Condé: le courage d'être inconvenante
1) Il premier israeliano Netanyahu ammette l'uccisione di 7 operatori della ONG americana World Central Kitchen nella striscia di Gaza. Tra loro, anche cittadini americani ed europei. Intanto le truppe di Tel Aviv si ritirano dall'ospedale Al Shifa. Dopo due settimane d'assedio, la struttura simbolo del sistema sanitario di Gaza è ridotta ad un cumulo di macerie. (Roberto Festa; Angelo Stefanini) 2) L'esperimento portoghese. A Lisbona si insedia oggi il nuovo governo conservatore che cerca di bloccare l'estrema destra con una coalizione di minoranza. (Giulio Maria Piantadosi) 3) In Messico nel primo giorno di campagna elettorale è stata uccisa una candidata a sindaco. La sola possibilità della sua elezione rappresentava una minaccia per i cartelli della criminalità organizzata. (Fabrizio Lorusso) 4) E' morta la penna dell'orgoglio nero. La scrittrice guadalupana Maryse Condé aveva 90 anni. (Luisa Nannipieri) 5) Rubrica sportiva. I calciatori spagnoli contro i dilaganti insulti razzisti. (Luca Parena)
Die aus Guadeloupe stammende Schriftstellerin Maryse Condé setzte sich in rund 30 Büchern mit Afrika, der Karibik, Sklaverei und Identitätsfragen auseinander. Sie hatte erst mit 40 mit Schreiben begonnen. Nun starb sie im Alter von 90 Jahren. Wenzel, Tobias www.deutschlandfunkkultur.de, Fazit
Kaige-Jean Balé Simoès de Fonseca et Laura Mbakop, membres de la Famille de Couleurs Tropicales, font découvrir une chanson et posent des questions aux invités du jour.Invités : Scridge, artiste d'origine guyanaise. Autodidacte, il fait ses premiers pas dans la musique en 2008. Après une pause en République Dominicaine qui lui a permis d'élargir son public, il prépare son premier projet, dont la sortie est prévue cette année (2024).Et Osvalde Lewat, photographe et réalisatrice franco-camerounaise. Le 9 avril 2024, la chaîne Arte diffusera MK, l'armée secrète de Mandela, un film qui éclaire sur la création d'uMkhonto WeSizwe, une armée créée par Nelson Mandela pendant l'Apartheid.Enfin, hommage à Maryse Condé, écrivaine guadeloupéenne décédée ce 2 avril. Nathaly Coualy, comédienne, a joué au théâtre de Desirada, l'un des romans de l'écrivaine. Pour visionner les clips, cliquez sur les titres des chansons :Scridge - Ghost & TommyScridge - OmayeTelmary & HabanaSana - Digan Lo K DiganMathieu White feat Young Chang Mc - Coup de ventRetrouvez notre playlist sur Deezer.
Zetzsche, Cornelia www.deutschlandfunk.de, Kultur heute
La grande écrivaine française née en Guadeloupe Maryse Condé est morte dans la nuit de lundi à mardi à l'âge de 90 ans, après une vie de combat pour sa liberté et d'exploration des identités antillaise et noires. Son grand succès en librairie est "Ségou", fresque en deux tomes (1984 et 1985) sur le déclin de l'empire bambara, au Mali, du XVIIIe siècle jusqu'à l'arrivée des colonisateurs français. Son oeuvre en a fait l'une des prétendantes au prix Nobel de littérature, qu'elle n'obtiendra pas. En 2018, on lui décerne à Stockholm le "nouveau prix de littérature", remis cette année-là par une "Nouvelle Académie" qui prend la place de l'Académie suédoise, engluée dans un scandale de violences sexuelles non dénoncées. En 2008, elle était l'invitée de l'émission Les Livres ont la parole au micro de Bernard Lehut. L'occasion d'écouter ou réécouter cette archive et cette grande voix de la littérature francophone.
Now THIS is the type of historical fiction that we love. Corinne's pick for March's prompt to read a book with a name in the title is I, Tituba: Black Witch of Salem by Maryse Condé. This novel is a fictionalized account of Tituba, an enslaved woman from Barbados who became the first person accused of being a witch during the Salem Witch Trials. Content warning: sexual assault, suicide, violence Our next book discussion will be The Extinction of Irena Rey by Jennifer Croft. You can find it at your local bookstore or library and read along with us. If you want to read along with The Bookstore Challenge 2024, you can join us on The StoryGraph to see what others are reading for each month and get ideas for your TBR: The Bookstore Challenge 2024. Get two audiobook credits for the price of one at Libro.fm when you sign up using the code BOOKSTOREPOD. Website | Patreon
In the first episode of Season 1, co-hosts Annie Liontas and Lito Velázquez speak with LitFriends Angela Flournoy & Justin Torres about their enduring friendship, writing in a precarious world, and chosen family. Links https://sites.libsyn.com/494238 www.annieliontas.com www.litovelazquez.com https://linktr.ee/litfriendspodcast https://www.instagram.com/litfriendspodcast/ https://www.facebook.com/profile.php?id=61553436475678 https://justin-torres.com/ https://www.angelaflournoy.com/ https://www.asalisolomon.com/ Transcript Annie & Lito (00:01) Welcome to LitFriends! Hey LitFriends! Annie: Welcome to the show. Lito: Today we're speaking with the great writers and LitFriends, Justin Torres and Angela Flournoy. Annie: About chosen family, the dreaded second novel, and failure and success. Lito: So grab your bestie and— Both: Get ready to get lit! Lito: That's so cute. Annie: It's cute. It's cute. We're cute! Lito: Cute, cute… So you had a question? Annie (00:29) I do. I have a question for you, Lito. Are you a cat or an ox? Lito: I mean, I would hope that the answer is so obvious that it almost bears not asking the question. I'm a cat. Annie: Okay, so Asali Solomon at The Claw asked us all, are you an ox or a cat? Lito: That's a great question. Annie: And as a writer... You know, the oxen are the people who work every day in the field, clock in, clock out, pay themselves a quarter an hour. I'm literally talking about me. The cats are people who are playful, exploratory, when the mood strikes them… Lito: Why are you looking at me when you say that? Annie Lito (01:26) So are you an ox or a cat? Lito: I'm a cat. I think anyone who's ever met me would say I'm a cat. Annie: How does that show up in your writing? Lito: Well, I mean, play is so important to me—she'll be on the podcast in a couple of episodes, but when I first...was studying with Lucy, that was one of the first things that she spoke about in our class, and it kind of blew up my whole world. I had been writing for a long time already, but I hadn't thought of it as play, or there was some permission I needed or something. So the idea of play is really central to what I do and love. You wouldn't necessarily know that from the novel that I'm writing, which is sort of a dark book. Um, but it did start out with a lot of play and, I'm also, as you could probably just hear, my cat is coming into the room. Annie: Your cat is like, yes, Lito is us. RiffRaff is like, "Lito is cat." Lito: My cat Riff Raff, yes. Smarty pants. Um, he needed to join in on this conversation. Anyways, I'm a cat. I, I'm fickle when it comes to my work. Um. I don't want to work on my novel all the time, which is great because life has found so many ways to prevent it from happening. So in the new year, in 2024, it will be 7 years since I've started writing this book, and it's still, it's going to take a few more months at least. And what about you? Annie: (03:09) I'm four oxen pulling a cart carrying all of my ancestors. I am very much the immigrant who says, get up, go do the work, come back, go do the work. And believe it or not, for me, there is a lot of joy in that. It's a... It allows, you know, it's Csikszentmihalyi's Flow, actually. So it doesn't feel like drudgery, usually. It does feel like joy. And I'm actually curious for all you LitFriends out there, if you're an ox or a cat. Lito: Yes, that's such a great idea. Please email us at litfriendspodcast@gmail.com, and tell us if you're a cat or an oxen or share on all your socials. Annie: Yeah, maybe we should poll them. That would be fun. Lito: That's a good idea. #LitFriendsPodcast. Annie: The reason I'm asking is because, of course, both Justin and Angela, who we speak with today in this episode, talk about what it's like to go for 10 years between books. "A banger a decade," is what Angela says. Lito: It's so funny. Annie: And you, you