Podcasts about mississippi press

Who killed JFK? What forces made the mind and actions of Lee Oswald? And what does it mean to be an agent of history or something called fate? DDSWTNP probe these and other big questions in multiple new episodes on Libra released over the coming month. June may be the time of Gemini, another sign of doubles in the Zodiac, but for us it's a month for the balance scale, tipping one way or the other, with some Librans like Lee not balanced at all but (as David Ferrie puts it) “somewhat unsteady and impulsive . . . Poised to make the dangerous leap.” In Episode 25: Libra (1), we discuss where DeLillo began in the 1970s in his build-up to Libra, as far back as Americana and other early novels' mentions of JFK, Oswald, the CIA, and the overwhelming Warren Report. We examine what makes DeLillo's Oswald a great but frustrating character and a portal for new dimensions in the author's examination of language, naming, and self-making. We ask what's behind the clear shifts in style, tone, and humor DeLillo makes for this historical novel, as well as the power of his place/date chapter structure, the influence of existentialist fiction, and some alternate titles he considered. And we begin working our way through all the figures and ideas surrounding Oswald, from Marxist beliefs and CIA practices of “unknowing” to Cold War obsessions with the Bay of Pigs, life in the U.S.S.R., and a losing war in Vietnam that DeLillo and readers know is coming but his characters importantly don't.  Stay tuned in our Libra episodes to come for investigation of the Murray-like wit of David Ferrie, how DeLillo regards the lone gunman theory, the mysterious edits made to his “Author's Note,” the theological musings of Nicholas Branch, and much more. Texts and historical figures mentioned in Episode 25: Ann Arensberg, “Seven Seconds” (1988), in Thomas DePietro, ed., Conversations with Don DeLillo, University of Mississippi Press, 2005, 40-46. Don DeLillo, “American Blood: A Journey Through the Labyrinth of Dallas and JFK.” Rolling Stone, December 8, 1983. Rpt. in Osteen, Mark, ed., Novels of the 1980s: The Names, White Noise, Libra. Library of America, 2022. 1045-1061.  ---. “Preface, 2022.” In Osteen, ed., Novels of the 1980s: The Names, White Noise, Libra. Library of America, 2022. 633-634. Don DeLillo Papers, Harry Ransom Center, University of Texas at Austin. “Don DeLillo: The Word, the Image, and the Gun.” BBC Documentary, September 27, 1991. https://www.youtube.com/watch?v=0DTePKA1wgc DeLillo: “I was hoping it was Scorpio, because I liked that word. But his birth sign turned out to be Libra, the scales. I settled for that.” David Marchese, “We All Live in Don DeLillo's World. He's Confused By It Too” (2020)https://www.nytimes.com/interactive/2020/10/12/magazine/don-delillo-interview.html Everette Howard Hunt: https://en.wikipedia.org/wiki/E._Howard_Hunt Correction: the character Aleksei Kirilenko, Oswald's Soviet handler in the novel (and source for one of many Lee aliases, Alek?), is DeLillo's creation, not historical! Branch later reveals Kirilenko's real name is Sergei Broda (301). No claim about DeLillo's basis for Kirilenko/Broda, but here is information on yet another shadowy figure, defecting KGB agent Yuri Nosenko, who claimed to have been in charge of Oswald's case file in the Soviet Union: https://en.wikipedia.org/wiki/Yuri_Nosenko

It's our 300th episode and we honor a listener request for this milestone. The Fisher King (1991) could not be made today–not because of politics or cultural changes, but because it's impossible to neatly classify. A love story, a tale of redemption, a disturbing study of psychosis, a romantic comedy, and an Artthurian quest, the film combines genres in ways that some audiences–or at least producers–might not appreciate. But the film is hilarious, frightening, and ultimately affirming of its two lead characters' decisions to abandon their despair and find meaning in their lives. Interested in reading about Terry Gilliam? Check out this collection of interviews from the University of Mississippi Press. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network or wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan Moran's substack, Pages and Frames, where he writes about books and movies. 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

It's our 300th episode and we honor a listener request for this milestone. The Fisher King (1991) could not be made today–not because of politics or cultural changes, but because it's impossible to neatly classify. A love story, a tale of redemption, a disturbing study of psychosis, a romantic comedy, and an Artthurian quest, the film combines genres in ways that some audiences–or at least producers–might not appreciate. But the film is hilarious, frightening, and ultimately affirming of its two lead characters' decisions to abandon their despair and find meaning in their lives. Interested in reading about Terry Gilliam? Check out this collection of interviews from the University of Mississippi Press. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network or wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan Moran's substack, Pages and Frames, where he writes about books and movies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