know, part of that, they have this very rich conversation about how, when you put everything into the first book, it takes a lot to get to the second book. But I think also there's a lot of play, right? And there's a lot of understanding that writing appears in different forms. And it might be the second novel, but it might be something else. Lito: For sure. I really like how they talk about— that the practice of writing is actually a practice of reading. And I think that any serious writer spends most of their time reading. And not just reading books, but texts of all kinds, in the world, at museums, as Justin points out, art, television, even the trashiest TV show has so much to offer. Annie: (05:12) And there's such a generosity to the way they think of themselves as artists, and also generosity in how they show up for one another as friends, and acknowledging when they fail one another as we as we see in this episode. And I remember my introduction to Justin when I was a grad student at Syracuse. I read We the Animals and fell in love with it, asked him to come do a reading at Syracuse, which was wonderful. And my wife who, at that time was my Bey-ancé, she was turning 30. We had no money. I couldn't buy her anything. Not in grad school. So I asked Justin if he would autograph his story, "Reverting to a Wild State," which is about a breakup in reverse, for Sara. Lito: Oh, I love that story. Annie: And he did, and he thought it was so beautiful, and I was like, "let me send it to you." He's like, "no, I've got it." He just shipped it to me. He didn't know me. We didn't know each other. Lito: He knew you because of books. He knew you because he loved literature. Annie: Yeah. And I remember that in it. I held on to it at a time when that act really mattered. Lito: One of the things I love about our interview with Justin and Angela is how much all of us talk about generosity, and how Justin and Angela display it in their conversation with each other and with us. And I'm just curious, how do you see that coming through also in Angela's work? Annie: (07:00) You know, I remember her talking about how the idea for the book began with this image of people moving around a house at night. This is The Turner House. And she says this image opens up a lot of questions. And one of the things that really stays with me about that book is how masterful she is at shifting perspective, particularly between siblings, which I find to be such a challenge for writers, right? Like your siblings are the people who are closest to you and sometimes also the farthest away. And she gets that so intimately on the page. And of course, in our conversation with Angela and Justin, one of the things they talk about is being family, essentially being siblings. And that's one of the most powerful echoes of the conversation. They talk about being a chosen family and having to choose again and again and again. And that spirit of consciousness and connection, I feel that very much in Angela's work, and of course in Justin's too. Lito: Oh Annie, I choose you again and again, I choose you. Annie: Oh, I choo-choo-choose you! Lito: So stupid. Annie: (08:05) After the break, we'll be back with Justin and Angela. Annie: (08:24) And we're back. Lito: I just wanted to mention, too, that we spoke with Angela and Justin in October during the writer's strike in Hollywood, and just before Justin's new book, Blackouts, was released. And just last week, as you're hearing this podcast. Annie: Just last week. Lito: Just last week! He won the National Book Award for a book that took him 10 years to write. Annie: Absolutely. Annie: Justin Torres is the author of Blackouts, a novel about queer histories that are hidden, erased and re-imagined. Blackouts won the 2023 National Book Award for fiction. His debut novel, We the Animals, has been translated into 15 languages and was adapted into a feature film. He was named National Book Foundation's Five Under 35. His work appears in the New Yorker, Harper's, Granta, Tin House, Best American Essays, and elsewhere. He lives in Los Angeles and teaches at UCLA. Lito: Angela Flournoy is the author of The Turner House, which was a finalist for the National Book Award, won the VCU-Cabel First Novel Prize, and was also a finalist for both the Center for Fiction First Novel Prize and an NAACP Image Award. Angela is a contributing writer at the New York Times Magazine, and her nonfiction has appeared in The Nation, the Los Angeles Times, The New Yorker, and elsewhere. Angela is a faculty member in the low residency MFA program at Warren Wilson College. Lito: (10:36) I'm so grateful that you guys found time to meet with us today, and I've thought about you two as friends since I think this is like the first time you've done something like what you did in 2017, the "Proper Missive"—do you remember that—you published in Spook? And it stuck with me. I was like a big, nerding out, and I bought it and I have it still. And I thought about that. And Justin, you know that you're very personal— there's a personal connection with me because I found your book on my way to my first master's program. No one had said anything about it to me where I was coming from, and it was really great. And Angela, I first found your book. I was so amazed and moved by the talk you don't remember at Syracuse. Angela: I don't remember the lunch. I remember being at Syracuse, and there being a talk, yes. Lito: You inscribed your book, "Here's to Language," which I think is hilarious and also really sweet. And I think we must have said something about language at some point. But anyways, thank you so much both for being here. Justin: Thank you for having us. Angela: Very happy to be here. Lito: So let's start. Why don't you tell us about your friend in a few sentences? So Angela, you can go first. Tell us about Justin. Angela: (11:23) Justin is the first person that I met in Iowa City when I was visiting and deciding if I was going to go there, but was I really deciding no? I'll let you go there. But that I could like, deciding whether I would be miserable while I was there. And so Justin was the first person I met. And feel like Justin is five years older than me. It has to be said. Justin: Does it? Angela: When I think about people, and I think about like mentors, I have other like amazing mentors, but like, I think that there's really something special about somebody who some people might think is your peer, but like, in a lot of ways you've been like looking up to them and, um, that has been me with Justin. I think of him as like a person who is not only, he's a Capricorn, and he has big Capricorn energy. I am an Aquarius. I do not want to be perceived— Justin: I don't agree with any of this. But I don't know. I don't follow any of this. Angela: But Justin is in the business of perceiving me and also gathering me up and helping me do better. My life is just always getting better because of it. I'm grateful for it. Annie: That is beautiful, all of that is beautiful. Justin, tell us about Angela. Justin: I can't follow that, that is so... Angela: Acurate! Justin: You're so prepared! You're so sweet! I'm so touched! Angela: Only a Capricorn would be touched by somebody saying that you perceive them and gather them up and make them feel better. Ha ha ha! Justin: I like that, I do like that. Let's see, yeah. I mean, I think that when we met, I had already been in Iowa for a year, and within two seconds, I was like, oh, we're gonna be friends, and you don't know it yet. But I knew it intensely. And yeah, I think that one of the, I agree that I think we keep each other honest, I think. I think that one of the things that I just so appreciate about Angela is that, you know, yeah, you see my bullshit. You put up with it for like a certain amount of time, and then you're like, all right, we need to talk about the bullshit that you're pulling right now. And I love it, I love it, love it, love it, because I don't know, I think you really keep me grounded. I think that, yeah, it's been really (14:09) wonderful to have you in my life. And like, our lives really, really kind of pivoted towards one another. You know, like we've, it was not just like, oh, we were in grad school and then, you know, whatever, we have similar career paths, so we stayed friends or whatever. It's like, we became family. And, you know, every, every kind of major event in either of our lives is a major event, a shared major event, right? And that's like, yeah, I don't know. I can't imagine my life without you. I honestly can't. Angela: Likewise. I gave birth in Justin's home. Annie: Oh! Sweet! Justin: In my bathroom, over there. Right over there. Lito: Whoa, congratulations, and also scary(?)! Angela: It's in a book I'm writing, so I won't say so much about it, but it was a COVID home birth success story. And yeah, like family. Lito: Was that the plan or did that just happen? Angela: Well, It wasn't the plan and then it was the plan. Justin: Yeah, exactly. COVID wasn't the plan. Angela: No. Justin: The plan was Angela was gonna sublet my place with her husband and she was pregnant. And then, COVID happened Angela: There were a lot of pivots. But we did, it was like enough of a plan where we got his blessing to give birth in his home. Justin: It wasn't a surprise. Angela: It was a surprise that it was in the bathroom, but that's a different story. Annie: You blessed that bathroom is all I can say. Angela: Yeah. Lito: We'll be right back. Back to the show. Annie: (16:22) Well, I want to come back to what Lido was saying about proper missives. I love the intimacy. I mean, I know you weren't writing those to one another for kind of public consumption, but the intimacy and the connection, it's so moving. And I was thinking about, you know, Justin, you, you talk about Angela as kind of pointing the way to beauty and helping you see the world anew or differently. And Angela, you talked about how Justin encourages you to take up space as a political act. I'm just wondering what else you all have taught one another. What has your LitFriend taught you? Justin: Yeah, I mean, we did write that for public consumption. Angela: Yes, it was the editor-in-chief of Spook, Jason Parham. Spook is relaunching soon, so look out for it. He just told me that, like, the other day. And he's moving to L.A. So many things are happening. But he reached out to us and was really interested in—he's a big archives guy and like how—he thought it was valuable the way that writers of past generations, they have these documents of their letters to each other, to their editors, to their friends, to their enemies, and how this generation, because we're just texting through it, we don't really have that. And so that was really just the extent of the assignment, was to write letters to each other, which, of course, we still ended up using email to do. But we really tried to keep it in the spirit of a letter and not just something you kind of dash off. Justin: And we were not living in the same place at that time. Angela: No. Justin: So it was, it did feel kind of— Angela: I was in Provincetown, I think. Justin: Yeah, I remember I was on a train when I was, when I was doing— I can't remember where I was going or, but I remember a lot of it was— or a few of those correspondences— because it went over days, weeks. Lito: Yeah, you were going to Paris. Angela: Oh. Glamorous train. You were on the Eurostar. Justin: Wow. Annie: You basically said the same thing then, Angela. Call him out. Justin: (18:32) Yeah, and I think that what I was saying was that one of the things I loved about that was it really forced us to dive deeper, right? To kind of— Sometimes we can stay very much on the surface because we talk every day. And so it was really nice to see, not just what was kind of on your mind in the background, but also how you were processing it, how you kind of made language and meaning out of it. I was just like... I don't know, it's like, I know you're so deep, but then we also love to be shallow. And so it's so nice to be like, to connect from that deep place. Annie: One of the things that I'm so drawn to about both of your work is how you write about family, the way it shapes us, the way it wounds us, what it means to watch family members suffer. You talk about it as the question of the donut hole in "Proper Missive. Angela, I remember you were writing about your father. When you were writing about him, you talk about, "the assumption that a flawed person should be subject to anyone's definition." And Justin, I'm thinking quite broadly in terms of, you know, chosen or logical family. One of my favorite pieces that I teach in my creative non-fiction class is "Leashed," and you write there, "my friends, those tough women and queers were all too sharp and creative for their jobs. If I'm nostalgic, it's not because I was happy in those precarious years, but because I was deeply moved by our resourcefulness." I'm just wondering how you think about, you know, (20:09) family, logical family, and how your lit friendship fits into this? Justin: Who's going first? Angela: You. Justin: Let's see, I think that it's such a great question. I actually like, I use that little short kind of tiny little piece that you referenced. I use that in my book, in Blackouts, that's coming out. I think that, which is a book about chosen family as well, and lineages, and what do you do when you feel there's some kind of disruption, right? That like if you're estranged from your biological family or you know or you just need these connections, these kind of queer connections to and other ways of thinking about family that are not related to (21:06) bloodlines. Like we said earlier, we are family, and we've known that for quite a while. It was something that, I don't know. You know, it's like something that I don't think you ever really need to say. It's just you know who your people are. And I think that, and I think that it's a choice that you make and remake again and again and again. And that is something that is, I don't know, it's so exceptional, right? Compared to bloodlines and biological family, which can be hugely important and bring a lot of meaning to people. But that you're choosing this again and again. Like almost like the kind of past tense chosen family is like, it's like a little bit inaccurate, right? It's like the family you choose, and keep choosing, and you're choosing right now, you know? So I love that. Yeah. Angela: Just that the continuity of it, not in the sense that it's always going to be there, but that like you are, you're like an active, uh, engager like in it. In it, I just think about, I think about that, like, uh, at this point we know each other for 14 years. And the way that there's just necessarily we're not the same people but you have to keep, and you have to keep engaging, and you have to keep figuring out how to navigate different things and I think particularly as like LitFriends there's the huge thing you have to navigate which is especially if you're friends before that you're just like some kids who got into this program that people think are fancy, but you're just like, anything can happen, right? From there to being the capital— going from just like lowercase w, "writer," to capital A, "Author." And like what that, I mean, I've seen many a friendship where that is the rupture. And so particularly figuring out, like, how are you going to navigate that, and how are you going to still be in each other's lives. (23:16.33) Um, one thing I think about, as a person who thinks about family a lot is, with your family, sometimes you can like harm one another, and you'll just take some time off, or you'll just be like, that's how they are. But with the family that you continue to choose, you have to, ideally, you gotta do something about it. You have to actually have the engagement, and you have to figure out how to come out on the other side of it. And that is something that is harder and really in so many ways, all the more precious because of it. And it requires a kind of resilience and also just like a trust. And again, because Justin, you know, likes to gather me up, there's been a few times when I was like, "Oh, no, like, we've got