It's our 300th episode and we honor a listener request for this milestone. The Fisher King (1991) could not be made today–not because of politics or cultural changes, but because it's impossible to neatly classify. A love story, a tale of redemption, a disturbing study of psychosis, a romantic comedy, and an Artthurian quest, the film combines genres in ways that some audiences–or at least producers–might not appreciate. But the film is hilarious, frightening, and ultimately affirming of its two lead characters' decisions to abandon their despair and find meaning in their lives. Interested in reading about Terry Gilliam? Check out this collection of interviews from the University of Mississippi Press. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find our hundreds of episodes here on the New Books Network or wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan Moran's substack, Pages and Frames, where he writes about books and movies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Melvyn Bragg and guests discuss Louisa May Alcott's 1868 novel, credited with starting the new genre of young adult fiction. When Alcott (1832-88) wrote Little Women, she only did so as her publisher refused to publish her father's book otherwise and as she hoped it would make money. It made Alcott's fortune. This coming of age story of Meg, Jo, Beth and Amy March, each overcoming their own moral flaws, has delighted generations of readers and was so popular from the start that Alcott wrote the second part in 1869 and further sequels and spin-offs in the coming years. Her work has inspired countless directors, composers and authors to make many reimagined versions ever since, with the sisters played by film actors such as Katherine Hepburn, Elizabeth Taylor, Winona Ryder, Claire Danes, Kirsten Dunst, Saoirse Ronan and Emma Watson. With Bridget Bennett Professor of American Literature and Culture at the University of LeedsErin Forbes Senior Lecturer in African American and U.S. Literature at the University of BristolAndTom Wright Reader in Rhetoric and Head of the Department of English Literature at the University of SussexProducer: Simon TillotsonReading list:Louisa May Alcott (ed. Madeline B Stern), Behind a Mask: The Unknown Thrillers of Louisa May Alcott (William Morrow & Co, 1997)Kate Block, Jenny Zhang, Carmen Maria Machado and Jane Smiley, March Sisters: On Life, Death, and Little Women (Library of America, 2019)Anne Boyd Rioux, Meg, Jo, Beth, Amy: The Story of Little Women and Why It Still Matters (W. W. Norton & Company, 2018)Azelina Flint, The Matrilineal Heritage of Louisa May Alcott and Christina Rossetti (Routledge, 2021)Robert Gross, The Transcendentalists and Their World (Farrar, Straus and Giroux, 2022)John Matteson, Eden's Outcasts: The Story of Louisa May Alcott and Her Father (W. W. Norton & Company, 2007)Bethany C. Morrow, So Many Beginnings: A Little Women Remix (St Martin's Press, 2021)Anne K. Phillips and Gregory Eiselein (eds.), Critical Insights: Louisa May Alcott (Grey House Publishing Inc, 2016)Harriet Reisen, Louisa May Alcott: The Woman Behind Little Women (Picador, 2010)Daniel Shealy (ed.), Little Women at 150 (University of Mississippi Press, 2022)Elaine Showalter, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx (Virago, 2009)Simon Sleight and Shirleene Robinson (eds.), Children, Childhood and Youth in the British World (Palgrave, 2016), especially “The ‘Willful' Girl in the Anglo-World: Sentimental Heroines and Wild Colonial Girls” by Hilary EmmettMadeleine B. Stern, Louisa May Alcott: A Biography (first published 1950; Northeastern University Press, 1999) In Our Time is a BBC Studios Audio Production

In Episode Eighteen, DDSWTNP wish our author a happy 88th birthday and talk about the international life he led between the mid-1970s and early 1980s. We follow DeLillo abroad, covering his year in Canada (1975) and his much-discussed time living in Athens (1978-1982), tracing influences of these experiences on portrayals of national identity and language in The Names especially but other works too. Central to understanding this period is the powerful change in method that DeLillo made at his manual typewriter that inspired slower, more “serious” work. For those who already know the biography pretty well we also have in this episode some surprising details garnered from his letters in these years to editor and friend Gordon Lish, the remarkable story of DeLillo's response to a Utah banning of Americana in 1979, and connections between the 1981 Athens earthquakes DeLillo lived through and the 1988 short story “The Ivory Acrobat.” We end by considering the “toxic spill” of the news that greeted DeLillo on his return to America in 1982 and energized the writing of White Noise, and we announce too some upcoming episodes that will close out 2024! As is often true, we get significant help in this episode from interview excerpts and more collected at Don DeLillo's America: http://perival.com/delillo/delillo.html Texts referred to and quoted from in this episode: Ann Arensberg, “Seven Seconds” (1988), in Thomas DePietro, ed., Conversations with Don DeLillo, University of Mississippi Press, 2005, 40-46. Adam Begley, “Don DeLillo: The Art of Fiction CXXXV,” The Paris Review 128 (1993): 274-306. Don DeLillo, The Engineer of Moonlight, Cornell Review 5 (Winter 1979), 21-47. [Incorrectly placed in Epoch in episode.] ---, “The Ivory Acrobat,” Granta (Issue 108, 1988) (and collected in The Angel Esmeralda: Nine Stories). Robert Harris, “A Talk with Don DeLillo” (1982), in DePietro, ed., 16-19. Gordon Lish Manuscripts (1951-2017), Lilly Library, Indiana University (https://archives.iu.edu/catalog/InU-Li-VAC9786). Mervyn Rothstein, “A Novelist Faces His Themes on New Ground” (1987), in DePietro, ed., 20-24. Jim Woolf and Dan Bates, “Davis Official's Action Dismays, Horrifies Author of ‘Americana.'” The Salt Lake Tribune, August 31, 1979.