beef, what's gonna happen?" And Justin is like, "we're family, what's gonna happen is we're gonna have to talk about this beef, and then move on." Justin: Yeah. And I think that I think that also you have, you're really good at reminding me to be responsible, right? That just because I've made this commitment, in my mind, right, Like we're committed forever. Like we're family. Like we can't, we can't break up, right? Like it's just like, that's just the way it is. It doesn't get me off the hook of showing up in other ways and being responsible and like, you know, that I can be quite flaky. Angela: I mean, that's just, you've been in L.A. long enough. It's just, you're just becoming native. Justin: I think I always don't, I don't wanna disappoint you. I don't want you ever to feel like you were looking around for support, and I wasn't there. Angela: Do people cry on this podcast? Annie: We time it. Right at the half hour. Justin: There's been a few moments when I feel it, when I've felt (25:21) maybe that wasn't there enough, you know? And, you know, and if, you know, and like, I don't know, that's when you know it's the real stuff because it like keeps me up at night. You know, I'm just like, wow, you know, what does she need? What can I give? How can I be there? And yeah. Angela: Wow. There you are. Justin: Here we are. Annie: Lito and I are also family, and it sort of feels never too late. But what you're saying about kind of the like renewing your vows, renewing your commitment over and over, it feels very, very true. Lito: Very true. Yeah yeah yeah. Annie: And life-saving, you know, like life affirming. Lito: It feels real. Justin: Yeah. Look at us. I'm proud of us. I'm proud of you guys too. Lito: It's a love fest over here. Angela: Thanks for having it. Annie: We'll be right back. Annie: (26:26) Welcome back. Angela: Also, particularly again, thinking about a lot of the friends that you have, they're not necessarily also sometimes colleagues. And I think that one thing that Justin really modeled, because I didn't have anything to be transparent about, was just transparency about things. Not just how much he's getting paid for things, but just like what was worth it, what's not worth it, like what is just the way something is and you can like take it or leave it. And I think that in the beginning it was more of me kind of taking that information because I didn't have anybody offering me anything. But now I feel like it's really an exchange of information. And I think that there are people who I love, like, in this industry, if you will, who that's just not our relationship. That doesn't mean we don't have great friendships, but like that is something that like if I'm broke, he knows I'm broke. I never feel the need to pretend and hide or like, you know, and likewise, like if he don't got it, I know he don't got it. It's not, it's just, it just, and I feel like that is something also that is a, it's, um, I think it's important. Especially because you write a book, you know, it does well. And then there are some years in between before you write another. Some of us in this room, maybe take a decade. All of us in this room, maybe take a decade. But yeah, so just really being able to be, to feel like you can still show up at any point in whatever you're doing creatively. Justin: (28:16) Because this is about literary friendships, I think that it's, yeah, there's those two sides, right? There's the business side, which can cause a lot of friction, especially if, you know, things go differently for different books and people have different trajectories. I mean, you're like, you know: you've surpassed. Angela: I don't know if that's true. Justin: But there's that like business side of it. And then there's the literary side as well. And I think that sometimes if it just slides too much into talking about—it's like we could both be selling sprockets, right? There's so much minutiae. It's like we could talk about contracts and whatever and like gigs and da-da-da ad nauseam. And we have to remember to talk about literary side, the literature, the work, the sentences, what we're reading in order to kind of sustain the literary quality of a literary friendship, right? Angela: One thing I remember you told me, I don't know, ages ago that I thought at the time like oh he's gassing me he's practicing things that he says his students tell me—but now I realize that it is also one of the reasons why our friendship has sustained is you were like ,you know, we can talk about whether a book is successful in 800 ways, but we have to try to remember to just be fans, to be fans of books, of literature, of people writing. And I think that is something that I not only try to practice, but that's something that I think is really foundational to relationship. Everyone can be a hater, and it can be fun sometimes, but like… (30:08) We really do like want to put each other on to the books that we're like excited about. Like I remember when you read or reread Seasons of Migration to the North by Tayeb Salih, and I hadn't read it before. I mean, it's like a, it's a seminal or really a really famous African text, but I had never read it. Or like Maryse Condé, like I hadn't read it as like a real adult and being able to just like talk about that and know that there's a person who's, you know, you could be in polite conversation with somebody who you think is really smart and then you're like you know what I decided I wanted to reread—I don't know—something a person might wanna reread and they're like, Oh, what are you gonna do next? You gonna read a Moby Dick? And you're like, Oh damn, they just shamed me. You know, they just shamed me for being a nerd. But that's not gonna happen here. Yeah, beautiful. Yeah, yeah, absolutely. Annie: I do wanna go back to something you were alluding to. Angela, you were talking quite openly about it, too, which is shifting from writer to capital A author and the pressure that comes with that. For the two of you, you had incredible well-deserved success early in your career, but I imagine that doesn't come without a lot of sleepless nights, right? I'm thinking about an interview I heard with Ta-Nehisi Coates where he talks about his friends not reaching out thinking, like, He's good, like, You blew up, you're good. And talking about actually what a lonely position that can be. I'm just wondering, you know, how you've both managed to take care of one another through those highs and lows, or being on that track alongside one another. And even, you know, competition between lit friends. Justin: (32:13) Yeah, I mean, I think that we're just kind of, like our dispositions: we're very lucky in that I think we, before we met, it wasn't something that we like decided on. It was just before we met, I think we're just boosters, right. We're like, The people we love, their success is our success, right? And I think that's one of the reasons to where we are such good friends, it's because we share that, right? So that I think makes it slightly easier as far as like the competition side of things goes. I think that if it really does feel like you're a family and you're community and like you understand that this is a kind of shared win. I don't know, it's hard to talk about though because we both got really lucky. Angela: Yeah. Justin: You know, I mean, who wants to hear from people who got really lucky with their first books talking about how hard it is? You know what I mean? We just, we didn't have, we didn't have any kind of that disparity between— Angela: Yeah, I'm sure, but—I would say even so—if we had different dispositions, we might be trying to split hairs about who got what. But I think for me—and Justin and I grew up very differently in some ways, but I think we grew up from a class background similarly, and we're both like, We're not supposed to be here, like, what can we get? Like, what can we get? And like, who has the information to help us get it? And so I've never been like, why is he in that room when I'm not in that room? I'm like, give me the intel about the room. That might be the closest I ever get to being in there, but I need to know like what's going on in there. And that has, I think, been the way that I just view any success of anybody that I know. that I feel like I can ask those questions to is like, not necessarily like, oh, can you put me on? Like now that you have something, can I have some of it? But just like, just information, just like, what's it like? And that to me is really useful. But also I think that one thing, when you have people, not just Justin, but like other friends and mentors of mine, when you have people who are honest and upfront about whatever kind of success they've had, you… you just realize that there's a lot of different ways to feel successful, right? Because I have friends who, to me, I'm like, they made it, but they're not convinced they have. And I have other friends that, like, to the outside world, they'd be like, wow, they have a little book, nobody cares. But they feel like they did it, you know? And so I realized it's so much about disposition also. Lito: Do you feel that a lot about being each other's boosters? I mean, obviously it's about your personalities and who you are as people. I'm also curious how much of that, like Angela, you said you were a gatecrasher. You feel like a gatecrasher a lot. I don't know. What are your thoughts on intersectionality? How does it inform your work and your friendship? How does it affect how you boost each other? I'm also curious if there's something particular about lit friendships that intersect with intersectionality and those categories, especially for people who form intimate relationships with men. Justin: Wait, say more. Like how do blowjobs come in? Angela: (36:01.171). I was like one thing we have in common is— Lito: More like, less blow jobs, more like having to deal with men and the various ways they, you know, respond to patriarchy. Justin: Yeah, I think you kind of said it, right? I think that there's something about hustling and figuring out, like, how am I gonna find some stability in this world. And I mean we have nominated each other for every single thing that there is. If either one of us gets a chance. Angela: Till the end of time. Justin: Till the end of time, right? And it's just, and I think that, and we've shared all information about everything. There's no, and I think that that's kind of like that quote that you read before, right, about this nostalgia and feeling nostalgic, not for the precarity, but for the way that it bonds people, right? The way that the precarity, like you pull, you share resources, you pull resources, you come together and you talk shit and you don't let people get too down in the dumps and depressed. And you're like, no, we're going to do this. We're going to get ourselves out of this hole and we're going to pull each other up. And, and that I think is like, that's, that's the secret, I think. Angela: Are you answering the question about men? Justin: Oh, men! Angela: And dealing with men. Justin: I love that I was just like, oh, you're talking about blow jobs. But no, you were talking about patriarchy. Lito: Same thing, really. Annie: In the room I'm in, we do not think there's a difference. Justin: It's fascinating, right? Because when we were at Iowa together, I remember some of the critiques I got from some of the men, some of the straight men, some of the white straight men, was about a kind of provincialism to my writing, right? That what I was writing about was small and minor and just about particularities of identity and that it wasn't broad and expansive and it wasn't universal. That was expected. That was the kind of critique that was expected. The world has changed so much and so quickly in the last 15 years. It's hard for me to kind of wrap my mind around because that kind of thing, I wasn't, I didn't feel indignant. Maybe I felt a little. Angela: Yeah, you just, but you just like knew you were going to ignore them. Like, you know, like, but no, but you didn't feel like you were going to, like it was worth, except there were some instances we're not going to get into details, but like, it didn't feel like it was worth spending, like unpacking it or trying to call them out. You just were like, Oh, boop, you're over here. Like, you're not. Justin: Yeah, yeah. Like, I've been hearing this shit my whole life. Like, it wasn't like, there's no space for this kind of thing in the workshop. I was like, this is the world. This is unexpected. But now I don't think that would fly, right? Angela: No. I think maybe in like 70% of workshop spaces that I have been in. Well, I guess I've been running them. But like, I just don't, but like also just the disposition of the students is that they assume that somebody is going to like say something or push back on that. But also I guess maybe more broadly the idea of when you say intersectionality, what do you mean exactly? Lito: I think I wanted to keep it open on purpose. But I think I mean the ways that all of these different identities that we take up and that are imposed upon us, how they intersect with one another, race, class, et cetera. Yeah. Angela: I think one of the reasons why Justin and I gravitated toward each other probably in the beginning and why we ended up in Spook is because I think that—which maybe is also not happening 15 years from then—there is a way that back then, there was a way that even your identity could be flattened, right? Like you're Puerto Rican, which means that you are like a lot of things, right? One of those things like, one of it's like we're both diasporic people, right? But that's one of the things that I think a lot of people would not necessarily think is like a kinship between us, but like I've seen pictures of Justin's cousins. I know I'm giving Primo over here. Like I know what I'm doing. And like that's one way that I think that our relationship feels like, like we just felt like kin when we first met because of that. I think that there's just a lot of ways that in a lot of spaces in this country, you're just not allowed to like have all of those parts of you in the room because people just don't understand it or they do, but they just don't want you to be that also. Justin: It's not convenient. Angela: Right. Which is why I was like, of course, Jason would ask you and I to be in Spook, which is a magazine that's a black literary magazine. Cause Jason gets it. Shout out to Jason again. Justin: I can't believe he's moving to L.A., that's so exciting. Angela: Supposedly like any day now, he's just gonna arrive. There's just ways that when you find your people, you don't have to always separate these parts of you and you don't always have to keep reminding them also, they sort of understand. But also parts of you change obviously and the way that you feel about your identity changes and your people will embrace that and keep, you know, keep making space for that too. Justin: Making space. Annie: We'll be back in a moment with Angela and Justin. Lito: (42:22) Hey Lit Fam, we hope you're enjoying our conversation with Justin and Angela. We are quite awed by their thoughtful discussion and moved by their deep love for each other and their art. If you love what we're doing, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcasts on Apple Podcasts, Spotify, and wherever you listen to podcasts. Just a few moments of your time will help us so much to continue bringing you great conversations like this week, after week. Thank you for listening. Annie: (42:59.178) Back to our interview with Justin Torres and Angela Flournoy. Lito: Justin, you have your sophomore book. How do you feel about it? Are you going to write a sequel for We the Animals like you talked about at one point? Angela, same question. Are there sequels coming forth for you, Angela, to Turner House, or are you moving on to something else? Or you sort of briefly mentioned another book about, uh, I remember you mentioning at some point a book about friends, four female friends, if I remember correctly. Anyways, what's coming next? Annie: Yeah, and I wanna know about the dreaded second novel because I feel like that's where I'm at. I feel like