In Episode Sixteen: “DeLillo's Sentences,” DDSWTNP take a brief break from analyzing full novels to do some very close reading of single sentences from across DeLillo's career. Style and craft, sound and rhythm, and what makes DeLillo (as one critic puts it) a poet writing prose—these are subjects we consider as we look closely at the lines noted below and try to figure out what DeLillo means when he says in 1997, “At some point you begin to write sentences and paragraphs that don't sound like other writers'.” This episode is a deep dive into DeLillo's language but also a pretty good introduction for those just starting to read him. #donutmaker #thehemingwayand DeLillo lines analyzed in this episode: “Much of the appeal of sport derives from its dependence on elegant gibberish. And of course it remains the author's permanent duty to unbox the lexicon for all eyes to see—a cryptic ticking mechanism in search of a revolution.” End Zone (113) “New York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague.” Great Jones Street (3) “Around the great stadium the tenement barrens stretch, miles of delirium, men sitting in tipped-back chairs against the walls of hollow buildings, sofas burning in the lots, and there is a sense these chanting thousands have, wincing in the sun, that the future is pressing in, collapsing toward them, that they are everywhere surrounded by signs of the fated landscape and human struggle of the Last Days, and here in the middle of their columned body, lank-haired and up-close, stands Karen Janney, holding a cluster of starry jasmine and thinking of the bloodstorm to come.” Mao II (7) “The last sentence was, ‘In future years, of course, men and women, in cubicles, wearing headphones, will be listening to secret tapes of the administration's crimes while others study electronic records on computer screens and still others look at salvaged videotapes of caged men being subjected to severe physical pain and finally others, still others, behind closed doors, ask pointed questions of flesh-and-blood individuals.” Point Omega (33) Other texts cited in this episode: “Tom LeClair.” Interview by Andrew Mitchell Davenport. Full Stop, May 19, 2015. https://www.full-stop.net/2015/05/19/interviews/andrew-mitchell-davenport/tom-leclair/ “‘Writing as a Deeper Form of Concentration': An Interview with Don DeLillo.” Interview by Maria Moss. Conversations with Don DeLillo. Ed. Thomas DePietro. Jackson: University of Mississippi Press, 2005. 155-68. “Exile on Main Street: Don DeLillo's Undisclosed Underworld.” Interview by David Remnick. Conversations with Don DeLillo. 131-44.

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked—even ignored—its own history of White supremacy and deliberate inaction on the part of White librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries (University of Mississippi Press, 2024) analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century. Wayne A. Wiegand is F. William Summers Professor of Library and Information Studies Emeritus at Florida State University. Often referred to as “the Dean of American library historians,” he is author of many scholarly articles and books, including Irrepressible Reformer: A Biography of Melvil Dewey; Part of Our Lives: A People's History of the American Public Library; and American Public School Librarianship: A History. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked—even ignored—its own history of White supremacy and deliberate inaction on the part of White librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries (University of Mississippi Press, 2024) analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century. Wayne A. Wiegand is F. William Summers Professor of Library and Information Studies Emeritus at Florida State University. Often referred to as “the Dean of American library historians,” he is author of many scholarly articles and books, including Irrepressible Reformer: A Biography of Melvil Dewey; Part of Our Lives: A People's History of the American Public Library; and American Public School Librarianship: A History. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. 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