that's where a lot of writers get stuck. Jutin: Second novel's awful. I mean, you think the first one's bad. You think it takes everything that you have inside of you and then you're like, oh, I've gotta do it again. And yeah, I don't know. I really had a very hard time with it. And I mean, nobody knows better than Angela. I really, really didn't feel like I was up to the task. I knew that I wanted to do something different. I knew I wanted to kind of change the way I write and be a different kind of writer, but I just felt like I was falling on my face. Even after it was done and out until like last week, I was just, I just felt anxiety about it, and I felt really neurotic and I was being really neurotic. And I remember the other night we were hanging out and drinking and maybe there was some mushroom chocolate involved. I was just, like I was just on my bullshit and Angela was just like stopped and she was just like, What is it gonna take to make you happy? Like what is it gonna take? Like look around. And it was like, it was a really good intervention. But then it also led to this conversation about happiness, right? And about like whether that is the goal, right? Like feeling kind of tortured and, and feeling like this gap between what you want for your book and your own capabilities. And that never goes away. You just live in this, in this torturous phase. And like, maybe it's about just coming to acceptance with that, rather than striving for happiness. I don't know. But it's still ringing in my ear. What is it gonna take? Lito: It's a great question. Angela: Maybe some projection, I don't know, on my part. I am still working on that novel. It's due at the end or at the beginning of next year. It's gonna come out in 2025. You know, God willing. And... similarly the second novel, I think it depends on your disposition, but I think both of us are very interested in and task ourselves with having real skin in the game with what we right. That means sometimes you got to figure out where you get that skin from. Lito: There's only so much. Angela: Like, if you played yourself for the first book, then it's gonna take a while. And when I think about, like, when I try to count for the years, I don't know I could have done it any quicker. Like, I just don't know. And I don't think that's gonna be the case for every book, but I do think between that first and that second, especially, were you 30? Where were you? I was 30, yeah. And then I was 30, too. I was 30 also when my book came out. You're just a baby. You're just a baby. Lito: Do you fall into the trap of comparing yourself to other people? Well, they wrote a book in two years and I— Justin: (47:07) Yeah, sure. I mean, I also like compare myself to people who took longer like that feels good. That feels good. Angela: Listen, I'm like Deborah Eisenberg. Just a banger every decade. That's it. That's all I owe the world. A banger a decade. Lito: A banger a decade. I like that. I like comparing myself to Amy Clampitt, who wrote her first collection of poetry, like in her 70s or something and had some success. Justin: I generally wish people would slow down. I mean, I get that sometimes there's just like an economic imperative, right? But if you're lucky enough that, I don't know, you get a teaching job and you can slow down, why not slow down, right? Like, I don't know, sometimes I feel like there are a lot of books in this world. And the books that somebody spent a lot of time over, whether or not they are my tastes—I'm just so appreciative of the thoughtfulness that went in. You can feel it, right? That somebody was really considering what they're building versus dashing it off. They should slow down, if they can. Angela: But I also feel like we need both kinds. There are people who I appreciate their books, their kind of time capsules of just like, this is the two years, this is where I was. I think of Yiyun. We need an Yiyun Li and we need an Edward P. Jones. Edward P. Jones, you're gonna get those books when you get the books. And Yiyun Li, every couple years, you're gonna get something that, to me, I still, they still feel like really good books, but they're also just like, this is where she is right here, and I respect it and I appreciate it. Everybody can't be one or the other, you know? Justin: You're right, you're right, you're right. It's much fairer. Annie: She's someone who, I mean, you know, seems to have changed so much even within that time period. And we had her on a couple of episodes ago and yeah, she's just on fire. She's amazing. Justin: (49:06) And people speed up as well, right? Because her first couple of books, there were big gaps. And then same thing with like Marilynne Robinson, right? She had massive gaps between books. And then suddenly it starts to speed up. And they're coming out every year, every two years. Yeah. Annie: It's the mortality. Lito: Well, and life, well, I think lifestyle too, right? Like what you do, how busy you are and what you do out in the world. Like going out and meeting people and being gay in the world, that takes up time. Annie: And your work has had other lives too. I mean, I'm thinking about how We the Animals was adapted to film in that beautiful, intimate portrait. And I know, you know, Angela, you've been working with HBO and some projects as well. I'm just, just wondering if you want to talk about your work in these other media, how it's been, and even thinking about the strikes, right? Like the WGA-SAG strikes and how that has been on the ground too. Angela: Very happy that the strike is over. Solidarity to our SAG-AFTRA brothers and sisters still out there. I passed them on the way here on Sunset. I did honk, wish I was out there today. But I think that for me, it's just like a bonus. Like I, especially now, there's a way that right now writers will say things that are a little snobby like, Oh, I could never be in a writer's room, the group project, man. But like when now that I know so many TV writers living here and I've met so many over the past 146 days on the line, I realized that it is, you just have to be so nimble and agile and you have to also be so not precious about story. But no less smart. A lot of things might end up on TV dumb, but I don't want to blame the writers for that. Now that I really have a real understanding of just how the sausage is made and just how big of like a game of telephone it is—and how much you have to relinquish control because at the end of the day it's like you're making this text, it's literary, but it's also like an instruction manual. It's a completely different way to think about writing. And I don't know how long I live in LA or how many like of those kind of projects I will do but I'm really grateful. And one reason I'm really grateful is because doing those projects and having those years where people thought I wasn't doing anything, but I was actually writing so much and like doing so many revisions. It helped me realize that there is a way that I blame MFAs for making us like feel very siloed. And like, if you're supposed to be a fiction writer, that's the only thing that you do that's like an output that anyone cares about. But it's so new—like, how many screenplays did Joan Didion write? Like James Baldwin wrote screenplays. Before, it was just like, you're writing, you're writing. Like it's all, it all is the job. And I think every time a poet friend of mine like puts out a novel, sends it to me, read, sends it for me to read—first off, they usually are very good. But then also I'm just like, yes, fiction writers, I think, I don't know who did it. I blame graduate programs, but they have put themselves in this small box. Justin: But yeah, I mean, it's like the MFA, a lot of them feel like teacher training programs and that the next step is teaching. But if you don't want to teach the old models, definitely like you just write for TV. Angela: You write for film, you write for magazines, newspapers, you just do the thing. And that has felt very freeing to me, to just see meet more people who are doing that and also to allow myself to do that. Justin (52:49) Yeah, I mean, I really enjoyed the process of having my film—the book made into a film. I think I had an unusual experience with that. Like a lot of times the author is cut out or, you know, is not deferred to in any way, or nobody's inviting you in. I think because it was such a low budget film, and the director is just a really wonderful person who is incredibly collaborative. He wanted me involved in every single part of it, and so I loved that. I think, I don't know, I think I might wanna adapt Blackouts for a play. I've been thinking about it lately. Angela: You should. I mean, in so many ways, it is kind of like a two-hander. Yeah. I could see it. Yeah. Justin: A two-hander. Look at you ready to lingo. No, that's some biz lingo. Lito: That's going to be the title of this podcast. It's a two-hander. How has art shaped your friendship? And I mean, art, like other genres, we've talked about getting out of the box of fiction, but what movies or art or music do you love to talk about or do you just talk about everything or anything that you're watching and how have other genres affected your work? Like, do you listen to music? Are you influenced by visual art? Angela: You wanna talk about things you watch on television? You ready to come out in that manner? Justin: No. Lito: You watch lots of TV? No. Are you a Housewives person? You're a Housewives watcher, aren't you? Justin: Housewives is too highbrow for me. I have like a…I have a secret fetish that is mine. Angela: You have to keep some things for yourself. Justin: Yes. But it's just like, that's how I turn my brain off when my brain needs to be turned off. Annie: I will wait another decade for that story. Justin: I also like culture and high art as well. You write about art a lot. You do profiles. Angela: I do. I wish I did it more. It's just everything, you know, takes time. I think for me, like when I think about—I just am learning different ways to make a life out of, you know, out of your mind and out of art. And one thing that I've learned when I talk to, like visual artists, particularly, is this idea—I think poets also have this—but fiction writers, a friend of mine actually, a poet, recently asked me, like, how does a fiction writer get a practice, like a practice of writing? Practicing their craft in a way that like a visual artist, you know, they go to the studio practice or poet might have a practice. And I don't believe necessarily that sitting down to write every, you know, three hours every day is the same thing. Because like if you don't know what you're writing, but I really do think that practice is more grounded in reading. Justin: And reading, I think reading literature for sure, but also reading the world, right? And that's what you do when you go to an exhibit or you go to a museum or you go to a concert or whatever, right, you're like reading, you know, and you're reading the experience, you're reading for other things. Lito: Is there anything you're both fans of that you both talk about a lot? Any artists or musicians or movies? Justin (56:26) You know, I think that we have some lowbrow sharing tastes. But I think that our highbrow, I don't know. We don't talk a lot about our pursuant— I think I'm into a lot of, like when I was looking at, when I was putting together Blackouts, I was looking at a lot of archival photos and like the photos of Carl Van Vechten, I just, I'm obsessed with… I've been spending a lot of time with them, thinking about him and his practice. I think that, you know, I like all kinds of stuff. I'm like a whatever, what's that horrible term? Culture vulture? Angela: I don't think that's what you wanna say. But I know what you mean, yeah. Justin: Yeah, I am democratic in my tastes. I'm just like, I like everything. We don't have a lot of shared tastes, I don't think. Angela: Um... No? Justine: No. Annie: I sort of love that. I mean, it, um, the friendship, belies, that, you know, it's only a bonus in that way. I think Lito and I also have very different tastes. There's something kind of lovely about that. Lito: I remember Annie making fun of me for not being hardcore enough in my taste in hip-hop. Annie: I guess we're putting our dirt out there too. Lito: We'll be right back with the Lightning Round. Annie: Ooh, Lightning Round. Annie: (58:12) Thank you both for talking with us today. This was really wonderful. We really feel the honesty and warmth in your friendship and we're so appreciative that you're sharing that with us today and with all of our LitFriends. We're excited for both your books and we're so grateful you spent the last hour with us. Angela: That was a pleasure. Justin: Thank you. Lito: All right, we're gonna we— wrap up the podcast with a Lightning Round, just a few questions. We will ask the question and then I guess we'll do it this way. When I ask the question, Angela, you can answer. And when Annie asks the question, Justin, you answer first. Sorry, first answer first. You're both going to answer the question. What is your first memory? Angela: My sister roller skating through sprinklers and falling and hitting her head. Justin: I literally have no idea. I, yeah, I don't know. It's a blackout. Angela: How many times have you said that? Lito: Very on brand. Angela: You've had a long book tour. Justin: I'm practicing. Annie: Who or what broke your heart first? Angela: Is it too deep to say my daddy? I know. Justin: I was going to say my daddy. Angela: That's why we're friends. Justin: I know. It's so sad. Angela: (59:37) Daddy issues. Lito: Who would you want to be lit friends with from any time in history? Angela: Toni Morrison. Justin: Yeah, maybe Manuel Puig. He seemed really cap and hilarious. And also a brilliant genius. Angela: I need Toni Morrison to tell me how to raise my child. And to still write books. Someone help me. Annie: What would you like to see your lit friend make or create next, maybe something collaborative or something different or a story they haven't told yet? Justin: I mean, I think I would love to see you actually write something kind of ekphrastic. Like I'd love to see you write about art. I love when you write about art. I love your thoughts about art and art makers. So maybe, like, a collection of essays about culture. I'd love that. Angela: Besides this two-handed, this play, which I would love for you to write. Maybe there's more, I mean, there's more voices in the book than two, though. So it doesn't have to be. Justin is a poet. I have said this since the beginning. I'm ready for this collection. Justin: Never occurred to me in my life. Angela: That is not true. Justin: Well, writing a collection. Angela: Okay, well, I would love for you to write a collection of poetry. Justin: Maybe I will. Maybe you just gave me permission, as the children say. Angela: Mm-hmm. I know. Lito: If you could give any gift to your LitFriend without limitations, what would you give them? Angela: I would give him a house with a yard and a pool. Justin: That's what I want. Angela: In a city he wants to live in. That's the key. Lito: That's the hard part. Justin: (01:01:35) Um, I would give Angela time to be with her thoughts and her craft. I guess what does that involve? Angela: This is because I call myself a busy mom all the time. Justin: You are a busy mom. Angela: (01:02:08) Thank you, that's a nice gift. Time is the best. Justin: I mean, it's not as good as a house with a pool. Angela: I know, because I can use my time as wisely as possible and yet—no pool. Lito: Well, that's our show. Annie & Lito: Happy Friendsgiving! Annie: Thanks for joining us, Lit Fam. Lito: We'll be back next week with our guests, Lucy Corin and Deb Olin Unferth. Annie: Find us on all your socials @LitFriendsPodcast. Annie: I'm Annie Liontas. Lito: And I'm Lito Velázquez. Annie: Thank you to our production squad. Our show is edited by Justin Hamilton. Lito: Our logo was designed by Sam Schlenker. Annie: Lizette Saldaña is our marketing director. Lito: Our theme song was written and produced by Robert Maresca. Annie: And special thanks to our show producer, Toula Nuñez. This was LitFriends, Episode One.
Por fin leemos a Maryse Condé, autora francófona de la vecina isla de Guadalupe. Teníamos pendiente leerla hace algún tiempo y con quién mejor que con el periodista, columnista, escritor y editor renombrado Benjamín Torres Gotay. Un lujazo y un banquete de conocimiento y risas para nuestra querida audiencia. En la sección “El libro en Puerto Rico”, hablamos de un libro local que ha causado sensación; quédense hasta el final para que descubran de cuál se trata. Recuerden compartir el episodio con la etiqueta #DeLibroEnLibro16 Como siempre agradecemos el apoyo de Lingovox Translation Studio, la mejor agencia de traducción de Puerto Rico; del medio feminista Todas; y de nuestras generosas mecenas del club #PareDeSufrir en Patreon. ¡Gracias siempre por acompañarnos a leer!
In episode 2 of Locating Legacies, series host Gracie Mae Bradley speaks to Françoise Vergès. They explore the connections and disparities between the anticolonial politics of the 1950s and 1960s in relation to today's movements to decolonise educational, arts and heritage institutions. Françoise Vergès is an activist and public educator. She grew up on the island of La Réunion, and worked for many years as a journalist and editor in the women's liberation movement in France. She holds a PhD in Political Science from the University of California, Berkeley and is the author of several books, including A Decolonial Feminism and A Feminist Theory of Violence. She regularly works with artists, has produced exhibitions and is the author of documentary films on Maryse Condé and Aimé Césaire. About the Series: Locating Legacies is a fortnightly podcast created by the Stuart Hall Foundation, co-produced by Pluto Press and funded by Arts Council England. The series is dedicated to tracing the reverberations of history to contextualise present-day politics, deepen our understanding of some of the crucial issues of our time, and to draw connections between past struggles and our daily lives. Get 40% off books in our 'Locating Legacies' reading list: plutobooks.com/locatinglegacies
durée : 00:04:39 - La chronique cuisine d'Elvira Masson - par : Elvira Masson - Maryse Condé, la grande autrice, a une deuxième passion, en plus de la littérature
In A Regarded Self: Caribbean Womanhood and the Ethics of Disorderly Being (Duke UP, 2021), Kaiama L. Glover champions unruly female protagonists who adamantly refuse the constraints of coercive communities. Reading novels by Marie Chauvet, Maryse Condé, René Depestre, Marlon James, and Jamaica Kincaid, Glover shows how these authors' women characters enact practices of freedom that privilege the self in ways unmediated and unrestricted by group affiliation. The women of these texts offend, disturb, and reorder the world around them. They challenge the primacy of the community over the individual and propose provocative forms of subjecthood. Highlighting the style and the stakes of these women's radical ethics of self-regard, Glover reframes Caribbean literary studies in ways that critique the moral principles, politicized perspectives, and established critical frameworks that so often govern contemporary reading practices. She asks readers and critics of postcolonial literature to question their own gendered expectations and to embrace less constrictive modes of theorization. Anna E. Lindner is a doctoral candidate in the Department of Communication at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In A Regarded Self: Caribbean Womanhood and the Ethics of Disorderly Being (Duke UP, 2021), Kaiama L. Glover champions unruly female protagonists who adamantly refuse the constraints of coercive communities. Reading novels by Marie Chauvet, Maryse Condé, René Depestre, Marlon James, and Jamaica Kincaid, Glover shows how these authors' women characters enact practices of freedom that privilege the self in ways unmediated and unrestricted by group affiliation. The women of these texts offend, disturb, and reorder the world around them. They challenge the primacy of the community over the individual and propose provocative forms of subjecthood. Highlighting the style and the stakes of these women's radical ethics of self-regard, Glover reframes Caribbean literary studies in ways that critique the moral principles, politicized perspectives, and established critical frameworks that so often govern contemporary reading practices. She asks readers and critics of postcolonial literature to question their own gendered expectations and to embrace less constrictive modes of theorization. Anna E. Lindner is a doctoral candidate in the Department of Communication at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies
In A Regarded Self: Caribbean Womanhood and the Ethics of Disorderly Being (Duke UP, 2021), Kaiama L. Glover champions unruly female protagonists who adamantly refuse the constraints of coercive communities. Reading novels by Marie Chauvet, Maryse Condé, René Depestre, Marlon James, and Jamaica Kincaid, Glover shows how these authors' women characters enact practices of freedom that privilege the self in ways unmediated and unrestricted by group affiliation. The women of these texts offend, disturb, and reorder the world around them. They challenge the primacy of the community over the individual and propose provocative forms of subjecthood. Highlighting the style and the stakes of these women's radical ethics of self-regard, Glover reframes Caribbean literary studies in ways that critique the moral principles, politicized perspectives, and established critical frameworks that so often govern contemporary reading practices. She asks readers and critics of postcolonial literature to question their own gendered expectations and to embrace less constrictive modes of theorization. Anna E. Lindner is a doctoral candidate in the Department of Communication at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
In A Regarded Self: Caribbean Womanhood and the Ethics of Disorderly Being (Duke UP, 2021), Kaiama L. Glover champions unruly female protagonists who adamantly refuse the constraints of coercive communities. Reading novels by Marie Chauvet, Maryse Condé, René Depestre, Marlon James, and Jamaica Kincaid, Glover shows how these authors' women characters enact practices of freedom that privilege the self in ways unmediated and unrestricted by group affiliation. The women of these texts offend, disturb, and reorder the world around them. They challenge the primacy of the community over the individual and propose provocative forms of subjecthood. Highlighting the style and the stakes of these women's radical ethics of self-regard, Glover reframes Caribbean literary studies in ways that critique the moral principles, politicized perspectives, and established critical frameworks that so often govern contemporary reading practices. She asks readers and critics of postcolonial literature to question their own gendered expectations and to embrace less constrictive modes of theorization. Anna E. Lindner is a doctoral candidate in the Department of Communication at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies
In A Regarded Self: Caribbean Womanhood and the Ethics of Disorderly Being (Duke UP, 2021), Kaiama L. Glover champions unruly female protagonists who adamantly refuse the constraints of coercive communities. Reading novels by Marie Chauvet, Maryse Condé, René Depestre, Marlon James, and Jamaica Kincaid, Glover shows how these authors' women characters enact practices of freedom that privilege the self in ways unmediated and unrestricted by group affiliation. The women of these texts offend, disturb, and reorder the world around them. They challenge the primacy of the community over the individual and propose provocative forms of subjecthood. Highlighting the style and the stakes of these women's radical ethics of self-regard, Glover reframes Caribbean literary studies in ways that critique the moral principles, politicized perspectives, and established critical frameworks that so often govern contemporary reading practices. She asks readers and critics of postcolonial literature to question their own gendered expectations and to embrace less constrictive modes of theorization. Anna E. Lindner is a doctoral candidate in the Department of Communication at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
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