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked—even ignored—its own history of White supremacy and deliberate inaction on the part of White librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries (University of Mississippi Press, 2024) analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century. Wayne A. Wiegand is F. William Summers Professor of Library and Information Studies Emeritus at Florida State University. Often referred to as “the Dean of American library historians,” he is author of many scholarly articles and books, including Irrepressible Reformer: A Biography of Melvil Dewey; Part of Our Lives: A People's History of the American Public Library; and American Public School Librarianship: A History. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked—even ignored—its own history of White supremacy and deliberate inaction on the part of White librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries (University of Mississippi Press, 2024) analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century. Wayne A. Wiegand is F. William Summers Professor of Library and Information Studies Emeritus at Florida State University. Often referred to as “the Dean of American library historians,” he is author of many scholarly articles and books, including Irrepressible Reformer: A Biography of Melvil Dewey; Part of Our Lives: A People's History of the American Public Library; and American Public School Librarianship: A History. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked—even ignored—its own history of White supremacy and deliberate inaction on the part of White librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries (University of Mississippi Press, 2024) analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century. Wayne A. Wiegand is F. William Summers Professor of Library and Information Studies Emeritus at Florida State University. Often referred to as “the Dean of American library historians,” he is author of many scholarly articles and books, including Irrepressible Reformer: A Biography of Melvil Dewey; Part of Our Lives: A People's History of the American Public Library; and American Public School Librarianship: A History. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked—even ignored—its own history of White supremacy and deliberate inaction on the part of White librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries (University of Mississippi Press, 2024) analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century. Wayne A. Wiegand is F. William Summers Professor of Library and Information Studies Emeritus at Florida State University. Often referred to as “the Dean of American library historians,” he is author of many scholarly articles and books, including Irrepressible Reformer: A Biography of Melvil Dewey; Part of Our Lives: A People's History of the American Public Library; and American Public School Librarianship: A History. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

In Episode Fifteen, DDSWTNP take on The Names, a Greece-based story of a strange “abecedarian” murder cult, a novel regarded by DeLillo as his turn toward more “serious” writing and placed at or near the top of many a reader's list of favorites. We discuss The Names as an examination of the “Depravities” and guilt of being an American in the complex late-1970s world of corporations, risk analysis, bank loans, and intelligence covers that narrator James Axton navigates, and we ask why The Names puts this geopolitical tumult (including the 1979 Iranian Revolution) in the context of ancient languages, ritual sacrifice, and a dissolving marriage and family life for James. Language-obsessed Owen Brademas (the archeologist and “epigraphist” who is drawn relentlessly to the fascinating cult) and filmmaker Frank Volterra (perhaps a sly satire of a certain American auteur?) figure in this story of religion, aesthetics, and the enduring appeal of violence, but we turn at the end of this episode to the nine-year-old author Tap, Axton's son, whose misspelled, highly spirited tale of the spirit to which his tongue might “yeeld” lets DeLillo showcase all the ways to use the alphabet to salutary and generative ends. #getwet #themindslittleinfinite We also announce the winner of our Amazons raffle and say thanks to all who have supported and continue to support us at buymeacoffee.com/delillopodcast. Texts mentioned and discussed in this episode: Burn, Stephen J. “‘A Paradigm for the Life of Consciousness': The Pale King.” David Foster Wallace and “The Long Thing”: New Essays on the Novels, ed. Marshall Boswell. New York: Bloomsbury, 2014. 149-168.  “Don DeLillo: The Art of Fiction CXXXV,” Interview with Adam Begley, The Paris Review 128 (1993): 274-306. “A Talk with Don DeLillo,” Interview with Robert Harris, in Thomas DePietro, ed., Conversations with Don DeLillo, University of Mississippi Press, 2005, 16-19. The Godfather (1972) and Apocalypse Now (1979), dir. Francis Ford Coppola. (We have the dates on both films slightly wrong in the episode.) Hearts of Darkness: A Filmmaker's Apocalypse (1991), dir. George Hickenlooper and Fax Bahr Viet Thanh Nguyen, The Sympathizer. Grove Press, 2015.

In Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. 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 Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

In Vibe: The Sound and Feeling of Black Life in the American South (University of Mississippi Press, 2023), Corey J. Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it.  Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture's only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. 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

Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture's only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture's only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture's only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture's only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Herman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture's only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. In The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University of Mississippi Press, 2019), Sydney Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men. The book is part of the Hollywood Legends Series of the University of Mississippi Press. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Our brains crave powerful narratives. Stories help us interpret new information and shape our understanding of the world. They can also motivate us into action. That's what makes storytelling such a powerful tool for organizing within a union. In this episode, Dr. Kevin Cordi and Katie Fuller continue to share their insights and their own stories to explain. Plus, we hear from the OEA endorsed STRS candidate Sandy Smith Fischer, who shares her story about what led her to run to represent active teachers on the State Teachers Retirment System board and how those experiences will shape her work, if elected.STRS VOTING DEADLINE: May 6, 2024, by 4:30 p.m. | If you are an active teacher who did not receive a ballot in the mail, or if you've lost your ballot, contact the Election Services help desk at STRSOHHelp@electionservicescorp.com or 866-276-1506. SUBSCRIBE | Click here to subscribe to Public Education Matters on Apple Podcasts or click here to subscribe on Google podcasts so you don't miss a thing. And don't forget you can listen to all of the previous episodes anytime on your favorite podcast platform, or by clicking here.LEARN MORE ABOUT THE OEA ENDORSED STRS CANDIDATE | Click here for more information on why Sandy Smith Fischer is running to represent active teachers on the State Teachers Retirment Board and her priorities to best serve the state's teachers in that position. Featured Public Education Matters guests: Katie Fuller, Huber Heights Education Association memberMs. Katie Fuller is a 5th Social Studies Teacher at Rushmore Elementary School in the Huber Heights City Schools District. Prior to this position, she had 7 years as a Positive Behavior Expert (PSC) Coach and Educational Consultant for grades K - 12 in the Dayton Public Schools District. In PBIS, her professional focus was education reform, the scaling up of evidence-based practices, cultural proficiency and organizational systems change.Ms. Fuller is from Dayton, Ohio and has four children and a dog named Hafe'.  She is in-tune with the community, performing organizing work as one of Ohio's New Educator Member Ambassadors (ONE).  She has a profound love and passion for teaching, reaching, and inspiring people to action.Ms. Fuller is a professional motivational speaker and workshop presenter and uses her powerful voice and international speaking platform to tell her life story and her “Why”.  She strives to share with people what drives education and social activism.  She encouraged her audience to find YOUR voice and tell YOUR story!!! Dr. Kevin Cordi, Associate Professor, Ohio University LancasterDr. Kevin Cordi is an Associate Professor of Education, Literacy, and Storytelling at Ohio University Lancaster where he has the honor of serving as the Middle Childhood Coordinator and the Advisor for the Aspiring Educators OEA Chapter.  According to the National Storytelling Network, he was “the first full time ;high school storytelling teacher in the country.”    He holds a Doctorate in Storytelling and Education from The Ohio State University.  He is an internationally known professional storytelling and presenter.  He has presented and performed in over 44 states, England, Japan,  Singapore, Scotland, and Qatar.  He has written book on storytelling, most recently, You don't know Jack: A Storyteller Goes to School by the University of Mississippi Press.  Although he has studied storytelling as a discipline, he learned the art from listening to his mother tell West Virginia stories  to him and his five brothers and sisters.   He believes that story is the way we think and we can significantly change the way students learn in a positive way by including stories and storytelling in the curriculum.   You can find out more about him and his work at www.kevincordi.com Sandy Smith Fischer, Streetsboro Education Association member and OEA-endorsed STRS candidate.A highly experienced Intervention Specialist with over 23 years of dedicated service in the field of education, Sandy Smith Fischer is committed to supporting students with diverse learning needs, ensuring their academic, social, and emotional growth. In the early years, Sandy Smith Fischer worked as a Direct Care Worker at Rose Mary Center in Euclid, a home for children with disabilities. Sandy loved learning, and became very interested in helping the children more. She began working on the wing with non-ambulatory children and worked closely with the occupational therapist, physical therapist, speech therapist, and the psychologist in charge of behavior. The love of learning and helping others continued to grow, and Sandy dreamed of earning her degree one day.Life happened, and Sandy found herself as a single mother of three, and returned to Kent State University in 1996 part time. While attending KSU part time, Sandy taught Head Start and went through the process of obtaining her Child Development Associates Degree for Portage County. During the years of obtaining her Bachelors Degree, Sandy would bring her children to her afternoon and evening classes. Throughout these times, she was also a Brownie Leader for her daughters Girl Scout troop, and would often take her children camping. Sandy graduated with her Bachelors degree in December 1999.As the educational journey continued, Sandy's Professors asked her to be part of a Master's program grant for one year and she would graduate with her Master's Degree. Sandy Smith Fischer continuously demonstrated a passion for fostering inclusive learning environments where every student can thrive. In 2000, Sandy Smith Fischer graduated with a Master's degree in Special Education, equipping her with the knowledge and expertise necessary to address the unique challenges faced by students with various learning differences.Over the years, Sandy Smith Fischer has worked in a variety of educational settings, including public schools, extended school year programs, and specialized programs such as the Help Foundation in Cleveland. She has served students across all grade levels, from early childhood to high school, and has developed a deep understanding of the diverse needs of learners at each stage of their educational journey.As Sandy began teaching in 2001, her passion for learning continued as she was now teaching an inclusion science class in 7th and 8th grade. Sandy went to countless workshops, and even took more college credits to gain a better understanding of the subject she was teaching. The lust for knowledge did not stop, Sandy took more classes to learn about Autism and other disabilities. She even began taking counseling classes to gain a better understanding of how to help more people. In 2005, Sandy...

Have you seen that other Capra film in which the protagonist in a moment of crisis, attempts suicide on Christmas Eve? Join Mike and Dan for a conversation about Meet John Doe (1941), a film Frank Capra made five years before It's a Wonderful Life and which shares that film's celebration of the common man—the John Doe—living and working and dying across the country. We know we'd all be better off—and the country would be in better shape—if we acted like the people in the John Doe Clubs, so why don't we? How many of your neighbors do you know on a first-name basis? When's the last time you reached out to someone you don't know very well but you know needs a hand? Capra's film may seem like a collection of platitudes, but it's a cross between A Christmas Carol and Lord of the Flies and is absolutely prophetic of a film that would follow it thirty-five years later about another media-created sensation who's mad as hell and not going to take it any more! The University of Mississippi Press has published many volumes of interviews of notable directors; you can find the edition on Frank Capra here. And—did you know that Capra wrote a novel in 1966, not published until 2018? Neither did we. You can find Cry Wilderness here. Follow us on X or Letterboxd. Incredible bumper music by John Deley. 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

Have you seen that other Capra film in which the protagonist in a moment of crisis, attempts suicide on Christmas Eve? Join Mike and Dan for a conversation about Meet John Doe (1941), a film Frank Capra made five years before It's a Wonderful Life and which shares that film's celebration of the common man—the John Doe—living and working and dying across the country. We know we'd all be better off—and the country would be in better shape—if we acted like the people in the John Doe Clubs, so why don't we? How many of your neighbors do you know on a first-name basis? When's the last time you reached out to someone you don't know very well but you know needs a hand? Capra's film may seem like a collection of platitudes, but it's a cross between A Christmas Carol and Lord of the Flies and is absolutely prophetic of a film that would follow it thirty-five years later about another media-created sensation who's mad as hell and not going to take it any more! The University of Mississippi Press has published many volumes of interviews of notable directors; you can find the edition on Frank Capra here. And—did you know that Capra wrote a novel in 1966, not published until 2018? Neither did we. You can find Cry Wilderness here. Follow us on X or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you seen that other Capra film in which the protagonist in a moment of crisis, attempts suicide on Christmas Eve? Join Mike and Dan for a conversation about Meet John Doe (1941), a film Frank Capra made five years before It's a Wonderful Life and which shares that film's celebration of the common man—the John Doe—living and working and dying across the country. We know we'd all be better off—and the country would be in better shape—if we acted like the people in the John Doe Clubs, so why don't we? How many of your neighbors do you know on a first-name basis? When's the last time you reached out to someone you don't know very well but you know needs a hand? Capra's film may seem like a collection of platitudes, but it's a cross between A Christmas Carol and Lord of the Flies and is absolutely prophetic of a film that would follow it thirty-five years later about another media-created sensation who's mad as hell and not going to take it any more! The University of Mississippi Press has published many volumes of interviews of notable directors; you can find the edition on Frank Capra here. And—did you know that Capra wrote a novel in 1966, not published until 2018? Neither did we. You can find Cry Wilderness here. Follow us on X or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. 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

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Between 2000 and 2010, many contemporary US-American women writers were returning to the private space of the kitchen, writing about their experiences in that space and then publishing their memoirs for the larger public to consume. Season to Taste: Rewriting Kitchen Space in Contemporary Women's Food Memoirs (U Mississippi Press, 2023) explores women's food memoirs with recipes in order to consider the ways in which these women are rewriting this kitchen space and renegotiating their relationships with food. Caroline J. Smith begins the book with a historical overview of how the space of the kitchen, and the expectations of women associated with it, have shifted considerably since the 1960s. Better Homes and Gardens, as well as the discourse of the second-wave feminist movement, tended to depict the space as a place of imprisonment. The contemporary popular writers examined in Season to Taste, such as Ruth Reichl, Kim Sunée, Jocelyn Delk Adams, Julie Powell, and Molly Wizenberg, respond to this characterization by instead presenting the kitchen as a place of transformation. In their memoirs and recipes, these authors reinterpret their roles within the private sphere of the home as well as the public sphere of the world of publishing (whether print or digital publication). The authors examined here explode the divide of private/feminine and public/masculine in both content and form and complicate the genres of recipe writing, diary writing, and memoir. These women writers, through the act of preparing and consuming food, encourage readers to reconsider the changing gender politics of the kitchen. Jeannette Cockroft is an associate professor of history and political science at Schreiner University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

On this rebroadcast, hosts Peter Ravella and Tyler Buckingham welcome Carl A. Brasseaux and Donald W. Davis back to the show to talk about their newly released book, Asian-Cajun Fusion: Shrimp from the Bay to the Bayou. Carl and Don were last on the show in as part of our live coverage of the Social Coast Forum in February of 2020. At that time the book was still in development. Carl and Don worked throughout the pandemic to complete this beautiful book and it is available for purchase today from the University of Mississippi Press.

Incarcerated Mississippians are being granted more opportunities for higher education.Then, doctors warn that birth defects of the heart can lead to lifelong health risks.Plus, in this week's History is Lunch, we examine the role of the Mississippi Press in the days and weeks following the lynching of Emmett Till. Hosted on Acast. See acast.com/privacy for more information.

EPISODE NOTES:Dressing up in costumes and masks has been at the heart of carnival celebrations since the founding of the city in the 1718. In the twentieth century, new groups emerged challenging the status quo and reshaping the festivities into the celebration that is the biggest tourist draw and the most famous public festivities of the Crescent City. If you would like, you can support us at: https://www.patreon.com/historyunhemmed https://anchor.fm/historyunhemmed/support   And/or follow us on social media: Instagram: @history_unhemmed Facebook: History Unhemmed   Thank you!

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. 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

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Bob talks with Alyssa Goldstein Sepinwall about her new book, Slave Revolt on Screen: The Haitian Revolution in Film and Video Games. Topics include the historiography of the Haitian Revolution, collecting sources for a book about films and games, Assassin's Creed Freedom Cry, comparing historical games and historical films, and the games of Muriel Tramis. University of Mississippi Press site for Alyssa's book: https://www.upress.state.ms.us/Books/S/Slave-Revolt-on-Screen

In Episode 69, we talk to our friend Mike O'Connell about his recent collection from University of Mississippi Press, Conversations with George Saunders, and discuss Mike's background, the origins of the collection, particulars of the interviews in the book, the trajectory and flavor of Saunders' literary career, and where it all might go.    Buy the Conversations book here - https://www.upress.state.ms.us/Books/C/Conversations-with-George-Saunders Buy George's brand new book, Liberation Day here - https://www.penguinrandomhouse.com/books/564990/liberation-day-by-george-saunders/   You can find Michael online in these places: Twitter - https://twitter.com/moc Academia.edu - https://sienaheights.academia.edu/MichaelOConnell Instagram - https://www.instagram.com/books_in_2022/   Contact Dave & Matt:  Email - concavityshow@gmail.com Twitter - https://twitter.com/ConcavityShow Instagram - https://www.instagram.com/concavityshow/ Facebook - https://www.facebook.com/concavityshow/ Patreon - https://www.patreon.com/concavityshow Threadless Merch Store - https://concavityshow.threadless.com/  

Dr. Zack Kruse is scholar of literature and visual media, including comics, film, and television. He is the author Mysterious Travelers: Steve Ditko and the Search for a New Liberal Identity from University of Mississippi Press, and his publications have appeared in Critique: Studies in Contemporary Fiction, Inks: The Journal of the Comics Studies Society, Studies in Comics, and Source: Notes on the History of Art, among other places. Zack is also the President of the Advisory Board for the Michigan State University Comics Forum and previously served as the managing editor for The Journal of Popular Culture. Outside of academia, Zack has produced his own comics, and his strip, Mystery Solved!,was serialized in the Center for Inquiry's Skeptical Inquirer Magazine.Support the show

Shrimp is easily America's favorite seafood, but its very popularity is the wellspring of problems that threaten the shrimp industry's existence. Asian-Cajun Fusion: Shrimp from the Bay to the Bayou (University of Mississippi Press, 2022) by Carl A. Brasseaux and Donald W. Davis provides insightful analysis of this paradox and a detailed, thorough history of the industry in Louisiana. Dried shrimp technology was part of the cultural heritage Pearl River Chinese immigrants introduced into the Americas in the mid-nineteenth century. As early as 1870, Chinese natives built shrimp-drying operations in Louisiana's wetlands and exported the product to Asia through the port of San Francisco. This trade internationalized the shrimp industry. About three years before Louisiana's Chinese community began their export endeavors, manufactured ice became available in New Orleans, and the Dunbar family introduced patented canning technology. The convergence of these ancient and modern technologies shaped the evolution of the northern Gulf Coast's shrimp industry to the present. Coastal Louisiana's historic connection to the Pacific Rim endures. Not only does the region continue to export dried shrimp to Asian markets domestically and internationally, but since 2000 the region's large Vietnamese immigrant population has increasingly dominated Louisiana's fresh shrimp harvest. Louisiana shrimp constitute the American gold standard of raw seafood excellence. Yet, in the second decade of the twenty-first century, cheap imports are forcing the nation's domestic shrimp industry to rediscover its economic roots. “Fresh off the boat” signs and real-time internet connections with active trawlers are reestablishing the industry's ties to local consumers. Direct marketing has opened the industry to middle-class customers who meet the boats at the docks. This “right off the boat” paradigm appears to be leading the way to reestablishment of sustainable aquatic resources. All-one-can-eat shrimp buffets are not going to disappear, but the Louisiana shrimp industry's fate will ultimately be determined by discerning consumers' palates. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Shrimp is easily America's favorite seafood, but its very popularity is the wellspring of problems that threaten the shrimp industry's existence. Asian-Cajun Fusion: Shrimp from the Bay to the Bayou (University of Mississippi Press, 2022) by Carl A. Brasseaux and Donald W. Davis provides insightful analysis of this paradox and a detailed, thorough history of the industry in Louisiana. Dried shrimp technology was part of the cultural heritage Pearl River Chinese immigrants introduced into the Americas in the mid-nineteenth century. As early as 1870, Chinese natives built shrimp-drying operations in Louisiana's wetlands and exported the product to Asia through the port of San Francisco. This trade internationalized the shrimp industry. About three years before Louisiana's Chinese community began their export endeavors, manufactured ice became available in New Orleans, and the Dunbar family introduced patented canning technology. The convergence of these ancient and modern technologies shaped the evolution of the northern Gulf Coast's shrimp industry to the present. Coastal Louisiana's historic connection to the Pacific Rim endures. Not only does the region continue to export dried shrimp to Asian markets domestically and internationally, but since 2000 the region's large Vietnamese immigrant population has increasingly dominated Louisiana's fresh shrimp harvest. Louisiana shrimp constitute the American gold standard of raw seafood excellence. Yet, in the second decade of the twenty-first century, cheap imports are forcing the nation's domestic shrimp industry to rediscover its economic roots. “Fresh off the boat” signs and real-time internet connections with active trawlers are reestablishing the industry's ties to local consumers. Direct marketing has opened the industry to middle-class customers who meet the boats at the docks. This “right off the boat” paradigm appears to be leading the way to reestablishment of sustainable aquatic resources. All-one-can-eat shrimp buffets are not going to disappear, but the Louisiana shrimp industry's fate will ultimately be determined by discerning consumers' palates. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Shrimp is easily America's favorite seafood, but its very popularity is the wellspring of problems that threaten the shrimp industry's existence. Asian-Cajun Fusion: Shrimp from the Bay to the Bayou (University of Mississippi Press, 2022) by Carl A. Brasseaux and Donald W. Davis provides insightful analysis of this paradox and a detailed, thorough history of the industry in Louisiana. Dried shrimp technology was part of the cultural heritage Pearl River Chinese immigrants introduced into the Americas in the mid-nineteenth century. As early as 1870, Chinese natives built shrimp-drying operations in Louisiana's wetlands and exported the product to Asia through the port of San Francisco. This trade internationalized the shrimp industry. About three years before Louisiana's Chinese community began their export endeavors, manufactured ice became available in New Orleans, and the Dunbar family introduced patented canning technology. The convergence of these ancient and modern technologies shaped the evolution of the northern Gulf Coast's shrimp industry to the present. Coastal Louisiana's historic connection to the Pacific Rim endures. Not only does the region continue to export dried shrimp to Asian markets domestically and internationally, but since 2000 the region's large Vietnamese immigrant population has increasingly dominated Louisiana's fresh shrimp harvest. Louisiana shrimp constitute the American gold standard of raw seafood excellence. Yet, in the second decade of the twenty-first century, cheap imports are forcing the nation's domestic shrimp industry to rediscover its economic roots. “Fresh off the boat” signs and real-time internet connections with active trawlers are reestablishing the industry's ties to local consumers. Direct marketing has opened the industry to middle-class customers who meet the boats at the docks. This “right off the boat” paradigm appears to be leading the way to reestablishment of sustainable aquatic resources. All-one-can-eat shrimp buffets are not going to disappear, but the Louisiana shrimp industry's fate will ultimately be determined by discerning consumers' palates. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies