Podcasts about The Missouri Review

What does it take to keep your voice—and your purpose—strong through every season of life? In this episode of Unstoppable Mindset, I sit down with my friend Bill Ratner, one of Hollywood's most recognized voice actors, best known as Flint from GI Joe. Bill's voice has carried him through radio, animation, and narration, but what stands out most is how he's used that same voice to serve others through storytelling, teaching, and grief counseling. Together, we explore the heart behind his work—from bringing animated heroes to life to standing on The Moth stage and helping people find healing through poetry. Bill shares lessons from his own journey, including losing both parents early, finding family in unexpected places, and discovering how creative expression can rebuild what life breaks down. We also reflect on 9/11, preparedness, and the quiet confidence that comes from trusting your training—whether you're a first responder, a performer, or just navigating the unknown. This conversation isn't just about performance; it's about presence. It's about using your story, your craft, and your compassion to keep moving forward—unstoppable, one voice at a time. Highlights: 00:31 – Hear the Flint voice and what it takes to bring animated characters to life. 06:57 – Learn why an uneven college path still led to a lifelong acting career. 11:50 – Understand how GI Joe became a team and a toy phenomenon that shaped culture. 15:58 – See how comics and cartoons boosted classroom literacy when used well. 17:06 – Pick up simple ways parents can spark reading through shared stories. 19:29 – Discover how early, honest conversations about death can model resilience. 24:09 – Learn to critique ads and media like a pro to sharpen your own performance. 36:19 – Follow the pivot from radio to voiceover and why specialization pays. 47:48 – Hear practical editing approaches and accessible tools that keep shows tight. 49:38 – Learn how The Moth builds storytelling chops through timed, judged practice. 55:21 – See how poetry—and poetry therapy—support grief work with students. 59:39 – Take notes on memoir writing, emotional management, and one-person shows. About the Guest: Bill Ratner is one of America's best known voice actors and author of poetry collections Lamenting While Doing Laps in the Lake (Slow Lightning Lit 2024,) Fear of Fish (Alien Buddha Press 2021,) To Decorate a Casket (Finishing Line Press 2021,) and the non-fiction book Parenting For The Digital Age: The Truth Behind Media's Effect On Children and What To Do About It (Familius Books 2014.) He is a 9-time winner of the Moth StorySLAM, 2-time winner of Best of The Hollywood Fringe Extension Award for Solo Performance, Best of the Net Poetry Nominee 2023 (Lascaux Review,) and New Millennium "America One Year From Now" Writing Award Finalist. His writing appears in Best Small Fictions 2021 (Sonder Press,) Missouri Review (audio,) Baltimore Review, Chiron Review, Feminine Collective, and other journals. He is the voice of "Flint" in the TV cartoon G.I. Joe, "Donnell Udina" in the computer game Mass Effect, the voice of Air Disasters on Smithsonian Channel, NewsNation, and network TV affiliates across the country. He is a committee chair for his union, SAG-AFTRA, teaches Voiceovers for SAG-AFTRA Foundation, Media Awareness for Los Angeles Unified School District, and is a trained grief counsellor. Member: Actors Equity Association, Screen Actors Guild-AFTRA, National Storytelling Network • https://billratner.com • @billratner Ways to connect with Bill: https://soundcloud.com/bill-ratner https://www.instagram.com/billratner/ https://twitter.com/billratner https://www.threads.net/@billratner https://billratner.tumblr.com https://www.youtube.com/@billratner/videos https://www.facebook.com/billratner.voiceover.author https://bsky.app/profile/bilorat.bsky.social About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:21 Well on a gracious hello to you, wherever you may be, I am your host. Mike hingson, and you are listening to unstoppable mindset. Today, we get to have a voice actor, person, Bill Ratner, who you want to know who Bill Radnor is, go back and watch the old GI Joe cartoons and listen to the voice of Flint.   Bill Ratner ** 01:42 All right. Lady Jay, you better get your battle gear on, because Cobra is on their way. And I can't bring up the Lacher threat weapon system. We got to get out of here. Yo, Joe,   Michael Hingson ** 01:52 there you go. I rest my case Well, Bill, welcome to unstoppable mindset.   Bill Ratner ** 02:00 We can't rest now. Michael, we've just begun. No, we've just begun.   Michael Hingson ** 02:04 We got to keep going here. Well, I'm really glad that you're here. Bill is another person who we inveigled to get on unstoppable mindset with the help of Walden Hughes. And so that means we can talk about Walden all we want today. Bill just saying, oh goodness. And I got a lot to say. Let me tell you perfect, perfect. Bring it on. So we are really grateful to Walden, although I hope he's not listening. We don't want to give him a big head. But no, seriously, we're really grateful. Ah, good point.   Bill Ratner ** 02:38 But his posture, oddly enough, is perfect.   Michael Hingson ** 02:40 Well, there you go. What do you do? He practiced. Well, anyway, we're glad you're here. Tell us about the early bill, growing up and all that stuff. It's always fun to start a good beginning.   Bill Ratner ** 02:54 Well, I was a very lucky little boy. I was born in Des Moines, Iowa in 1947 to two lovely people, professionals, both with master's degree out at University of Chicago. My mother was a social worker. My father had an MBA in business. He was managing editor of Better Homes and Gardens magazine. So I had the joy of living in a better home and living in a garden.   Michael Hingson ** 03:21 My mother. How long were you in Des Moines?   Bill Ratner ** 03:24 Five and a half years left before my sixth birthday. My dad got a fancy job at an ad agency in Minneapolis, and had a big brother named Pete and big handsome, curly haired boy with green eyes. And moved to Minneapolis, Minnesota, and was was brought up there.   Michael Hingson ** 03:45 Wow. So you went to school there and and chased the girls and all that stuff.   Bill Ratner ** 03:54 I went to school there at Blake School for Boys in Hopkins, Minnesota. Couldn't chase the girls day school, but the girls we are allowed to dance with certainly not chase. Michael was at woodhue dancing school, the Northrop girls from Northrop girls school and the Blake boys were put together in eighth grade and taught the Cha Cha Cha, the waltz, the Charleston, and we danced together, and the girls wore white gloves, and we sniffed their perfume, and we all learned how to be lovers when we were 45   Michael Hingson ** 04:37 There you are. Well, as long as you learned at some point, that's a good start.   Bill Ratner ** 04:44 It's a weird generation. Michael,   Michael Hingson ** 04:46 I've been to Des Moines before. I was born in Chicago, but moved out to California when I was five, but I did some work with the National Federation of the Blind in the mid 19. 1970s 1976 into 1978 so spent time at the Iowa Commission for the Blind in Des Moines, which became a top agency for the Blind in well, the late 50s into the to the 60s and so on. So   Bill Ratner ** 05:15 both my parents are from Chicago. My father from the south side of Chicago, 44th and Kenzie, which was a Irish, Polish, Italian, Jewish, Ukrainian neighborhood. And my mother from Glencoe, which was a middle class suburb above Northwestern University in Evanston.   Michael Hingson ** 05:34 I Where were you born? 57th and union, north, south side, no, South   Bill Ratner ** 05:42 57th union is that? Is that west of Kenzie?   Michael Hingson ** 05:46 You know, I don't remember the geography well enough to know, but I know that it was, I think, Mount Sinai Hospital where I was born. But it was, it's, it's, it's a pretty tough neighborhood today. So I understand,   Bill Ratner ** 06:00 yeah, yeah, my it was tough, then it's tough now,   Michael Hingson ** 06:03 yeah, I think it's tougher, supposedly, than it was. But we lived there for five years, and then we we moved to California, and I remember some things about Chicago. I remember walking down to the local candy store most days, and had no problem doing that. My parents were told they should shut me away at a home somewhere, because no blind child could ever grow up to amount to anything. And my parents said, You guys are you're totally wrong. And they brought me up with that attitude. So, you   Bill Ratner ** 06:32 know who said that the school says school so that   Michael Hingson ** 06:35 doctors doctors when they discovered I was blind with the   Bill Ratner ** 06:38 kid, goodness gracious, horrified.   Michael Hingson ** 06:44 Well, my parents said absolutely not, and they brought me up, and they actually worked with other parents of premature kids who became blind, and when kindergarten started in for us in in the age of four, they actually had a special kindergarten class for blind kids at the Perry School, which is where I went. And so I did that for a year, learn braille and some other things. Then we moved to California, but yeah, and I go back to Chicago every so often. And when I do nowadays, they I one of my favorite places to migrate in Chicago is Garrett Popcorn.   Bill Ratner ** 07:21 Ah, yes, with caramel corn, regular corn, the   Michael Hingson ** 07:25 Chicago blend, which is a mixture, yeah, the Chicago blend is cheese corn, well, as it is with caramel corn, and they put much other mozzarella on it as well. It's really good.   Bill Ratner ** 07:39 Yeah, so we're on the air. Michael, what do you call your what do you call your program? Here I am your new friend, and I can't even announce your program because I don't know   Michael Hingson ** 07:48 the name, unstoppable mindset. This   Bill Ratner ** 07:51 is unstoppable mindset.   Michael Hingson ** 07:56 We're back. Well, we're back already. We're fast. So you, you, you moved off elsewhere, out of Des Moines and all that. And where did you go to college?   Bill Ratner ** 08:09 Well, this is like, why did you this is, this is a bit like talking about the Vietnam War. Looking back on my college career is like looking back on the Vietnam War series, a series of delusions and defeats. By the time I the time i for college, by the time I was applying for college, I was an orphan, orphan, having been born to fabulous parents who died too young of natural causes. So my grades in high school were my mediocre. I couldn't get into the Ivy Leagues. I got into the big 10 schools. My stepmother said, you're going to Michigan State in East Lansing because your cousin Eddie became a successful realtor. And Michigan State was known as mu u it was the most successful, largest agriculture college and university in the country. Kids from South Asia, China, Northern Europe, Southern Europe, South America all over the world came to Michigan State to study agricultural sciences, children of rich farmers all over the world and middle class farmers all over the world, and a huge police science department. Part of the campus was fenced off, and the young cadets, 1819, 20 years old, would practice on the rest of the student body, uniformed with hats and all right, excuse me, young man, we're just going to get some pizza at eight o'clock on Friday night. Stand against your car. Hands in your car. I said, Are you guys practicing again? Shut up and spread your legs. So that was that was Michigan State, and even though both my parents had master's degrees, I just found all the diversions available in the 1960s to be too interesting, and was not invited. Return after my sophomore year, and in order to flunk out of a big 10 University, and they're fine universities, all of them, you have to be either really determined or not so smart, not really capable of doing that level of study in undergraduate school. And I'd like to think that I was determined. I used to show up for my exams with a little blue book, and the only thing I would write is due to lack of knowledge, I am unable to complete this exam, sign Bill ranter and get up early and hand it in and go off. And so what was, what was left for a young man like that was the theater I'd seen the great Zero Mostel when I was 14 years old and on stage live, he looked just like my father, and he was funny, and if I Were a rich man, and that's the grade zero must tell. Yeah, and it took about five, no, it took about six, seven years to percolate inside my bread and my brain. In high school, I didn't want to do theater. The cheerleaders and guys who I had didn't happen to be friends with or doing theater. I took my girlfriends to see plays, but when I was 21 I started acting, and I've been an actor ever since. I'm a committee chair on the screen actors guild in Hollywood and Screen Actors Guild AFTRA, and work as a voice actor and collect my pensions and God bless the union.   Michael Hingson ** 11:44 Well, hey, as long as it works and you're making progress, you know you're still with it, right?   Bill Ratner ** 11:53 That's the that's the point. There's no accounting for taste in my business. Michael, you work for a few different broadcast entities at my age. And it's, you know, it's younger people. It's 18 to 3418 years to 34 years old is the ideal demographic for advertisers, Ford, Motor Company, Dove soap, Betty, Crocker, cake mixes and cereals, every conceivable product that sold online or sold on television and radio. This is my this is my meat, and I don't work for religion. However, if a religious organization calls, I call and say, I I'm not, not qualified or not have my divinity degree in order to sell your church to the public?   Michael Hingson ** 12:46 Yeah, yeah. Well, I, I can understand that. But you, you obviously do a lot, and as we talked about, you were Flint and GI Joe, which is kind of cool.   Bill Ratner ** 13:01 Flynn GI Joe was very cool. Hasbro Corporation, which was based in Providence, Rhode Island, had a huge success with GI Joe, the figure. The figure was about 11 and a half inches tall, like a Barbie, and was at first, was introduced to the public after the Korean War. There is a comic book that was that was also published about GI Joe. He was an individual figure. He was a figure, a sort of mythic cartoon figure during World War Two, GI Joe, generic American soldier, fighting man and but the Vietnam war dragged on for a long time, and the American buying public or buying kids toys got tired of GI Joe, got tired of a military figure in their household and stopped buying. And when Nixon ended the Vietnam War, or allotted to finish in 1974 Hasbro was in the tank. It's got its stock was cheap, and executives are getting nervous. And then came the Great George Lucas in Star Wars, who shrank all these action figures down from 11 and a half inches to three and a half inches, and went to China and had Chinese game and toy makers make Star Wars toys, and began to earn billions and billions dollars. And so Hasbro said, let's turn GI Joe into into a team. And the team began with flint and Lady J and Scarlett and Duke and Destro and cover commander, and grew to 85 different characters, because Hasbro and the toy maker partners could create 85 different sets of toys and action figures. So I was actor in this show and had a good time, and also a purveyor of a billion dollar industry of American toys. And the good news about these toys is I was at a conference where we signed autographs the voice actors, and we have supper with fans and so on. And I was sitting next to a 30 year old kid and his parents. And this kid was so knowledgeable about pop culture and every conceivable children's show and animated show that had ever been on the screen or on television. I turned to his mother and sort of being a wise acre, said, So ma'am, how do you feel about your 30 year old still playing with GI Joe action figures? And she said, Well, he and I both teach English in the Pittsburgh, Pennsylvania school system, and last year, the literacy level of my ninth graders was 50% 50% of those kids could not read in ninth grade. So I asked the principal if I could borrow my son's GI Joe, action figures, comic books and VHS tapes, recordings of the shows from TV. And he said, Sure, whatever you want to try. And so she did, and she played the video tapes, and these kids were thrilled. They'd never seen a GI Joe cartoon in class before. Passed out the comic books, let him read comics. And then she said, Okay, you guys. And passed out notebooks and pens and pencils, and said, I want you guys to make up some some shows, some GI Joe shows. And so they said, Yeah, we're ready. All right, Cobra, you better get into the barber shop, because the barber bill is no longer there and the fire engines are in the way. And wait a minute, there's a dog in the street. And so they're making this up, using their imagination, doing their schoolwork, by coming up with scenarios, imaginary fam fan fiction for GI Joe and she raised the literacy level in her classroom by 50% that year, by the end of that year, so, so that was the only story that I've ever heard about the sort of the efficacy of GI Joe, other than, you know, kids play with them. Do they? Are they shooting each other all the time? I certainly hope not. I hope not. Are they using the action figures? Do they strip their guns off and put them in a little, you know, stub over by the side and and have them do physical battle with each other, or have them hump the woods, or have them climb the stairs, or have them search the trees. Who knows what kids do? Same with same with girls and and Barbies. Barbie has been a source of fun and creativity for lots of girls, and the source of of worry and bother to a lot of parents as   Michael Hingson ** 17:54 well. Well, at the same time, though, when kids start to react and relate to some of these things. It's, it's pretty cool. I mean, look what's happened with the whole Harry Potter movement and craze. Harry Potter has probably done more in the last 20 or 25 years to promote reading for kids than most anything else, and   Bill Ratner ** 18:17 that's because it's such a good series of books. I read them to my daughters, yeah. And the quality of writing. She was a brilliant writer, not only just the stories and the storytelling, which is fun to watch in the movies, and you know, it's great for a parent to read. If there are any parents listening, I don't care how old your kids are. I don't care if they're 15. Offer to read to them. The 15 year old might, of course, say mom, but anybody younger than that might say either, all right, fine, which is, which means you better do it or read, read a book. To me, sure, it's fun for the parent, fun for the kid, and it makes the child a completely different kind of thinker and worker and earner.   Michael Hingson ** 19:05 Well, also the people who they got to read the books for the recordings Stephen Fry and in the US here, Jim Dale did such an incredible job as well. I've, I've read the whole Harry Potter series more than once, because I just enjoy them, and I enjoy listening to the the voices. They do such a good job. Yeah. And of course, for me, one of the interesting stories that I know about Jim Dale reading Harry Potter was since it was published by Scholastic he was actually scheduled to do a reading from one of the Harry from the new Harry Potter book that was coming out in 2001 on September 11, he was going to be at Scholastic reading. And of course, that didn't happen because of of everything that did occur. So I don't know whether I'm. I'm assuming at some point a little bit later, he did, but still he was scheduled to be there and read. But it they are there. They've done so much to help promote reading, and a lot of those kinds of cartoons and so on. Have done some of that, which is, which is pretty good. So it's good to, you know, to see that continue to happen. Well, so you've written several books on poetry and so on, and I know that you you've mentioned more than once grief and loss. How come those words keep coming up?   Bill Ratner ** 20:40 Well, I had an unusual childhood. Again. I mentioned earlier how, what a lucky kid I was. My parents were happy, educated, good people, not abusers. You know, I don't have a I don't have horror stories to tell about my mother or my father, until my mother grew sick with breast cancer and and it took about a year and a half or two years to die when I was seven years old. The good news is, because she was a sensitive, educated social worker, as she was actually dying, she arranged a death counseling session with me and my older brother and the Unitarian minister who was also a death counselor, and whom she was seeing to talk about, you know, what it was like to be dying of breast cancer with two young kids. And at this session, which was sort of surprised me, I was second grade, came home from school. In the living room was my mother and my brother looking a little nervous, and Dr Carl storm from the Unitarian Church, and she said, you know, Dr storm from church, but he's also my therapist. And we talk about my illness and how I feel, and we talk about how much I love you boys, and talk about how I worry about Daddy. And this is what one does when one is in crisis. That was a moment that was not traumatic for me. It's a moment I recalled hundreds of times, and one that has been a guiding light through my life. My mother's death was very difficult for my older brother, who was 13 who grew up in World War Two without without my father, it was just him and my mother when he was off in the Pacific fighting in World War Two. And then I was born after the war. And the loss of a mother in a family is like the bottom dropping out of a family. But luckily, my dad met a woman he worked with a highly placed advertising executive, which was unusual for a female in the 1950s and she became our stepmother a year later, and we had some very lovely, warm family years with her extended family and our extended family and all of us together until my brother got sick, came down with kidney disease a couple of years before kidney dialysis was invented, and a couple of years before kidney transplants were done, died at 19. Had been the captain of the swimming team at our high school, but did a year in college out in California and died on Halloween of 1960 my father was 51 years old. His eldest son had died. He had lost his wife six years earlier. He was working too hard in the advertising industry, successful man and dropped out of a heart attack 14th birthday. Gosh, I found him unconscious on the floor of our master bathroom in our house. So my life changed. I My life has taught me many, many things. It's taught me how the defense system works in trauma. It's taught me the resilience of a child. It's taught me the kindness of strangers. It's taught me the sadness of loss.   Michael Hingson ** 24:09 Well, you, you seem to come through all of it pretty well. Well, thank you. A question behind that, just an observation, but, but you do seem to, you know, obviously, cope with all of it and do pretty well. So you, you've always liked to be involved in acting and so on. How did you actually end up deciding to be a voice actor?   Bill Ratner ** 24:39 Well, my dad, after he was managing editor of Better Homes and Gardens magazine in Des Moines for Meredith publishing, got offered a fancy job as executive vice president of the flower and mix division for Campbell within advertising and later at General Mills Corporation. From Betty Crocker brand, and would bring me to work all the time, and would sit with me, and we'd watch the wonderful old westerns that were on prime time television, rawhide and Gunsmoke and the Virginian and sure   Michael Hingson ** 25:15 and all those. Yeah, during   Bill Ratner ** 25:17 the commercials, my father would make fun of the commercials. Oh, look at that guy. And number one, son, that's lousy acting. Number two, listen to that copy. It's the dumbest ad copy I've ever seen. The jingles and and then he would say, No, that's a good commercial, right there. And he wasn't always negative. He would he was just a good critic of advertising. So at a very young age, starting, you know, when we watch television, I think the first television ever, he bought us when I was five years old, I was around one of the most educated, active, funny, animated television critics I could hope to have in my life as a 56789, 1011, 12 year old. And so when I was 12, I became one of the founding members of the Brotherhood of radio stations with my friends John Waterhouse and John Barstow and Steve gray and Bill Connors in South Minneapolis. I named my five watt night kit am transmitter after my sixth grade teacher, Bob close this is wclo stereo radio. And when I was in sixth grade, I built myself a switch box, and I had a turntable and I had an intercom, and I wired my house for sound, as did all the other boys in the in the B, O, R, S, and that's brotherhood of radio stations. And we were guests on each other's shows, and we were obsessed, and we would go to the shopping malls whenever a local DJ was making an appearance and torture him and ask him dumb questions and listen obsessively to American am radio. And at the time for am radio, not FM like today, or internet on your little radio tuner, all the big old grandma and grandpa radios, the wooden ones, were AM, for amplitude modulated. You could get stations at night, once the sun went down and the later it got, the ionosphere would lift and the am radio signals would bounce higher and farther. And in Minneapolis, at age six and seven, I was able to to listen to stations out of Mexico and Texas and Chicago, and was absolutely fascinated with with what was being put out. And I would, I would switch my brother when I was about eight years old, gave me a transistor radio, which I hid under my bed covers. And at night, would turn on and listen for, who knows, hours at a time, and just tuning the dial and tuning the dial from country to rock and roll to hit parade to news to commercials to to agric agriculture reports to cow crossings in Kansas and grain harvesting and cheese making in Wisconsin, and on and on and on that made up the great medium of radio that was handing its power and its business over to television, just as I was growing As a child. Fast, fascinating transition   Michael Hingson ** 28:18 and well, but as it was transitioning, how did that affect you?   Bill Ratner ** 28:26 It made television the romantic, exciting, dynamic medium. It made radio seem a little limited and antiquated, and although I listened for environment and wasn't able to drag a television set under my covers. Yeah, and television became memorable with with everything from actual world war two battle footage being shown because there wasn't enough programming to 1930s Warner Brothers gangster movies with James Cagney, Edward G   Michael Hingson ** 29:01 Robinson and yeah   Bill Ratner ** 29:02 to all the sitcoms, Leave It to Beaver and television cartoons and on and on and on. And the most memorable elements to me were the personalities, and some of whom were invisible. Five years old, I was watching a Kids program after school, after kindergarten. We'll be back with more funny puppets, marionettes after this message and the first words that came on from an invisible voice of this D baritone voice, this commercial message will be 60 seconds long, Chrysler Dodge for 1954 blah, blah, blah, blah, blah. And I watched hypnotized, hypnotized as a 1953 dodge drove across the screen with a happy family of four waving out the window. And at the end of the commercial, I ran into the kitchen said, Mom, mom, I know what a minute. Is, and it was said, it had suddenly come into my brain in one of those very rare and memorable moments in a person's life where your brain actually speaks to you in its own private language and says, Here is something very new and very true, that 60 seconds is in fact a minute. When someone says, See you in five minutes, they mean five times that, five times as long as that. Chrysler commercial, five times 60. That's 300 seconds. And she said, Did you learn it that that on T in kindergarten? And I said, No, I learned it from kangaroo Bob on TV, his announcer, oh, kangaroo Bob, no, but this guy was invisible. And so at five years of age, I was aware of the existence of the practice of the sound, of the magic of the seemingly unlimited access to facts, figures, products, brand names that these voices had and would say on the air in This sort of majestic, patriarchal way,   Michael Hingson ** 31:21 and just think 20 years later, then you had James Earl Jones,   Bill Ratner ** 31:26 the great dame. James Earl Jones, father was a star on stage at that time the 1950s James Earl Jones came of age in the 60s and became Broadway and off Broadway star.   Michael Hingson ** 31:38 I got to see him in Othello. He was playing Othello. What a powerful performance. It was   Bill Ratner ** 31:43 wonderful performer. Yeah, yeah. I got to see him as Big Daddy in Canada, Hot Tin Roof, ah, live and in person, he got front row seats for me and my family.   Michael Hingson ** 31:53 Yeah, we weren't in the front row, but we saw it. We saw it on on Broadway,   Bill Ratner ** 31:58 the closest I ever got to James Earl Jones. He and I had the same voice over agent, woman named Rita vinari of southern Barth and benare company. And I came into the agency to audition for Doritos, and I hear this magnificent voice coming from behind a closed voiceover booth, saying, with a with a Spanish accent, Doritos. I thought that's James Earl Jones. Why is he saying burritos? And he came out, and he bowed to me, nodded and smiled, and I said, hello and and the agent probably in the booth and shut the door. And she said, I said, that was James Earl Jones. What a voice. What she said, Oh, he's such a nice man. And she said, but I couldn't. I was too embarrassed. I was too afraid to stop him from saying, Doritos. And it turns out he didn't get the gig. So it is some other voice actor got it because he didn't say, had he said Doritos with the agent froze it froze up. That was as close as I ever got to did you get the gig? Oh goodness no,   Michael Hingson ** 33:01 no, you didn't, huh? Oh, well, well, yeah. I mean, it was a very, it was, it was wonderful. It was James Earl Jones and Christopher Plummer played Iago. Oh, goodness, oh, I know. What a what a combination. Well, so you, you did a lot of voiceover stuff. What did you do regarding radio moving forward? Or did you just go completely out of that and you were in TV? Or did you have any opportunity   Bill Ratner ** 33:33 for me to go back at age 15, my brother and father, who were big supporters of my radio. My dad would read my W, C, l, o, newsletter and need an initial, an excellent journalism son and my brother would bring his teenage friends up. He'd play the elderly brothers, man, you got an Elvis record, and I did. And you know, they were, they were big supporters for me as a 13 year old, but when I turned 14, and had lost my brother and my father, I lost my enthusiasm and put all of my radio equipment in a box intended to play with it later. Never, ever, ever did again. And when I was about 30 years old and I'd done years of acting in the theater, having a great time doing fun plays and small theaters in Minneapolis and South Dakota and and Oakland, California and San Francisco. I needed money, so I looked in the want ads and saw a job for telephone sales, and I thought, Well, I used to love the telephone. I used to make phony phone calls to people all the time. Used to call funeral homes. Hi Carson, funeral I help you. Yes, I'm calling to tell you that you have a you have a dark green slate tile. Roof, isn't that correct? Yes. Well, there's, there's a corpse on your roof. Lady for goodness sake, bring it down and we laugh and we record it and and so I thought, Well, gee, I used to have a lot of fun with the phone. And so I called the number of telephone sales and got hired to sell magazine subscriptions and dinner tickets to Union dinners and all kinds of things. And then I saw a new job at a radio station, suburban radio station out in Walnut Creek, California, a lovely Metro BART train ride. And so I got on the BART train, rode out there and walked in for the interview, and was told I was going to be selling small advertising packages on radio for the station on the phone. And so I called barber shops and beauty shops and gas stations in the area, and one guy picked up the phone and said, Wait a minute, wait a minute. Wait a minute. Are you on the radio right now? And I said, No, I'm just I'm in the sales room. Well, maybe you should be. And he slams the phone on me. He didn't want to talk to me anymore. It wasn't interested in buying advertising. I thought, gee. And I told somebody at the station, and they said, Well, you want to be in the radio? And he went, Yeah, I was on the radio when I was 13. And it just so happened that an older fellow was retiring from the 10am to 2pm slot. K I S King, kiss 99 and KD FM, Pittsburgh, California. And it was a beautiful music station. It was a music station. Remember, old enough will remember music that used to play in elevators that was like violin music, the Percy faith orchestra playing a Rolling Stone song here in the elevator. Yes, well, that's exactly what we played. And it would have been harder to get a job at the local rock stations because, you know, they were popular places. And so I applied for the job, and   Michael Hingson ** 37:06 could have lost your voice a lot sooner, and it would have been a lot harder if you had had to do Wolfman Jack. But that's another story.   Bill Ratner ** 37:13 Yeah, I used to listen to Wolf Man Jack. I worked in a studio in Hollywood. He became a studio. Yeah, big time.   Michael Hingson ** 37:22 Anyway, so you you got to work at the muzack station, got   Bill Ratner ** 37:27 to work at the muzack station, and I was moving to Los Angeles to go to a bigger market, to attempt to penetrate a bigger broadcast market. And one of the sales guys, a very nice guy named Ralph pizzella said, Well, when you get to La you should study with a friend of mine down to pie Troy, he teaches voiceovers. I said, What are voice overs? He said, You know that CVS Pharmacy commercial just carted up and did 75 tags, available in San Fernando, available in San Clemente, available in Los Angeles, available in Pasadena. And I said, Yeah. He said, Well, you didn't get paid any extra. You got paid your $165 a week. The guy who did that commercial for the ad agency got paid probably 300 bucks, plus extra for the tags, that's voiceovers. And I thought, why? There's an idea, what a concept. So he gave me the name and number of old friend acquaintance of his who he'd known in radio, named Don DiPietro, alias Johnny rabbit, who worked for the Dick Clark organization, had a big rock and roll station there. He'd come to LA was doing voiceovers and teaching voiceover classes in a little second story storefront out of the San Fernando Valley in Los Angeles. So I signed up for his class, and he was an experienced guy, and he liked me, and we all had fun, and I realized I was beginning to study like an actor at 1818, who goes to New York or goes to Los Angeles or Chicago or Atlanta or St Louis to act in the big theaters, and starts acting classes and realizes, oh my goodness, these people are truly professionals. I don't know how to do what they do. And so for six years, I took voice over classes, probably 4050, nights a year, and from disc jockeys, from ex show hosts, from actors, from animated cartoon voices, and put enough time in to get a degree in neurology in medical school. And worked my way up in radio in Los Angeles and had a morning show, a lovely show with a wonderful news man named Phil Reed, and we talked about things and reviewed movies and and played a lot of music. And then I realized, wait a minute, I'm earning three times the money in voiceovers as I am on the radio, and I have to get up at 430 in the morning to be on the radio. Uh, and a wonderful guy who was Johnny Carson's staff announcer named Jack angel said, You're not still on radio, are you? And I said, Well, yeah, I'm working in the morning. And Ka big, get out of there. Man, quit. Quit. And I thought, well, how can I quit? I've always wanted to be a radio announcer. And then there was another wonderful guy on the old am station, kmpc, sweet Dick Whittington. Whittington, right? And he said at a seminar that I went to at a union voice over training class, when you wake up at four in the morning and you swing your legs over the bed and your shoes hit the floor, and you put your head in your hands, and you say to yourself, I don't want to do this anymore. That's when you quit radio. Well, that hadn't happened to me. I was just getting up early to write some comedy segments and on and on and on, and then I was driving around town all day doing auditions and rented an ex girlfriend's second bedroom so that I could nap by myself during the day, when I had an hour in and I would as I would fall asleep, I'd picture myself every single day I'm in a dark voiceover studio, a microphone Is before me, a music stand is before the microphone, and on it is a piece of paper with advertising copy on it. On the other side of the large piece of glass of the recording booth are three individuals, my employers, I begin to read, and somehow the text leaps off the page, streams into my eyes, letter for letter, word for word, into a part of my back brain that I don't understand and can't describe. It is processed in my semi conscious mind with the help of voice over training and hope and faith, and comes out my mouth, goes into the microphone, is recorded in the digital recorder, and those three men, like little monkeys, lean forward and say, Wow, how do you do that? That was my daily creative visualization. Michael, that was my daily fantasy. And I had learned that from from Dale Carnegie, and I had learned that from Olympic athletes on NBC TV in the 60s and 70s, when the announcer would say, this young man you're seeing practicing his high jump is actually standing there. He's standing stationary, and the bouncing of the head is he's actually rehearsing in his mind running and running and leaping over the seven feet two inch bar and falling into the sawdust. And now he's doing it again, and you could just barely see the man nodding his head on camera at the exact rhythm that he would be running the 25 yards toward the high bar and leaping, and he raised his head up during the imaginary lead that he was visualizing, and then he actually jumped the seven foot two inches. That's how I learned about creative visualization from NBC sports on TV.   Michael Hingson ** 43:23 Channel Four in Los Angeles. There you go. Well, so you you broke into voice over, and that's what you did.   Bill Ratner ** 43:38 That's what I did, darn it, I ain't stopping now, there's a wonderful old actor named Bill Irwin. There two Bill Irwin's one is a younger actor in his 50s or 60s, a brilliant actor from Broadway to film and TV. There's an older William Irwin. They also named Bill Irwin, who's probably in his 90s now. And I went to a premiere of a film, and he was always showing up in these films as The senile stock broker who answers the phone upside down, or the senile board member who always asks inappropriate questions. And I went up to him and I said, you know, I see you in everything, man. I'm 85 years old. Some friends and associates of mine tell me I should slow down. I only got cast in movies and TV when I was 65 I ain't slowing down. If I tried to slow down at 85 I'd have to stop That's my philosophy. My hero is the great Don Pardo, the late great   Michael Hingson ** 44:42 for Saturday Night Live and Jeopardy   Bill Ratner ** 44:45 lives starring Bill Murray, Gilder Radner, and   Michael Hingson ** 44:49 he died for Jeopardy before that,   Bill Ratner ** 44:52 yeah, died at 92 with I picture him, whether it probably not, with a microphone and. His hand in his in his soundproof booth, in his in his garage, and I believe he lived in Arizona, although the show was aired and taped in New York, New York, right where he worked for for decades as a successful announcer. So that's the story.   Michael Hingson ** 45:16 Michael. Well, you know, I miss, very frankly, some of the the the days of radio back in the 60s and 70s and so on. We had, in LA what you mentioned, Dick Whittington, Dick whittinghill on kmpc, Gary Owens, you know, so many people who were such wonderful announcers and doing some wonderful things, and radio just isn't the same anymore. It's gone. It's   Bill Ratner ** 45:47 gone to Tiktok and YouTube. And the truth is, I'm not gonna whine about Tiktok or YouTube, because some of the most creative moments on camera are being done on Tiktok and YouTube by young quote influencers who hire themselves out to advertisers, everything from lipstick. You know,   Speaker 1 ** 46:09 when I went to a party last night was just wild and but this makeup look, watch me apply this lip remover and blah, blah, blah, blah, blah, no, I have no lip.   Bill Ratner ** 46:20 You know, these are the people with the voices. These are the new voices. And then, of course, the faces. And so I would really advise before, before people who, in fact, use the internet. If you use the internet, you can't complain if you use the internet, if you go to Facebook or Instagram, or you get collect your email or Google, this or that, which most of us do, it's handy. You can't complain about tick tock, tick tock, tick tock. You can't complain about tick tock or YouTube, because it's what the younger generation is using, and it's what the younger generation advertisers and advertising executives and creators and musicians and actors are using to parade before us, as Gary Owens did, as Marlon Brando did, as Sarah Bernhardt did in the 19 so as all as you do, Michael, you're a parader. You're the head of the parade. You've been in on your own float for years. I read your your bio. I don't even know why you want to waste a minute talking to me for goodness sakes.   Michael Hingson ** 47:26 You know, the one thing about podcasts that I like over radio, and I did radio at kuci for seven years when I was in school, what I really like about podcasts is they're not and this is also would be true for Tiktok and YouTube. Primarily Tiktok, I would would say it isn't as structured. So if we don't finish in 60 minutes, and we finish in 61 minutes, no one's gonna shoot us.   Bill Ratner ** 47:53 Well, I beg to differ with you. Now. I'm gonna start a fight with you. Michael, yeah, we need conflict in this script. Is that it The Tick Tock is very structured. Six. No,   Michael Hingson ** 48:03 no, I understand that. I'm talking about podcasts,   Bill Ratner ** 48:07 though, but there's a problem. We gotta Tone It Up. We gotta pick it up. We gotta there's a lot of and I listen to what are otherwise really bright, wonderful personalities on screen, celebrities who have podcasts and the car sucks, and then I had meatballs for dinner, haha. And you know what my wife said? Why? You know? And there's just too much of that. And,   Michael Hingson ** 48:32 oh, I understand, yeah. I mean, it's like, like anything, but I'm just saying that's one of the reasons I love podcasting. So it's my way of continuing what I used to do in radio and having a lot of fun doing it   Bill Ratner ** 48:43 all right, let me ask you. Let me ask you a technical and editorial question. Let me ask you an artistic question. An artist, can you edit this podcast? Yeah. Are you? Do you plan to Nope.   Michael Hingson ** 48:56 I think conversations are conversations, but there is a but, I mean,   Bill Ratner ** 49:01 there have been starts and stops and I answer a question, and there's a long pause, and then, yeah, we can do you edit that stuff   Michael Hingson ** 49:08 out. We do, we do, edit some of that out. And I have somebody that that that does a lot of it, because I'm doing more podcasts, and also I travel and speak, but I can edit. There's a program called Reaper, which is really a very sophisticated   Bill Ratner ** 49:26 close up spaces. You   Michael Hingson ** 49:28 can close up spaces with it, yes, but the neat thing about Reaper is that somebody has written scripts to make it incredibly accessible for blind people using screen readers.   Bill Ratner ** 49:40 What does it do? What does it do? Give me the elevator pitch.   Michael Hingson ** 49:46 You've seen some of the the programs that people use, like computer vision and other things to do editing of videos and so on. Yeah.   Bill Ratner ** 49:55 Yeah. Even Apple. Apple edit. What is it called? Apple? Garage Band. No, that's audio. What's that   Michael Hingson ** 50:03 audio? Oh,   Bill Ratner ** 50:06 quick time is quick   Michael Hingson ** 50:07 time. But whether it's video or audio, the point is that Reaper allows me to do all of that. I can edit audio. I can insert, I can remove pauses. I can do anything with Reaper that anyone else can do editing audio, because it's been made completely accessible.   Bill Ratner ** 50:27 That's great. That's good. That's nice. Oh, it is. It's cool.   Michael Hingson ** 50:31 So so if I want, I can edit this and just have my questions and then silence when you're talking.   Bill Ratner ** 50:38 That might be best. Ladies and gentlemen, here's Bill Ratner,   Michael Hingson ** 50:46 yep, exactly, exactly. Now you have won the moth stories. Slam, what? Tell me about my story. Slam, you've won it nine times.   Bill Ratner ** 51:00 The Moth was started by a writer, a novelist who had lived in the South and moved to New York City, successful novelist named George Dawes green. And the inception of the moth, which many people listening are familiar with from the Moth Radio Hour. It was, I believe, either late 90s or early 2000s when he'd been in New York for a while and was was publishing as a fiction writer, and threw a party, and decided, instead of going to one of these dumb, boring parties or the same drinks being served and same cigarettes being smoked out in the veranda and the same orders. I'm going to ask people to bring a five minute story, a personal story, nature, a true story. You don't have to have one to get into the party, but I encourage you to. And so you know, the 3040, 50 people showed up, many of whom had stories, and they had a few drinks, and they had hors d'oeuvres. And then he said, Okay, ladies and gentlemen, take your seats. It's time for and then I picked names out of a hat, and person after person after person stood up in a very unusual setting, which was almost never done at parties. You How often do you see that happen? Suddenly, the room falls silent, and someone with permission being having been asked by the host to tell a personal story, some funny, some tragic, some complex, some embarrassing, some racy, some wild, some action filled. And afterward, the feedback he got from his friends was, this is the most amazing experience I've ever had in my life. And someone said, you need to do this. And he said, Well, you people left a lot of cigarette butts and beer cans around my apartment. And they said, well, let's do it at a coffee shop. Let's do it at a church basement. So slowly but surely, the moth storytelling, story slams, which were designed after the old poetry slams in the 50s and 60s, where they were judged contests like, like a dance contest. Everybody's familiar with dance contests? Well, there were, then came poetry contests with people singing and, you know, and singing and really energetically, really reading. There then came storytelling contests with people standing on a stage before a silent audience, telling a hopefully interesting, riveting story, beginning middle, end in five minutes. And so a coffee house was found. A monthly calendar was set up. Then came the internet. Then it was so popular standing room only that they had to open yet another and another, and today, some 20 years later, 20 some years later, from Austin, Texas to San Francisco, California to Minneapolis, Minnesota to New York City to Los Angeles. There are moth story slams available on online for you to schedule yourself to go live and in person at the moth.org as in the moth with wings. Friend of mine, I was in New York. He said, You can't believe it. This writer guy, a writer friend of mine who I had read, kind of an avant garde, strange, funny writer was was hosting something called the moth in New York, and we were texting each other. He said, Well, I want to go. The theme was show business. I was going to talk to my Uncle Bobby, who was the bell boy. And I Love Lucy. I'll tell a story. And I texted him that day. He said, Oh man, I'm so sorry. I had the day wrong. It's next week. Next week, I'm going to be back home. And so he said, Well, I think there's a moth in Los Angeles. So about 15 years ago, I searched it down and what? Went to a small Korean barbecue that had a tiny little stage that originally was for Korean musicians, and it was now being used for everything from stand up comedy to evenings of rock and roll to now moth storytelling once a month. And I think the theme was first time. And so I got up and told a silly story and didn't win first prize. They have judges that volunteer judges a table of three judges scoring, you like, at a swim meet or a track beat or, you know, and our gymnastics meet. So this is all sort of familiar territory for everybody, except it's storytelling and not high jumping or pull ups. And I kept going back. I was addicted to it. I would write a story and I'd memorize it, and I'd show up and try to make it four minutes and 50 seconds and try to make it sound like I was really telling a story and not reading from a script. And wish I wasn't, because I would throw the script away, and I knew the stories well enough. And then they created a radio show. And then I began to win slams and compete in the grand slams. And then I started submitting these 750 word, you know, two and a half page stories. Literary magazines got a few published and found a whole new way to spend my time and not make much   Michael Hingson ** 56:25 money. Then you went into poetry.   Bill Ratner ** 56:29 Then I got so bored with my prose writing that I took a poetry course from a wonderful guy in LA called Jack grapes, who had been an actor and a football player and come to Hollywood and did some TV, episodics and and some some episodic TV, and taught poetry. It was a poet in the schools, and I took his class of adults and got a poem published. And thought, wait a minute, these aren't even 750 words. They're like 75 words. I mean, you could write a 10,000 word poem if you want, but some people have, yeah, and it was complex, and there was so much to read and so much to learn and so much that was interesting and odd. And a daughter of a friend of mine is a poet, said, Mommy, are you going to read me one of those little word movies before I go to sleep?   Michael Hingson ** 57:23 A little word movie, word movie out of the   Bill Ratner ** 57:27 mouths of babes. Yeah, and so, so and I perform. You know, last night, I was in Orange County at a organization called ugly mug Cafe, and a bunch of us poets read from an anthology that was published, and we sold our books, and heard other young poets who were absolutely marvelous and and it's, you know, it's not for everybody, but it's one of the things I do.   Michael Hingson ** 57:54 Well, you sent me pictures of book covers, so they're going to be in the show notes. And I hope people will will go out and get them   Bill Ratner ** 58:01 cool. One of the one of the things that I did with poetry, in addition to wanting to get published and wanting to read before people, is wanting to see if there is a way. Because poetry was, was very satisfying, emotionally to me, intellectually very challenging and satisfying at times. And emotionally challenging and very satisfying at times, writing about things personal, writing about nature, writing about friends, writing about stories that I received some training from the National Association for poetry therapy. Poetry therapy is being used like art therapy, right? And have conducted some sessions and and participated in many and ended up working with eighth graders of kids who had lost someone to death in the past year of their lives. This is before covid in the public schools in Los Angeles. And so there's a lot of that kind of work that is being done by constable people, by writers, by poets, by playwrights,   Michael Hingson ** 59:09 and you became a grief counselor,   Bill Ratner ** 59:13 yes, and don't do that full time, because I do voiceovers full time, right? Write poetry and a grand. Am an active grandparent, but I do the occasional poetry session around around grief poetry.   Michael Hingson ** 59:31 So you're a grandparent, so you've had kids and all that. Yes, sir, well, that's is your wife still with us? Yes?   Bill Ratner ** 59:40 Oh, great, yeah, she's an artist and an art educator. Well, that   Michael Hingson ** 59:46 so the two of you can criticize each other's works, then, just   Bill Ratner ** 59:52 saying, we're actually pretty kind to each other. I Yeah, we have a lot of we have a lot of outside criticism. Them. So, yeah, you don't need to do it internally. We don't rely on it. What do you think of this although, although, more than occasionally, each of us will say, What do you think of this poem, honey? Or what do you think of this painting, honey? And my the favorite, favorite thing that my wife says that always thrills me and makes me very happy to be with her is, I'll come down and she's beginning a new work of a new piece of art for an exhibition somewhere. I'll say, what? Tell me about what's, what's going on with that, and she'll go, you know, I have no idea, but it'll tell me what to do.   Michael Hingson ** 1:00:33 Yeah, it's, it's like a lot of authors talk about the fact that their characters write the stories right, which, which makes a lot of sense. So with all that you've done, are you writing a memoir? By any chance, I   Bill Ratner ** 1:00:46 am writing a memoir, and writing has been interesting. I've been doing it for many years. I got it was my graduate thesis from University of California Riverside Palm Desert.   Michael Hingson ** 1:00:57 My wife was a UC Riverside graduate. Oh, hi. Well, they   Bill Ratner ** 1:01:01 have a low residency program where you go for 10 days in January, 10 days in June. The rest of it's online, which a lot of universities are doing, low residency programs for people who work and I got an MFA in creative writing nonfiction, had a book called parenting for the digital age, the truth about media's effect on children. And was halfway through it, the publisher liked it, but they said you got to double the length. So I went back to school to try to figure out how to double the length. And was was able to do it, and decided to move on to personal memoir and personal storytelling, such as goes on at the moth but a little more personal than that. Some of the material that I was reading in the memoir section of a bookstore was very, very personal and was very helpful to read about people who've gone through particular issues in their childhood. Mine not being physical abuse or sexual abuse, mine being death and loss, which is different. And so that became a focus of my graduate thesis, and many people were urging me to write a memoir. Someone said, you need to do a one man show. So I entered the Hollywood fringe and did a one man show and got good reviews and had a good time and did another one man show the next year and and so on. So But writing memoir as anybody knows, and they're probably listeners who are either taking memoir courses online or who may be actively writing memoirs or short memoir pieces, as everybody knows it, can put you through moods from absolutely ecstatic, oh my gosh, I got this done. I got this story told, and someone liked it, to oh my gosh, I'm so depressed I don't understand why. Oh, wait a minute, I was writing about such and such today. Yeah. So that's the challenge for the memoir is for the personal storyteller, it's also, you know, and it's more of a challenge than it is for the reader, unless it's bad writing and the reader can't stand that. For me as a reader, I'm fascinated by people's difficult stories, if they're well   Michael Hingson ** 1:03:24 told well, I know that when in 2002 I was advised to write a book about the World Trade Center experiences and all, and it took eight years to kind of pull it all together. And then I met a woman who actually I collaborated with, Susie Florey, and we wrote thunder dog. And her agent became my agent, who loved the proposal that we sent and actually got a contract within a week. So thunder dog came out in 2011 was a New York Times bestseller, and very blessed by that, and we're working toward the day that it will become a movie still, but it'll happen. And then I wrote a children's version of it, well, not a children's version of the book, but a children's book about me growing up in Roselle, growing up the guide dog who was with me in the World Trade Center, and that's been on Amazon. We self published it. Then last year, we published a new book called Live like a guide dog, which is all about controlling fear and teaching people lessons that I learned prior to September 11. That helped me focus and remain calm.   Bill Ratner ** 1:04:23 What happened to you on September 11,   Michael Hingson ** 1:04:27 I was in the World Trade Center. I worked on the 78th floor of Tower One.   Bill Ratner ** 1:04:32 And what happened? I mean, what happened to you?   Michael Hingson ** 1:04:36 Um, nothing that day. I mean, well, I got out. How did you get out? Down the stairs? That was the only way to go. So, so the real story is not doing it, but why it worked. And the real issue is that I spent a lot of time when I first went into the World Trade Center, learning all I could about what to do in an emergency, talking to police, port authorities. Security people, emergency preparedness people, and also just walking around the world trade center and learning the whole place, because I ran an office for a company, and I wasn't going to rely on someone else to, like, lead me around if we're going to go to lunch somewhere and take people out before we negotiated contracts. So I needed to know all of that, and I learned all I could, also realizing that if there ever was an emergency, I might be the only one in the office, or we might be in an area where people couldn't read the signs to know what to do anyway. And so I had to take the responsibility of learning all that, which I did. And then when the planes hit 18 floors above us on the other side of the building, we get we had some guests in the office. Got them out, and then another colleague, who was in from our corporate office, and I and my guide dog, Roselle, went to the stairs, and we started down. And   Bill Ratner ** 1:05:54 so, so what floor did the plane strike?   Michael Hingson ** 1:05:58 It struck and the NOR and the North Tower, between floors 93 and 99 so I just say 96 okay, and you were 20 floors down, 78 floors 78 so we were 18 floors below, and   Bill Ratner ** 1:06:09 at the moment of impact, what did you think?   Michael Hingson ** 1:06:13 Had no idea we heard a muffled kind of explosion, because the plane hit on the other side of the building, 18 floors above us. There was no way to know what was going on. Did you feel? Did you feel? Oh, the building literally tipped, probably about 20 feet. It kept tipping. And then we actually said goodbye to each other, and then the building came back upright. And then we went,   Bill Ratner ** 1:06:34 really you so you thought you were going to die?   Michael Hingson ** 1:06:38 David, my colleague who was with me, as I said, he was from our California office, and he was there to help with some seminars we were going to be doing. We actually were saying goodbye to each other because we thought we were about to take a 78 floor plunge to the street, when the building stopped tipping and it came back. Designed to do that by the architect. It was designed to do that, which is the point, the point.   Bill Ratner ** 1:07:02 Goodness, gracious. And then did you know how to get to the stairway?   Michael Hingson ** 1:07:04 Oh, absolutely. And did you do it with your friend? Yeah, the first thing we did, the first thing we did is I got him to get we had some guests, and I said, get him to the stairs. Don't let him take the elevators, because I knew he had seen fire above us, but that's all we knew. And but I said, don't take the elevators. Don't let them take elevators. Get them to the stairs and then come back and we'll leave. So he did all that, and then he came back, and we went to the stairs and started down.   Bill Ratner ** 1:07:33 Wow. Could you smell anything?   Michael Hingson ** 1:07:36 We smelled burning jet fuel fumes on the way down. And that's how we figured out an airplane must have hit the building, but we had no idea what happened. We didn't know what happened until the until both towers had collapsed, and I actually talked to my wife, and she's the one who told us how to aircraft have been crashed into the towers, one into the Pentagon, and a fourth, at that time, was still missing over Pennsylvania. Wow. So you'll have to go pick up a copy of thunder dog. Goodness. Good. Thunder dog. The name of the book is Thunder dog, and the book I wrote last year is called Live like a guide dog. It's le

Notes and Links to Andrew Porter's Work     Andrew Porter is the author of four books, including the short story collection The Theory of Light and Matter (Vintage/Penguin Random House), which won the Flannery O'Connor Award for Short Fiction, the novel In Between Days (Knopf), which was a Barnes & Noble “Discover Great New Writers”  selection, an IndieBound “Indie Next” selection, and the San Antonio Express News's “Fictional Work of the Year,” the short story collection The Disappeared (Knopf), which was longlisted for The Story Prize and the Joyce Carol Oates Prize, and the novel The Imagined Life, which was published by Knopf in April 2025. Porter's books have been published in foreign editions in the UK, Australia, and New Zealand and translated into numerous languages, including French, Spanish, Dutch, Italian, Bulgarian, and Korean. In addition to winning the Flannery O'Connor Award, his collection, The Theory of Light and Matter,  received Foreword Magazine's “Book of the Year” Award for Short  Fiction, was a finalist for The Steven Turner Award, The Paterson Prize  and The WLT Book Award, was shortlisted for the William Saroyan International Prize for Writing, and was selected by both The Kansas City Star and The San Antonio Express-News  as one of the “Best Books of the Year.” The recipient of a Pushcart Prize and fellowships from the James Michener-Copernicus Foundation, the W.K. Rose Foundation,  and the Helene Wurlitzer Foundation,  Porter's  short stories have appeared in The Best American Short Stories, One Story, Ploughshares, The Southern Review, The Threepenny Review, The Missouri Review, American Short Fiction, Narrative Magazine, Epoch, Story, The Colorado Review, Electric Literature, and Texas Monthly, among others. He has had his work read on NPR's Selected Shorts and numerous times selected as one of the Distinguished Stories of the Year by Best American Short Stories.  A graduate of the Iowa Writers' Workshop, Porter is currently a Professor of English and Director of the Creative Writing Program at Trinity University in San Antonio.   Buy The Imagined Life   Andrew's Website   Andrew's Wikipedia Page   Book Review for The Imagined Life from New York Times   At about 1:30, Pete makes a clumsy but heartfelt comparison between The Imagined Life and Hemingway's Old Man and the Sea and Andrew shares feedback from readers of his novel At about 3:10, Andrew responds to Pete's question about the book's seeds and talks about “tinker[ing]” with the book's opening for years At about 4:45, Pete remarks on the book's first-person account, and Andrew and Pete discuss the book's opening and ideas of naivete and fallible parents At about 6:45, Pete asks Andrew, who expands about structuring the book and its connection to revision  At about 8:45, Pete compares the setting of the book, 1983 Fullerton, CA, to The Smashing Pumpkins' “1979,” and Andrew discusses similarities  At about 10:30, Pete reflects on the importance of the age given to the book's narrator and the two characterize the book's “father” and Andrew talks about using a 70s/early 80s atmosphere through the young narrator's lens At about 15:30, Pete summarizes an important character introduction and Andrew talks about the importance of an embarrassing faux pas by the narrator's father that might have "professional ramifications” At about 17:30, Andrew responds to Pete's question about the visits that Steven takes to speak with his father's former colleagues in the present-day At about 21:20, Andrew explains connections between Proust (“Proo-st”) and the father, who is obsessed in some ways with Proust's work; Andrew notes personal parallels between the father and Proust At about 24:10, Andrew gives background on Uncle Julian's connection to his brother and his family  At about 25:40, Andrew responds to Pete's questions about the importance of the book's cabana and complicated coupling  At about 27:40, Andrew reflects on Chau's relationship with Steven and the connection as a shared “escape from their home lives” At about 31:00, Andrew responds to Pete's questions about fleeting beautiful moments between father and son At about 32:25, Pete wonders about how Andrew picks character names At about 34:10, Andrew discusses the narrator's son, Finn, and his acting out in school as a function of his parents' marital shakiness  At about 35:30, Pete asks Andrew about a pivotal party and any “ruptures” in relationships that may have followed   At about 38:00, Andrew reflects on possible foreshadowing through letters and notes left behind by Steven's father  At about 40:40, Andrew discusses his mindset in writing an important and off-the-wall culminating scene At about 43:35, The two reflect on ideas of traumas and cycles and anger, especially with regard to Steven's recognition of same  At about 46:30, Pete compliments the ending of the book, ideas of legacy and wonderful book timing At about 47:30, Andrew reflects on his book's setting as key in exploring contrasts between Steven's life then and now, as well as with the world as a whole At about 48:30, Swatch Watch discourse! and vague Bel Biv Devoe reference!      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Hannah Pittard, a recent guest, is up at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode features an exploration of flawed characters, protagonists who are too real in their actions, and horror and noir as being where so much good and realistic writing takes place. Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 295 with Wright Thompson, a senior writer for ESPN, contributing writer to the Atlantic, and the New York Times bestselling author of Pappylandand The Cost of These Dreams. The Barn, a captivating story of the tragedy of Emmett Till's racist murder, is out in paperback on the day the episode airs, today, September 9.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.  

Lily Lloyd Burkhalter speaks to managing editor Emily Everett about her essay “Raffia Memory,” which appears in The Common's spring issue. Lily talks about traveling to the Cameroon Grassfields to research the rituals and production of ndop, a traditional dyed cloth with an important role in both spiritual life and, increasingly, economic life as well. She also discusses the book-length project she's working on, which explores loss, grief, fabric, sewing, and weaving. Lily Lloyd Burkhalter is a writer living in Lille, France. She is a Pulitzer Center Reporting Fellow and holds degrees from the University of Virginia and the School of the Art Institute of Chicago. Her work can be found in Ploughshares, Gulf Coast, The Missouri Review, Denver Quarterly, and elsewhere. She is represented by Audrey Crooks at Trident Media Group. She learned to sew in Cameroon and learned to weave in Chicago. ­­Read Lily's essay “Raffia Memory” in The Common here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine here, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford was the Reese's Book Club pick for April 2025. Her work has appeared in The New York Times Modern Love column, the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. 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

Lily Lloyd Burkhalter speaks to managing editor Emily Everett about her essay “Raffia Memory,” which appears in The Common's spring issue. Lily talks about traveling to the Cameroon Grassfields to research the rituals and production of ndop, a traditional dyed cloth with an important role in both spiritual life and, increasingly, economic life as well. She also discusses the book-length project she's working on, which explores loss, grief, fabric, sewing, and weaving. Lily Lloyd Burkhalter is a writer living in Lille, France. She is a Pulitzer Center Reporting Fellow and holds degrees from the University of Virginia and the School of the Art Institute of Chicago. Her work can be found in Ploughshares, Gulf Coast, The Missouri Review, Denver Quarterly, and elsewhere. She is represented by Audrey Crooks at Trident Media Group. She learned to sew in Cameroon and learned to weave in Chicago. ­­Read Lily's essay “Raffia Memory” in The Common here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine here, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford was the Reese's Book Club pick for April 2025. Her work has appeared in The New York Times Modern Love column, the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Lily Lloyd Burkhalter speaks to managing editor Emily Everett about her essay “Raffia Memory,” which appears in The Common's spring issue. Lily talks about traveling to the Cameroon Grassfields to research the rituals and production of ndop, a traditional dyed cloth with an important role in both spiritual life and, increasingly, economic life as well. She also discusses the book-length project she's working on, which explores loss, grief, fabric, sewing, and weaving. Lily Lloyd Burkhalter is a writer living in Lille, France. She is a Pulitzer Center Reporting Fellow and holds degrees from the University of Virginia and the School of the Art Institute of Chicago. Her work can be found in Ploughshares, Gulf Coast, The Missouri Review, Denver Quarterly, and elsewhere. She is represented by Audrey Crooks at Trident Media Group. She learned to sew in Cameroon and learned to weave in Chicago. ­­Read Lily's essay “Raffia Memory” in The Common here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine here, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford was the Reese's Book Club pick for April 2025. Her work has appeared in The New York Times Modern Love column, the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

A neighborhood of picturesque content-creation houses perched on too-green lawns in a California desert; a meandering stampede of unleashed dogs on the streets of San Francisco; a skein of snow geese alighting in a state park in Missouri; an uncanny fundraising auction at an upscale suburban-DC prep school. Inhabiting these worlds of disconnection and dislocation are the "sad grownups" a middle-aged queer couple arguing over whether to have children, a college professor dying from cancer, two recent high school graduates plotting a robbery, a sixty-year-old counselor at a boys' summer camp sheltering herself from the realities of life-all connected more closely to the landscapes around them than to other people, searching fervently for liberation, understanding, and even happiness, wherever and however they might be found. Amy Stuber's writing has appeared in the New England Review, Flash Fiction America, Ploughshares, The Idaho Review, Cincinnati Review, Triquarterly, American Short Fiction, Joyland, and elsewhere. She's the recipient of the Missouri Review's 2023 William Peden Prize in fiction, winner of the 2021 Northwest Review Fiction Prize, and runner-up for the 2022 CRAFT Short Fiction Prize. Her work received a special mention in Pushcart Prize XLIV, appeared on the Wigleaf Top 50 in 2021, has been nominated for Best of the Net, and appears in Best Small Fictions 2020 and 2023. She has a PhD in English, has taught college writing, and worked in online education for many years. Recommended Books: Rebecca Lee, Bobcat Joy Williams, The Quick and the Dead Sonya Walger, Lion Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

A neighborhood of picturesque content-creation houses perched on too-green lawns in a California desert; a meandering stampede of unleashed dogs on the streets of San Francisco; a skein of snow geese alighting in a state park in Missouri; an uncanny fundraising auction at an upscale suburban-DC prep school. Inhabiting these worlds of disconnection and dislocation are the "sad grownups" a middle-aged queer couple arguing over whether to have children, a college professor dying from cancer, two recent high school graduates plotting a robbery, a sixty-year-old counselor at a boys' summer camp sheltering herself from the realities of life-all connected more closely to the landscapes around them than to other people, searching fervently for liberation, understanding, and even happiness, wherever and however they might be found. Amy Stuber's writing has appeared in the New England Review, Flash Fiction America, Ploughshares, The Idaho Review, Cincinnati Review, Triquarterly, American Short Fiction, Joyland, and elsewhere. She's the recipient of the Missouri Review's 2023 William Peden Prize in fiction, winner of the 2021 Northwest Review Fiction Prize, and runner-up for the 2022 CRAFT Short Fiction Prize. Her work received a special mention in Pushcart Prize XLIV, appeared on the Wigleaf Top 50 in 2021, has been nominated for Best of the Net, and appears in Best Small Fictions 2020 and 2023. She has a PhD in English, has taught college writing, and worked in online education for many years. Recommended Books: Rebecca Lee, Bobcat Joy Williams, The Quick and the Dead Sonya Walger, Lion Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. 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

A neighborhood of picturesque content-creation houses perched on too-green lawns in a California desert; a meandering stampede of unleashed dogs on the streets of San Francisco; a skein of snow geese alighting in a state park in Missouri; an uncanny fundraising auction at an upscale suburban-DC prep school. Inhabiting these worlds of disconnection and dislocation are the "sad grownups" a middle-aged queer couple arguing over whether to have children, a college professor dying from cancer, two recent high school graduates plotting a robbery, a sixty-year-old counselor at a boys' summer camp sheltering herself from the realities of life-all connected more closely to the landscapes around them than to other people, searching fervently for liberation, understanding, and even happiness, wherever and however they might be found. Amy Stuber's writing has appeared in the New England Review, Flash Fiction America, Ploughshares, The Idaho Review, Cincinnati Review, Triquarterly, American Short Fiction, Joyland, and elsewhere. She's the recipient of the Missouri Review's 2023 William Peden Prize in fiction, winner of the 2021 Northwest Review Fiction Prize, and runner-up for the 2022 CRAFT Short Fiction Prize. Her work received a special mention in Pushcart Prize XLIV, appeared on the Wigleaf Top 50 in 2021, has been nominated for Best of the Net, and appears in Best Small Fictions 2020 and 2023. She has a PhD in English, has taught college writing, and worked in online education for many years. Recommended Books: Rebecca Lee, Bobcat Joy Williams, The Quick and the Dead Sonya Walger, Lion Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

My guest today on the Online for Authors podcast is Rebe Huntman, author of the book My Mother in Havana. Rebe's memoir traces her search to connect with her mother—thirty years after her death—among the gods and saints of Cuba. A former professional Latin and Afro-Cuban dancer and choreographer, for over a decade Rebe directed Chicago's award-winning Danza Viva Center for World Dance, Art & Music and its resident dance company, One World Dance Theater. She collaborates with native artists in Cuba and South America, and has been featured in LATINA Magazine, Chicago Magazine, and the Chicago Tribune, and on Fox and ABC.   Rebe's essays, stories, and poems appear or are forthcoming in such places as The Southern Review, The Missouri Review, Parabola, Ninth Letter, The Cincinnati Review, and the PINCH, and have earned her an Ohio Individual Excellence Award as well as fellowships from the Macondo Writers' Conference, Virginia Center for Creative Arts, Ragdale Foundation, PLAYA Residency, Hambidge Center, and Brush Creek Foundation. She holds an MFA in creative nonfiction from The Ohio State University and lives in San Miguel de Allende, Mexico, and Delaware, Ohio. Find her at www. rebehuntman.com and on Instagram @rebehuntman.   In my book review, I stated My Mother in Havana is a profound look at a woman who lost her mother at a young age and continues to grieve for years. It isn't until she goes to Havana that she finally finds peace.   I fully expected to learn that Rebe's mother was Cuban - but she's not. However, Rebe's research about mothers and symbols of motherhood led to her Cuba where the Virgin Mary and the Cuban goddess of love, Ochún, are often intertwined. She wanted to understand this connection - and by doing so, she found healing.   Rebe started life as a dancer and choreographer, and she shines a beautiful light on Cuban dances and rituals along with their gods and saints. I was mesmerized by her ability to throw off her Western upbringing and fully immerse herself in the culture as she tried to discover what makes a mother, what defines the divine feminine, and what she remembered of her own mother.   I loved learning about the Afro-Cuban culture, their spiritual views, and the broader concept of motherhood. I think anyone who is a mother - or has a mother - will enjoy this book.   Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1   Join the Novels N Latte Book Club community to discuss this and other books with like-minded readers: https://www.facebook.com/groups/3576519880426290   You can follow Author Rebe Huntman Website: https://www.rebehuntman.com/ IG: @rebehuntman FB: @rebehuntmanauthor   Purchase My Mother in Havana on Amazon: Paperback: https://amzn.to/3Hnowtn Ebook: https://amzn.to/4mLUPCj   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1   Want to be a guest on Online for Authors? Send Teri M Brown a message on PodMatch, here: https://www.podmatch.com/member/onlineforauthors   #rebehuntman #mymotherinhavana #memoir #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview *As an Amazon Associate I earn from qualifying purchases.

An acknowledged master of the short story form, Richard Bausch's work has appeared in The Atlantic Monthly, Esquire, Gentleman's Quarterly, Harper's, The Missouri Review, The New Yorker, Narrative, New Letters, Playboy, Ploughshares, and The Southern Review, and his stories have been widely anthologized, including The Best American Short Stories, O. Henry Prize Stories, and Pushcart Prize Stories, among others. He is the author of thirteen novels and ten collections of stories, including his new collection, The Fate of Others. Richard joins Barbara to talk about his path to writing fiction, various stories in the collection as well as titling stories, arranging stories in the book, the difference between writing novels and stories, and so much more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds of past interviews on our website. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded on June 27, 2025) Host: Barbara DeMarco-Barrett Host: Marrie Stone Music: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

During her term as 20th Poet Laureate of the Commonwealth of Virginia (2020-22), Emerita, the Academy of American Poets awarded Luisa A. Igloria one of twenty-three Poet Laureate Fellowships in 2021, to support a program of public poetry projects. She is the recipient of the Immigrant Writing Series Prize from Black Lawrence Press for Caulbearer (2024), and was one of 2 Co-Winners of the 2019 Crab Orchard Poetry Prize for Maps for Migrants and Ghosts (Southern Illinois University Press, fall 2020). In April 2021, the Writers Union of the Philippines (UMPIL) conferred on her the Gawad Pambansang Alagad ni Balagtas lifetime achievement award in the English poetry category. In 2015, she was the inaugural winner of the Resurgence Prize (UK), the world's first major award for ecopoetry, selected by former UK Poet Laureate Sir Andrew Motion, Alice Oswald, and Jo Shapcott. Former US Poet Laureate Natasha Trethewey selected her chapbook What is Left of Wings, I Ask as the 2018 recipient of the Center for the Book Arts Letterpress Poetry Chapbook Prize. Other works include The Buddha Wonders if She is Having a Mid-Life Crisis (Phoenicia Publishing, Montreal, 2018), Ode to the Heart Smaller than a Pencil Eraser (2014 May Swenson Prize, Utah State University Press), and 10 other books. She is lead editor, along with co-editors Aileen Cassinetto and Jeremy S. Hoffman, of Dear Human at the Edge of Time: Poems on Climate Change in the United States (Paloma Press, September 2023). Her poems are widely published or appearing in national and international anthologies, and print and online literary journals including The Georgia Review, Orion, Shenandoah, Cincinnati Review, The Common, Indiana Review, Crab Orchard Review, Diode, Missouri Review, Rattle, Poetry East, Your Impossible Voice, Poetry, Shanghai Literary Review, Cha, and others. Luisa served as the inaugural Glasgow Visiting Writer in Residence at Washington and Lee University in 2018. Luisa also leads workshops at The Muse Writers Center in Norfolk (and serves on the Muse Board). She is a Louis I. Jaffe Professor and University Professor of English and Creative Writing, and a member of the core faculty of the MFA Creative Writing Program at Old Dominion University, which she directed from 2009-2015. Since 2010, she has been writing (at least) a poem a day. www.luisaigloria.com Social Media: Facebook https://www.facebook.com/VAPoetLaureate2020 Instagram @poetslizard X/Twitter @ThePoetsLizard https://linktr.ee/thepoetslizard

I've admired Mikka Jacobsen's craft ever since I read her essay collection, MODERN FABLES, a couple of years ago, and was thrilled to see that everything I love about her voice returns in her latest book, the short story collection GOOD VICTORY, stories mostly set in Alberta, in which the mundane mingles with the extraordinary to incredible results. It was also such a pleasure to meet her online and get to talk about her fiction debut, and whether or not she believes in such things as ghosts, psychics, or life coaches. In our BOOKSPO conversation, she tells me how Samantha Hunt's novel THE SEAS gave her permission to get unabashedly weird in her fiction, and also to treat her characters' yearnings for love with the seriousness with which such yearnings deserve. She talks about how her feminism shows up in her writing, both the stories and essays; the ways in which writing fiction is harder than memoir, and how releasing a second book feels different (and maybe better?) than releasing a first. Debut stories about the absurdity of growing up and being human in the twenty-first century.A woman finds her childhood friend working in a booth at a psychic fair in the West Edmonton Mall courtyard. A lonely neuropsychology student steals cocaine from his lab rat to impress a Tinder date. Teenage girls play a dangerous game and discover a portal to another reality. These penetrating stories explore the strangeness and absurdity of being human in the twenty-first century: high school dances and teen pregnancy, bearded ladies and neighbourhood flashers, life coaches and Dolly Parton karaoke. Both unsettling and illuminating, Good Victory shines light in dark places.Mikka Jacobsen is the author of the essay collection Modern Fables (Freehand Books, 2022). Her work has appeared in Joyland, The Fiddlehead, The Puritan, Prairie Fire, Canadian Notes & Queries, The Missouri Review, and Lit Hub, among others. She won Alberta Views‘ 2022 Short Story Contest. She lives in Calgary, AB. Good Victory is her first collection of stories.Pickle Me This is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kerryreads.substack.com/subscribe

Rebe Huntman joins Let's Talk Memoir for a conversation about who are we as women and what holds us together as a culture, following questions to their conclusions and changing in the process, running away from grief,  magical thinking, reinventing ourselves, Afro-Cuban traditions and relationships to the dead, hungering for answers, permission to be more than one thing, losing mothers and finding them again through memoir, spiritual mothers and keeping the dead close, and her new memoir My Mother in Havana: A Memoir of Magic & Miracle. Also in this episode: -getting a do over -trusting the writing process -including the beautiful and the terrible Books mentioned in this episode: When Women Were Dragons by Kelly Barnhill The Night Circus by Erin Morgenstern Poetry by Richard Blanco Poetry by Aracelis Girmay REBE HUNTMAN is the author of My Mother in Havana: A Memoir of Magic & Miracle (February 2025, Monkfish Books), a memoir that traces her search to connect with her mother—thirty years after her death—among the gods and saints of Cuba. A former professional Latin and Afro-Cuban dancer and choreographer, for over a decade Rebe directed Chicago's award-winning Danza Viva Center for World Dance, Art & Music and its resident dance company, One World Dance Theater. She collaborates with native artists in Cuba and South America, and has been featured in LATINA Magazine, Chicago Magazine, and the Chicago Tribune, and on Fox and ABC. Rebe's essays, stories, and poems appear or are forthcoming in such places as The Southern Review, The Missouri Review, Parabola, Ninth Letter, The Cincinnati Review, and the PINCH, and have earned her an Ohio Individual Excellence Award as well as fellowships from the Macondo Writers' Conference, Virginia Center for Creative Arts, Ragdale Foundation, PLAYA Residency, Hambidge Center, and Brush Creek Foundation. She holds an MFA in creative nonfiction from The Ohio State University and lives in San Miguel de Allende, Mexico, and Delaware, Ohio. Both e's in her name are long. Find her at www. rebehuntman.com and on Instagram at @rebehuntman. Connect with Rebe: Website: www.rebehuntman.com Instagram: https://www.instagram.com/rebehuntman Facebook: https://www.facebook.com/rebehuntmanauthor Links to purchase the book at www.rebehuntman.com/mymotherinhavana   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

In this edition of Madison Book Beat, host Andrew Thomas speaks with AJ Romriell on his debut memoir Wolf Act (University of Wisconsin Press, 2025).Wolf Act is a “memoir in essays,” and these essays take on a variety of forms. The work is divided into three different Acts, and each act is made up of chapters that are both interlinked but can also stand on their own as well. While the majority of the prose is narrative nonfiction, there are a number of chapters that include lengthy lists, definition entries like you would find in a dictionary, as well as passages that mirror a kind of Mormon liturgy and educational upbringing.As the title suggests, wolves are a central metaphor throughout the work, and Romriell seamlessly weaves in references to wolves from mythology, fables, fairy tales, and religious beliefs as a way of processing his exit from the Mormon faith and his intentional turn towards self-love and joy.AJ Romriell is a storyteller, photographer, and educator. His memoir Wolf Act is about his experience growing up queer and neurodivergent in the Mormon religion; it earned first prize in the Utah Original Writing Competition and was a finalist for the Writers' League of Texas Manuscript Contest. He is a 2025 Pushcart nominee, and his essays, stories, and poems have been featured in Electric Literature, The Missouri Review, Michigan Quarterly Review, Black Warrior Review, Brevity, New Delta Review, and elsewhere. He has been the recipient of the Vandewater Prize in Poetry, the Kenneth W. Brewer Creative Writing Award, and the Ralph Jennings Smith Creative Writing Endowment, and his work has been shortlisted for Ploughshares' Emerging Writer's Contest, CRAFT's Hybrid Writing Contest, and the Black Warrior Review and New Ohio Review contests for creative nonfiction.

A native of Traverse City, Michigan, STEPHANIE CARPENTER is the author of Missing Persons: Stories, which won the 2017 Press 53 Award in Short Fiction; her work has also appeared in journals including Copper Nickel, The Missouri Review, and Witness. She's an Assistant Professor of Creative Writing at Michigan Technological University. Moral Treatment is her debut novel.

In the outdoor and environmental space, conservation is at the heart of so many discussions, but how those stories are told can make a difference. Whether it's connecting policy to personal experiences or framing climate change through the lens of recreation, good storytelling has the power to inspire action.Joining me today is journalist and poet Sage Marshall. Sage has built a career covering outdoor recreation and conservation, with a focus on hunting and fishing media. In this episode, we'll explore what makes a conservation story compelling, how to find and develop relatable figures, and the role that place and personal experience play in shaping narratives. Plus, we'll discuss how storytelling in outdoor media is evolving and what the future might hold for conservation journalism.Sage Marshall is a poet, essayist, and outdoors journalist from southwest Colorado. He has lived across the U.S. and currently resides in Western Montana, where he explores the rivers and mountains around Missoula with his partner Bela and their adopted bird dog Gunney. He's a student of many outdoor pursuits, from skiing and backpacking to fly fishing and duck hunting. Marshall is a contributing writer and former editor of Field & Stream. His creative work has been featured in publications such as The Missouri Review, Sport Literate, swamp pink, and elsewhere. Echolocation (Middle Creek Publishing), which weaves the landscapes and ecologies of the American West against themes of violence, adolescence, and beauty, is his debut poetry collection. INSTAGRAM: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/outdoor.minimalist.book/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WEBSITE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.theoutdoorminimalist.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YOUTUBE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theoutdoorminimalist⁠⁠⁠⁠⁠⁠ORDER THE BOOK: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.theoutdoorminimalist.com/book⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LISTENER SURVEY: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://forms.gle/jd8UCN2LL3AQst976⁠⁠⁠⁠--------------------Sage MarshallWebsite: https://www.sagemarshall.com/Book: https://www.sagemarshall.com/echolocationLinkedIn: https://www.linkedin.com/in/sagemarshall/Instagram: https://www.instagram.com/sagemwrites/

Rebe Huntman is a memoirist, essayist, dancer, teacher and poet who writes at the intersections of feminism, world religion and spirituality. For over a decade she directed Chicago's award-winning Danza Viva Center for World Dance, Art & Music and its dance company, One World Dance Theater. Huntman collaborates with native artists in Cuba and South America, has been featured in Latina Magazine, Chicago Magazine and the Chicago Tribune, and has appeared on Fox and ABC. A Macondo fellow and recipient of an Ohio Individual Excellence award, Rebe has received support for her debut memoir, My Mother in Havana: A Memoir of Magic & Miracle  (Monkfish Book Publishing Company, February 18, 2025), from The Ohio State University, Virginia Center for Creative Arts, Ragdale Foundation, PLAYA Residency, Hambidge Center and Brush Creek Foundation. "Writing with a physicality of language that moves like the body in dance, Rebe Huntman, a poet, choreographer, and dancer, embarks on a pilgrimage into the mysteries of the gods and saints of Cuba and their larger spiritual view of 'the Mother.' Huntman offers a window into the extraordinary yet seldom-seen world of Afro-Cuban gods and ghosts and the dances and rhythms that call them forth. As she explores the memory of her own mother, interlacing it with her search for the sacred feminine, Huntman leads us into a world of séance and sacrifice, pilgrimage and sacred dance, which resurrect her mother and bring Huntman face to face with a larger version of herself." Rebe also helps other writers. With over thirty years of experience as a writer and a coach, she shows writers the ropes, helps them build a powerful, personalized writing practice, and teaches writers step by step strategies to find their voices, become the best writers they can be, and deliver their work to the world. Rebe's essays, poems and short stories appear in The Missouri Review, The Southern Review, Parabola, CRAFT LIterary, The Cincinnati Review, Ninth Letter, South Loop Review, Sonora Review, Tampa Review, The Pinch & elsewhere. She lives in Delaware, Ohio and San Miguel de Allende, Mexico. Learn more: www.rebehuntman.com https://www.instagram.com/rebehuntman/ https://www.facebook.com/rebehuntmanauthor/

Autumn is full of fun, cozy traditions, like keeping watch on the knothole man so he doesn't reach too far into our world.Thanks to Harrison Hamm for this episode's hidden lore segment. Harrison Hamm is an LA-based poet, screenwriter, and essayist originally from rural Tennessee. Selected for fellowships with New York Stage & Film Filmmakers Workshop, Diverso's The Minority Report, and Roadmap Writers, he has also received research grants for interdisciplinary academic, creative, and pedagogic pursuits at his alma mater Loyola Marymount University. Writing can be found published/forthcoming in The Missouri Review's "Poem of the Week," West Trade Review's "Ecobloomspaces" anthology, Pacific Coast Poetry's "Poetry Goes to the Movies" anthology, Fatal Flaw Literary, Broken Antler, Hominum Journal, Susurrus & more at harrisonhamm.com.Thanks to Rhys Lawton for voicing this episode's hidden lore. Rhys Lawton is an award winning performer, writer and director based in London. With over a decade of performance experience, and skills that include puppeteering, improvisational role play, interactive performance, and voice acting, Rhys can bring any character to life. Most recently he has been heard as Press Secretary Carson in the Silt Verses and Gryffudd in The Amelia Project. He has one cat at present.The CryptoNaturalist is written and read by Jarod K. Anderson. To find bonus content and a variety of strange rewards, support our show by visiting Patreon.com/CryptoNaturalist. You can also help by rating, reviewing, and telling a friend. For books and poetry collections by Jarod K. Anderson and Leslie J. Anderson, visit CryptoNaturalist.com/books. You'll find information about submitting your poetry or prose for our hidden lore segments in the about section of our website at CryptoNaturalist.com. This show is produced and edited by Tracy Barnett. You can find them online, anywhere at TheOtherTracy or TheOtherTracy.com. Thanks to Adam Hurt for the use of his song Garfield's Blackberry Blossom from his album Insight. For more information on Adam's music, performances, and teaching, visit adamhurt.com. Reminder: Transcripts of this and every episode are available at cryptonaturalist.com. Stay Curious. Stay Wild. Stay Weird.

ABOUT LIKE IT NEVER HAPPENED: A NOVEL Decades ago, four friends concealed a deadly secret–but not all lies stay buried in this psychological suspense for fans of Ashley Winstead and Alison Gaylin. Thirty years ago, Tommy, Malcolm, Henry, and Kevin were best friends graduating high school, brothers almost, until the night they did something terrible. The decision to keep hidden what they did in that parking lot shattered their friendship and warped their lives. But when Kevin, struggling with a heroin addiction, drives his motorcycle into the side of a truck, the other three find themselves together again—at Kevin's funeral. When they meet Kevin's wife Naomi at the wake, they can tell that she knows everything, and when they learn that she's a reporter, they're terrified. When she sends them to visit one of their victims from that night—at the nursing home where he's been suffering for decades—they do as they're told, even though they know it won't stop there. After watching her husband pay a steep price for keeping the friends' secret, Naomi has crafted a plan to make Tommy, Malcolm, and Henry pay their fair share. When the three men decide to fight back, they're forced to decide just how far they'll go this time.   ABOUT JEFF HOFFMAN Jeff Hoffmann's latest novel, Like it Never Happened, was released in March of 2024. His debut novel was Other People's Children, and his writing has been published in The Sun, Booth, Harpur Palate, and Publishers Weekly. He was the winner of the Madison Review's Chris O'Malley Prize in Fiction and a finalist for the Missouri Review's Jeffrey E. Smith Editor's Prize. He is a passionate proponent of the Oxford comma, a mediocre men's league hockey player, and a fair-weather fan of the Chicago Blackhawks. He was born and raised in St. Louis and now lives in Elmhurst, Illinois, with his wife and two children. _______________________________________________________________ One easy way to support this show is to rate and review Read Between the Lines wherever you listen to our podcast.  Those ratings really help us and help others find our show. Read Between the Lines is hosted by Molly Southgate and is produced/edited by Rob Southgate for Southgate Media Group.    Follow this show on Facebook @ReadBetweentheLinesPod Follow our parent network on Twitter at @SMGPods Make sure to follow SMG on Facebook too at @SouthgateMediaGrouLearn more, subscribe, or contact Southgate Media Group at www.southgatemediagroup.com.   Check out our webpage at southgatemediagroup.com

Inner Moonlight is the monthly poetry reading series for the Wild Detectives in Dallas. The in-person show is the second Wednesday of every month in the Wild Detectives backyard. We love our podcast fans, so we release recordings of the live performances every month for y'all! On 9/11/2024, we featured poet Jenny Molberg for a very special event co-sponsored by SMU Project Poëtica. We featured Jenny back in March 2020 before we were making a podcast. We're so pleased to be able to bring this performance to you! Originally from Dallas, Jenny Molberg is the author of three collections of poetry: Marvels of the Invisible (winner of the Berkshire Prize, Tupelo Press, 2017), Refusal (LSU Press, 2020), and The Court of No Record (Finalist for the Los Angeles Times Book Prize, LSU Press, 2023). Her poems and essays have recently appeared in Ploughshares, The Cincinnati Review, VIDA, The Missouri Review, The Rumpus, The Adroit Journal, Oprah Quarterly, and other publications. Her work has received support from the National Endowment for the Arts, VCCA, the Hambidge Center for Creative Arts, the Sewanee Writers Conference, Vermont Studio Center, and the Longleaf Writers Conference. She is Associate Professor and Chair of Creative Writing at the University of Central Missouri, where she edits Pleiades: Literature in Context. ⁠www.innermoonlightpoetry.com

Nicholas Molbert's Altars of Spine and Fraction (Curbstone Press/Northwestern UP, 2024) follows its protagonist through the joys and dangers of childhood on the rural Gulf Coast, through familial loss, and into adulthood. Refusing to romanticize what has been lost, Molbert instead interrogates how nostalgia is most often enjoyed by those with the privilege to reject or indulge it. Violent hurricanes sweep across the landscapes of the poems, and Molbert probes the class inequalities that these climate crises lay bare. Moving from outdoor rural spaces in its first half to indoor domestic spaces in its second half, the collection explores family history, generational trauma, and the toxic masculinity that is shouldered by the boys raised in the Deep South. Born and raised on Louisiana's Gulf Coast, Nicholas lives in Los Angeles. He is the author of Altars of Spine and Fraction: Poems (Northwestern University Press / Curbstone Books, 2024) and two poetry chapbooks from Foundlings Press: Goodness Gracious (2019) and Cocodrie Elegy (2024). You can find his work in places like The Cincinnati Review, The Greensboro Review, Mississippi Review, and Missouri Review among others. He holds a PhD from the University of Cincinnati and an MFA from the University of Illinois at Urbana-Champaign. You can find him on Instagram @nicholasmolbert and online at nicholasmolbert.com. 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

Nicholas Molbert's Altars of Spine and Fraction (Curbstone Press/Northwestern UP, 2024) follows its protagonist through the joys and dangers of childhood on the rural Gulf Coast, through familial loss, and into adulthood. Refusing to romanticize what has been lost, Molbert instead interrogates how nostalgia is most often enjoyed by those with the privilege to reject or indulge it. Violent hurricanes sweep across the landscapes of the poems, and Molbert probes the class inequalities that these climate crises lay bare. Moving from outdoor rural spaces in its first half to indoor domestic spaces in its second half, the collection explores family history, generational trauma, and the toxic masculinity that is shouldered by the boys raised in the Deep South. Born and raised on Louisiana's Gulf Coast, Nicholas lives in Los Angeles. He is the author of Altars of Spine and Fraction: Poems (Northwestern University Press / Curbstone Books, 2024) and two poetry chapbooks from Foundlings Press: Goodness Gracious (2019) and Cocodrie Elegy (2024). You can find his work in places like The Cincinnati Review, The Greensboro Review, Mississippi Review, and Missouri Review among others. He holds a PhD from the University of Cincinnati and an MFA from the University of Illinois at Urbana-Champaign. You can find him on Instagram @nicholasmolbert and online at nicholasmolbert.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Nicholas Molbert's Altars of Spine and Fraction (Curbstone Press/Northwestern UP, 2024) follows its protagonist through the joys and dangers of childhood on the rural Gulf Coast, through familial loss, and into adulthood. Refusing to romanticize what has been lost, Molbert instead interrogates how nostalgia is most often enjoyed by those with the privilege to reject or indulge it. Violent hurricanes sweep across the landscapes of the poems, and Molbert probes the class inequalities that these climate crises lay bare. Moving from outdoor rural spaces in its first half to indoor domestic spaces in its second half, the collection explores family history, generational trauma, and the toxic masculinity that is shouldered by the boys raised in the Deep South. Born and raised on Louisiana's Gulf Coast, Nicholas lives in Los Angeles. He is the author of Altars of Spine and Fraction: Poems (Northwestern University Press / Curbstone Books, 2024) and two poetry chapbooks from Foundlings Press: Goodness Gracious (2019) and Cocodrie Elegy (2024). You can find his work in places like The Cincinnati Review, The Greensboro Review, Mississippi Review, and Missouri Review among others. He holds a PhD from the University of Cincinnati and an MFA from the University of Illinois at Urbana-Champaign. You can find him on Instagram @nicholasmolbert and online at nicholasmolbert.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Terena Elizabeth Bell's Tell Me What You See (Whisk(e)y Tit, 2022), is a collection of ten experimental short stories about coronavirus quarantines, climate change, the January 6th invasion on the US Capitol, and other events from 2020-2021. Written in both word and image, pieces from the collection have been called "​​inventive and topical and fresh, emotional, chaotic, and important" by The McNeese Review and "timely, relevant, and interesting" by The Missouri Review. Title story "Tell Me What You See" is a 2021 New York Foundation for the Arts (NYFA) City Artist Corps winner. 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

Terena Elizabeth Bell's Tell Me What You See (Whisk(e)y Tit, 2022), is a collection of ten experimental short stories about coronavirus quarantines, climate change, the January 6th invasion on the US Capitol, and other events from 2020-2021. Written in both word and image, pieces from the collection have been called "​​inventive and topical and fresh, emotional, chaotic, and important" by The McNeese Review and "timely, relevant, and interesting" by The Missouri Review. Title story "Tell Me What You See" is a 2021 New York Foundation for the Arts (NYFA) City Artist Corps winner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Slushies, waves abound in this lively discussion of a poem by Martha Silano and two more by Jane Hilberry. The way stream of consciousness can crest and fall, sound waves, the missed and caught waves in real life (including runs of luck or the lack of it), not to mention the different ways in which we experience poetry– the gang rides wave after wave. We regularly find that our process of reading poetry aloud causes one or more of us to experience a poem anew. Sometimes it provides clarity that wasn't there when it was confined to the silence of the page. Sometimes it brings up questions. As always, we were grateful to have the trust of two amazing poets willing to share our discussion of their work. (We were going to call this episode “In Bed with Marion & Kathy” and we'll let you find out why by having a listen!)   At the table: Kathleen Volk Miller, Marion Wrenn, Jason Schneiderman, Angelique Massey, Lisa Zerkle, Dagne Forrest, Vivian Liu (sound engineer) Martha Silano's six books include This One We Call Ours, winner of the 2023 Blue Lynx Poetry Prize, and available from Lynx House Press. She is also the author of Gravity Assist, Reckless Lovely, and The Little Office of the Immaculate Conception, all from Saturnalia Books. Martha's poems have appeared in Poetry, The Paris Review, American Poetry Review, The Missouri Review, and elsewhere. She enjoys birdwatching, botanizing, and hanging out with her kids and cats. Learn more about her work at marthasilano.net.   The Luck of It   What counts is that my car, when it gets broken into, what's gone  is replaceable, like that leather jacket my friend Alison threw at me  when she left for California. Please take it! (I got a new one for Christmas).   Once, when I left it unlocked, someone spent the night in my Hyundai.  All in all, I was happy to offer a place of refuge, especially on account  of nothing stolen, not the extra pair of socks, not my maroon hat or hand sani,    the only tip off being the empty bottle of Sprite. Sprite! I mean, you're kidding me. My husband jokes how I get so excited  about the crumb that drops on my plate from that giant chocolate croissant    in the sky, tells me I'm like a housefly with a tiny chunk of pizza  it can't believe it's had the good fortune to land on. And look! It's even got a little dab    of pepperoni juice! It seems I set the bar low,  and maybe he's right, though when I ran track,  the field part kind of scared me. In tenth grade, when Suzanne Glester    broke the state record in the high jump,  I could barely keep myself from looking away  as her contorted body landed in a heap on a thick mat    that never seemed thick enough. Honestly,  I'm just glad I'm not the guy on Next Door  who posted about the lonely chicken: I see her wandering around.    Seems like she need another little hen.  Do any of you have one you'd like to re-home?  Or the woman who shared someone's been racing their car    up Juneau. making a hair pin turn onto Seward Park Avenue.  It literally rattles our windows. I'm tempted to respond I feel your pain,  but having rattling windows means you live in a home? I guess what I'm trying to say    is that when two guys were about to kick in  our basement window, I happened to stroll by with a bag  of dirty Huggies for the bin. Yep, a load of dirty diapers saved us.  Jane Hilberry is just weeks into retirement after a happy 35-year teaching career at Colorado College that began with Medieval and Renaissance literature and ended up in Creativity & Innovation. So far retirement involves mostly sleeping and swimming, but she aspires to write poems, paint, and make small objects for sheer delight. Her books of poems include Still the Animals Enter and Body Painting (Red Hen Press) and a chapbook co-authored with her father, Conrad Hilberry, titled This Awkward Art:  Poems by a Father and Daughter (Mayapple Press). Paintings and small objects can be found on Instagram @jhilberry. I might have planned badly   My friends are ga-ga over their grandkids, over the moon!   Pictures on their phones of the toddler pushing the vacuum,  the dog sleeping wrapped around the child.     My god, I was driven.  I translated every word of Beowulf,  working out each noun's case ending, nominative, accusative, genitive,  dative, or a vestigial instrumental.  I spent my twenties    in a library carrel until 2 a.m. closing. I could regret it now,  but there was no stopping that one, whoever she was.  Baby, I'm going to be seventy soon, and eighty.    Coastal Cali   At the intersection, a stream of newly washed  Benzes and Bentleys.  A man in a camel coat surveys  a café patio:  "I'm dressed inappropriately,” he says. He's crew for Hollywood Medium.  Against the roar  of leaf blowers, Que tiempo hace hoy plays on someone's radio.  It's breezy, seventy-five.     Meanwhile, at the water,  surfers lift and fall, surge and sink.  The dark triangles  of their heads and shoulders move like fins  in undulating circles, till one rises, twists and vees,  rides the wave into a bloom of foam.     What is this world?  wrote Chaucer, What asketh man to have?  Xanax for the rough days.  I can't identify the flora— Yarrow?  Ice plant? —or remember the gods of the sea. Zephyr? Poseidon?  No one here calls it the sea.

Olivia Gatwood is the author of two poetry collections, New American Best Friend and Life of the Party, and the co-writer of Adele's music video for "I Drink Wine." She has received international recognition for her poetry, writing workshops, and work as a Title IX Compliant educator in sexual assault prevention and recovery. Her performances have been featured on HBO, MTV, VH1, the BBC, and more. Her poems have appeared in The Poetry Foundation, Lambda Literary, and The Missouri Review. Originally from Albuquerque, she lives in Los Angeles. --- Support this podcast: https://podcasters.spotify.com/pod/show/viewlesswings/support

Lauren Camp is the author of eight poetry collections including Worn Smooth between Devourings, An Eye in Each Square, Took House, and In Old Sky among others. She is the Poet Laureate of New Mexico and was awarded a 2023 Academy of American Poets Laureate Fellowship. Her poems have appeared in many journals and anthologies, including Kenyon Review, Prairie Schooner, Mid-American Review, Missouri Review, and The Academy of American Poets' Poem-a-Day. We talked about being the Poet Laureate for New Mexico, dark skies in the Grand Canyon, the pressures of writing residencies, Lauren read some of her poems, adding photos to her collection, and seizing the day, when it finally arrives, to write. Learn more about your ad choices. Visit megaphone.fm/adchoices

Day 16: Matthew Gellman reads his poem “Beforelight,” originally published in Passages North, 2018.  Matthew Gellman is the author of a chapbook, Night Logic, which was selected by Denise Duhamel as the winner of Tupelo Press' 2021 Snowbound Chapbook Award. His first book, Beforelight, was selected by Tina Chang as the winner of the A. Poulin, Jr. Poetry Prize and is forthcoming from BOA Editions. Matthew has received awards and honors from the National Endowment for the Arts, Brooklyn Poets, the Adroit Journal's Djanikian Scholars Program, the Saltonstall Foundation for the Arts, the New York State Summer Writers Institute and the Academy of American Poets. His poems have appeared in Poetry Northwest, Gulf Coast, Narrative, The Common, the Missouri Review, Indiana Review, Ninth Letter, Lambda Literary's Poetry Spotlight, and other publications. He lives in New York, where he teaches at Hunter College and Fordham University. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language. Queer Poem-a-Day is directed by poet and professor Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this fourth year of our series is from the second movement of the “Geistinger Sonata,” Piano Sonata No. 2 in C sharp minor, by Ethel Smyth, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission.

In the latest installment of our minisode series, Poetry Corner,  Kendra Winchester is joined by Amy M. Alvarez.Books MentionedMakeshift Altar by Amy M. AlvarezBlue on a Blue Palette by Lynne ThompsonBecoming AppalAsian by Lisa KwongIncendiary Art by Patricia SmithMothman Apologia Volume 116 by Robert Wood LynnGuest InfoAmy M. Alvarez's work has appeared in Ploughshares, The Missouri Review, swamp pink (Crazyhorse), and The Cincinnati Review, among others. She has been awarded fellowships from CantoMundo, VONA, Macondo, Virginia Center for the Creative Arts, and the Furious Flower Poetry Center. Alvarez is coeditor of Essential Voices: A COVID-19 Anthology and teaches writing and literature at West Virginia University. In 2022, she was inducted as an Affrilachian Poet. Learn more at amymalvarez.com. X / Twitter | Website---Show Your Love for Read Appalachia! You can support Read Appalachia by heading over to our merch store, tipping us over on Ko-fi, or by sharing the podcast with a friend! For more ways to support the show, head over to our Support page. Follow Read Appalachia Facebook | Twitter | Instagram | TikTok ContactFor feedback or to just say “hi,” you can reach us at readappalachia[at]gmail.comMusic by Olexy from Pixabay

Todd Davis is the author of seven books of poetry. His most recent collections are Coffin Honey and Native Species. His book Ditch Memory: New and Selected Poems is forthcoming from Michigan State University Press in August of 2024. He has won the Midwest Book Award, the Foreword INDIES Book of the Year Bronze and Silver Awards, the Gwendolyn Brooks Poetry Prize, the Chautauqua Editors Prize, and the Bloomsburg University Book Prize. His poems appear in such journals and magazines as Alaska Quarterly Review, American Poetry Review, Gettysburg Review, Iowa Review, Missouri Review, North American Review, Orion, Southern Humanities Review, and Western Humanities Review. He is an emeritus fellow of the Black Earth Institute and teaches environmental studies at Pennsylvania State University's Altoona College.Links:Read "For a Stray Dog near the Paper Mill in Tyrone, Pennsylvania" in 32 PoemsRead "Burn Barrel" at BroadsidedDitch Memory: New and Selected Poems, forthcoming in August 2024"A Nature Poet Grapples with Life at the Edge of the Climate Crisis," an interview in Allegheny FrontTodd Davis' websiteBio and Poems at the Poetry FoundationTwo poems in North American ReviewThree poems at Terrain.org"Salvelinus fontinalis," a video poemPodcast archive for Notes from the Allegheny Front

Todd Davis is the author of seven books of poetry. His most recent collections are Coffin Honey and Native Species. His book Ditch Memory: New and Selected Poems is forthcoming from Michigan State University Press in August of 2024. He has won the Midwest Book Award, the Foreword INDIES Book of the Year Bronze and Silver Awards, the Gwendolyn Brooks Poetry Prize, the Chautauqua Editors Prize, and the Bloomsburg University Book Prize. His poems appear in such journals and magazines as Alaska Quarterly Review, American Poetry Review, Gettysburg Review, Iowa Review, Missouri Review, North American Review, Orion, Southern Humanities Review, and Western Humanities Review. He is an emeritus fellow of the Black Earth Institute and teaches environmental studies at Pennsylvania State University's Altoona College.Links:Read "For a Stray Dog near the Paper Mill in Tyrone, Pennsylvania" in 32 PoemsRead "Burn Barrel" at BroadsidedDitch Memory: New and Selected Poems, forthcoming in August 2024"A Nature Poet Grapples with Life at the Edge of the Climate Crisis," an interview in Allegheny FrontTodd Davis' websiteBio and Poems at the Poetry FoundationTwo poems in North American ReviewThree poems at Terrain.org"Salvelinus fontinalis," a video poemPodcast archive for Notes from the Allegheny Front

Doug Ramspeck is the author of nine collections of poetry, one collection of short stories, and a novella. Recent books include Blur (The Word Works), winner of the Tenth Gate Prize, Book of Years (Cloudbank Books), Under Black Leaves (Etchings Press), Black Flowers (LSU Press), and The Owl That Carries Us Away, winner of the G. S. Sharat Chandra Prize for Short Fiction. His poems and stories have appeared in literary journals that include Kenyon Review, Slate, The Georgia Review, The Southern Review, and Missouri Review. He is a three-time recipient of an Ohio Arts Council Individual Excellence Award. His short story, "Balloon," was listed as a Distinguished Story of 2018 by The Best American Short Stories. Find more on Doug here: https://dougramspeck.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem set in spring that includes personification. Next Week's Prompt: Write a poem with internal rhyme in every line. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Poet Carolina Hotchandani talks about themes of identity, belonging, and loss in her debut poetry collection, The Book Eaters, as she explores her own lived experiences as a new mother, a daughter whose father is in cognitive decline, and a woman of mixed global heritage as well as the power of language to make and unmake us. Hotchandani also reads some of her poems.Carolina Hotchandani is the author of The Book Eaters, 2023 Perugia Press Prize Winner, which was one of the ten debut poetry books featured in Poets & Writers Magazine's 2024 debut poets issue. Hotchandani's poetry has appeared in The Atlantic, AGNI, Missouri Review, Prairie Schooner, and various other journals. She is a Goodrich Assistant Professor of English at the University of Nebraska Omaha, Nebraska, where she lives with her husband and daughter.

Click here to submit to the Thriller 101 Pitch ContestThriller 101 NewsletterLearn more about Ash CliftonConnect with Ash on Twitter (X)Lisa Unger EpisodeConnect with David on TwitterEPISODE INFO:How much backstory is too much backstory? Can there be any backstory at all? I mean, your characters have to have something going on…right? But what does that look like? Luckily, Ash Clifton is here to help us with that and so much more!BIO:Ash Clifton was raised in Gainesville, Florida, where he attended the university and got a B.A. in English. He then earned an M.F.A. in Creative Writing from the University of Arizona. His short fiction has appeared in The Missouri Review, The Massachusetts Review, Cutthroat: A Journal of the Arts, and StepAway Magazine. His debut novel, Twice the Trouble, is forthcoming from Crooked Lane Books on March 5, 2024.Tweet me @DavidRGwyn

Diane Seuss is the author of the poetry collections Frank: Sonnets, winner of the Pulitzer Prize and the National Book Critics Circle Award; Still Life with Two Dead Peacocks and a Girl; Four-Legged Girl, finalist for the Pulitzer Prize; Wolf Lake, White Gown Blown Open; and It Blows You Hollow. Her work has appeared in Poetry, the Georgia Review, Brevity, Able Muse, Valparaiso Poetry Review, and the Missouri Review, as well as The Best American Poetry 2014. She was the MacLean Distinguished Visiting Professor in the Department of English at Colorado College in 2012, and she has taught at Kalamazoo College since 1988. Her new poetry collection is Modern Poetry. We talked about aging, John Keats, dogs,  romance, music, objectivity, grief, coldness, and the snarling, flaming bitch of poetry. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeff quit a perfectly good job at the age of 47 to return to college for his MFA, and his first novel, Other People's Children (Simon and Schuster, 2021), emerged from that silly decision. His second Novel, Like It Never Happened, will be released by Crooked Lane Books on March 5, 2024.In addition to his two novels, Jeff's writing has been published in The Sun, Booth, Harpur Palate, and Publishers Weekly. He was the winner of the Madison Review's Chris O'Malley Prize in Fiction and a finalist for the Missouri Review's Jeffrey E. Smith Editor's Prize.He is a passionate proponent of the Oxford comma, a mediocre men's league hockey player, and a fair-weather fan of the Chicago Blackhawks. He was born and raised in St. Louis and now lives in Elmhurst, Illinois, with his wife and two children.Learn more at: JeffHoffmannWrites.comIntro reel, Writing Table Podcast 2024 Outro Recording

WVBR News Director Jack Donnellan recently sat down with New York Times Bestselling Author Tim Johnston for the latest episode of our “Authors on Air” series. Tim is the author of the novels DISTANT SONS, DESCENT, THE CURRENT, the story collection IRISH GIRL, and the Young Adult novel NEVER SO GREEN. A New York Times, USA Today, and Indie national bestseller, Descent has been published internationally and optioned for film. Also optioned for film, The Current won the Midland Authors 2020 Adult Fiction Award. The stories of Irish Girl won an O. Henry Prize, the New Letters Award for Writers, and the Gival Press Short Story Award, while the collection itself won the 2009 Katherine Anne Porter Prize in Short Fiction. Tim's stories have appeared in New England Review, New Letters, The Iowa Review, The Missouri Review, Double Take, Best Life Magazine, and Narrative Magazine, among others. After earning degrees from the University of Iowa and the University of Massachusetts, Amherst, Tim made a living for twenty-five years as a carpenter. He is the recipient of the 2015 Iowa Author Award and currently lives in Iowa City, Iowa. This interview aired live on Talk of the Town on WVBR 93.5 FM on Saturday, February 10, 2024 at 3:00 PM. Catch the full Talk of the Town radio show on Saturdays at 3p on WVBR 93.5 FM or at wvbr.com. Follow us on social media! @WVBRFMNews on Facebook, Instagram, and Twitter. wvbr.com/afterhours

Mako Yoshikawa's Secrets of the Sun: A Memoir (Mad Creek Books 2024) contains a host of essays about her difficult, brilliant father. Shoichi Yoshikawa grew up in a wealthy family in 1930s Japan, but his mother died when he was five, and he died alone on the eve of Mako's wedding. He had been a genius, renowned for his research in nuclear fusion and respected at Princeton, until he fell apart. She remembered him being alternatingly kind or violent when bipolar disease gripped him. Her mother packed up and left the house with Mako and her sisters, later remarrying a wonderful man and brilliant chess player who Mako considered the father she always wanted. Mako wants to understand him; why he cross-dressed, why he was so passionate about fusion, why he alienated his daughters so that he hadn't even been invited to Mako's wedding. Mako Yoshikawa is the author of the novels One Hundred and One Ways and Once Removed. Her novels have been translated into six languages; awards include a Massachusetts Cultural Council Grant and a Radcliffe Fellowship. As a literary critic, she has published articles that explore the relationship between incest and race in 20th-century American fiction. After her father's death in 2010, Mako began writing about him and their relationship: essays which have appeared in the Missouri Review, Southern Indiana Review, Harvard Review, Story, Lit Hub, Longreads, and Best American Essays. These essays became the basis for her new memoir, Secrets of the Sun. Yoshikawa grew up in Princeton, New Jersey but spent two years of her childhood in Tokyo, Japan. She received a B.A. in English literature from Columbia University, a Masters in Shakespeare and Renaissance Drama at Lincoln College, Oxford, and a Ph. D. in English literature from the University of Michigan, Ann Arbor. Mako is a professor of creative writing and the director of the MFA program at Emerson College. In addition to her MFA classes, Mako teaches Comedic Lit to undergraduates in Emerson's Comedic Arts program. She also teaches as often as she can in the Emerson Prison Initiative, a degree-granting program that is based in MCI-Norfolk, a medium-security prison for men. She lives with her husband and two unruly cats in Boston and Baltimore. 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

To kick off season 5 (!!) we has the chance to chat with the winner of the Spring 2024 Host Publications Chapbook Prize, Stephanie Niu about her incredible chapbook, Survived By: an Atlas of Disappearance.  Stephanie is a Chinese-American poet, digital humanities scholar, and ecology enthusiast from Marietta, Georgia. She is the author of She Has Dreamt Again of Water, winner of the 2021 Diode Editions Chapbook Contest, and the editor of Our Island, Our Future: A Zine of Youth Poetry from Christmas Island. Her poems have appeared in Copper Nickel, Missouri Review, Georgia Review, and elsewhere. She is the recipient of a Fulbright scholarship for community archiving research on Christmas Island's immigration and labor history. Stephanie regales us with stories from Christmas Island, the remote Australian territory that is woven through many of the poems in Survived By, animating the extinct, endangered, and recovering species of the island through visual poems that chronicle the extinction crisis. We talk about the possible links between the poetic and scientific practices, what poetry as "atlas" might mean, how her poems try attempt to understand the scale and scope of ecological crisis through a human sensibility, how engaging with other art forms, studies, and obsessions can fuel our poetry, and much more.  Some things we discussed in this episode: "What is it Like to Be a Bat?" scientific paper by Thomas Nagel  Dear Memory by Victoria Chang Shell hall in the American Museum of Natural History  

Mako Yoshikawa's Secrets of the Sun: A Memoir (Mad Creek Books 2024) contains a host of essays about her difficult, brilliant father. Shoichi Yoshikawa grew up in a wealthy family in 1930s Japan, but his mother died when he was five, and he died alone on the eve of Mako's wedding. He had been a genius, renowned for his research in nuclear fusion and respected at Princeton, until he fell apart. She remembered him being alternatingly kind or violent when bipolar disease gripped him. Her mother packed up and left the house with Mako and her sisters, later remarrying a wonderful man and brilliant chess player who Mako considered the father she always wanted. Mako wants to understand him; why he cross-dressed, why he was so passionate about fusion, why he alienated his daughters so that he hadn't even been invited to Mako's wedding. Mako Yoshikawa is the author of the novels One Hundred and One Ways and Once Removed. Her novels have been translated into six languages; awards include a Massachusetts Cultural Council Grant and a Radcliffe Fellowship. As a literary critic, she has published articles that explore the relationship between incest and race in 20th-century American fiction. After her father's death in 2010, Mako began writing about him and their relationship: essays which have appeared in the Missouri Review, Southern Indiana Review, Harvard Review, Story, Lit Hub, Longreads, and Best American Essays. These essays became the basis for her new memoir, Secrets of the Sun. Yoshikawa grew up in Princeton, New Jersey but spent two years of her childhood in Tokyo, Japan. She received a B.A. in English literature from Columbia University, a Masters in Shakespeare and Renaissance Drama at Lincoln College, Oxford, and a Ph. D. in English literature from the University of Michigan, Ann Arbor. Mako is a professor of creative writing and the director of the MFA program at Emerson College. In addition to her MFA classes, Mako teaches Comedic Lit to undergraduates in Emerson's Comedic Arts program. She also teaches as often as she can in the Emerson Prison Initiative, a degree-granting program that is based in MCI-Norfolk, a medium-security prison for men. She lives with her husband and two unruly cats in Boston and Baltimore. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

The National Writers Series was honored to host Jack Driscoll at the Alluvion on August 27, 2023 with guest host Brittany Cavallaro. Jack Driscoll is a two-time NEA Creative Writing Fellowship recipient, a PEN/Nelson Algren Award winner, and the author of twelve books, including the story collections, Wanting Only to Be Heard (University of MA Press, 1992), winner of the AWP Grace Paley Short Fiction Prize and The World of a Few Minutes Ago (WSU Press, 2012), winner of the Society of Midland Authors Award and Michigan Notable Book Award. His most recent story collection, The Goat Fish and the Lover's Knot(WSU Press, 2017) received a Michigan Notable Book Award and was a finalist for the John D. Gardner Short Fiction Prize. His stories have appeared in The Georgia Review, The Southern Review, Ploughshares, Missouri Review, Michigan Quarterly Review, the Pushcart Prize Anthology, and New Stories from the Midwest. Driscoll was the founding father of the Interlochen Center for the Arts creative writing department, and now teaches in Pacific University's low-residency MFA program. He resides in Mystic, CT. --- Send in a voice message: https://podcasters.spotify.com/pod/show/nationalwritersseries/message

A smart, poignant novel perfect for fans of Lessons in Chemistry “An incredible STEMinist read.”—The Honey Pop Transcript, timestamps and video clips here: https://manuscriptacademy.com/podcast-sarah-read Join Julie and Jessica as they talk to the fabulous Sara Read, the author of the recent book Principles of (E)motion. Trust us when we say it'll make you swoon--and get excited for math like you've never thought possible. We discuss Sara's fascinating leapfrog writing approach, finding an agent, and making characters see each other in rich, dynamic ways. Before she started writing fiction, Sara got a degree in Women's Studies from U.C. Santa Cruz. She tried the nine-to-five life for about a nanosecond before moving to rural Virginia to become a flute-maker's apprentice and traditional fiddle player. Some years and two babies later, she returned to school for a Masters in Nursing. A cancer survivor herself, she now has the privilege of caring for cancer patients as a nurse. JOHANNA PORTER IS NOT SORRY, released in March 2023, was her debut novel. Her latest novel, PRINCIPLES OF (E)MOTION comes out January 2024. Sara's short stories have been featured in The Missouri Review, Beloit Fiction Journal, and Zone 3 Press, and she has been nominated for a Pushcart Prize. She is represented by Laura Bradford of Bradford Literary Agency. Sara is co-host of #MomsWritersClub, a Twitter/X community and YouTube channel. She lives in Charlottesville, Virginia, with her husband, two teens, a terrier, and three snarky cats.

Angus McDonald had to escape from Scotland or risk arrest. In 1838, he contracted with the Hudson Bay Company to trade in the Pacific Northwest. There he discovers majestic mountains, raging rivers, and buffalo. He meets and marries Catherine, who is related to Nez Perce royalty, and together they face competing claims of British fur traders and gold seekers, settlers and Native Americans who've lives for thousands of years in the shadow of the Rocky Mountains. The real Angus McDonald left essays and articles, and newspaper clippings and official letters that describe his friendships, horses, passion for his wife, his trajectory as a trader and interpreter, and the rise and fall of the people he's come to love. The Shining Mountains (High Road Books, 2023) is a brilliant, fictional exploration of a family's clash between colonial expansion and native culture, based on the author's blended Scottish and Nez Pierce ancestors. Alix Christie, a direct descendant of Angus McDonald's brother Duncan, grew up in California, Montana and British Columbia. She is a prize-winning journalist and author of novels, reportage, and short stories. Her debut novel, “Gutenberg's Apprentice,” the story of the making of the Gutenberg Bible, was shortlisted for the VCU Cabell First Novelist Award, and long listed for the International Dublin Literary Prize. Her story “Everychild” won a Pushcart Prize and the 2021 Jeffrey E. Smith Editor's Prize in fiction from The Missouri Review. As a longtime foreign correspondent based in England, France, and Germany, she has written numerous articles and stories set in other places and times, including “The Dacha,” a finalist for the 2016 Sunday Times (UK) Short Story Award. A letterpress printer and open water swimmer, she currently lives in Berlin, Germany, where she covers culture for The Economist. G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Notes and Links to Andrew Porter's Work        For Episode 213, Pete welcomes Andrew Porter, and the two discuss, among other topics, his lifelong love of art and creativity, his pivotal short story classes in college, wonderful writing mentors, the stories that continue to thrill and inspire him and his students, and salient themes from his most recent collection, such as the ephemeral nature of life, fatherhood, aging and nostalgia, and friendship triangles and squares.       Andrew Porter is the author of the short story collection The Theory of Light and Matter (Vintage/Penguin Random House), which won the Flannery O'Connor Award for Short Fiction, the novel In Between Days (Knopf), which was a Barnes & Noble “Discover Great New Writers”  selection and an IndieBound “Indie Next” selection, and the short story  collection The Disappeared (Knopf), which was recently published in April 2023. Porter's books have been published in foreign editions in the UK and Australia and translated into numerous  languages, including French, Spanish, Dutch, Bulgarian, and Korean.    In addition to winning the Flannery O'Connor Award, his collection, The Theory of Light and Matter,  received Foreword Magazine's “Book of the Year” Award for Short  Fiction, was a finalist for The Steven Turner Award, The Paterson Prize  and The WLT Book Award, was shortlisted for the William Saroyan  International Prize for Writing, and was selected by both The Kansas City Star and The San Antonio Express-News  as one of the “Best Books of the Year.”    The recipient of a Pushcart Prize and fellowships from the James Michener-Copernicus Foundation, the W.K. Rose Foundation, and the Helene Wurlitzer Foundation, Porter's  short stories have appeared in One Story, Ploughshares, The Southern Review, The Threepenny Review, The Missouri Review, Narrative Magazine, Epoch, Story, The Colorado Review, and Prairie Schooner, among others. He has had his work read on NPR's Selected Shorts and twice selected as one of the Distinguished Stories of the Year by Best American Short Stories.       A graduate of the Iowa Writers' Workshop, Porter is currently a Professor of English and Director of the Creative Writing Program at Trinity University in San Antonio.   Andrew's Website   Buy The Disappeared   The Disappeared Review from Chicago Review of Books   New York Times Shoutout for The Disappeared At about 1:50, Pete asks Andrew about the Spurs and breakfast tacos in San Antonio   At about 2:40, Andrew discusses his artistic loves as a kid and growing up and his picking up a love for the short story in college   At about 5:20, Andrew cites Bausch, Carver, Richard Ford, Amy Hempel, Lorrie Moore, and Joyce Carol Oates' story, “Where Are You Going, Where Have You Been?” as formative and transformative   At about 8:40, Andrew responds to Pete's question about whom he is reading these days-writers including Annie Ernauex, Rachel Cusk, and Jamel Brinkley   At about 10:00, Andrew traces the evolution of his writing career, including how he received wonderful mentorship from Dean Crawford and the “hugely” influential David Wong Louie    At about 12:15, Pete asks Andrew what feedback he has gotten since his short story collection The Disappeared has received, and what his students have said as well   At about 13:50, Pete highlights Andrew's wonderful and resonant endings and he and Andrew discuss the powerful opening story of the collection, “Austin”   At about 17:55, Pete puts the flash fiction piece “Cigarettes” into context regarding the book's theme of aging and nostalgia   At about 19:00, Pete laments his predicament as he readies to play in the high school Students vs. Faculty Game (plot spoiler: he played well, and the faculty won)   At about 19:40, The two discuss the engrossing and echoing “Vines” short story, including themes within, and Andrew discusses the art life   At about 23:00, “Cello” is discussed in the vein of a life lived with(out) art   At about 24:20, The story “Chili” is discussed with regards to the theme of aging, and Andrew expounds about including foods he likes and that he identifies with San Antonio and Austin   At about 26:40, Pete stumbles through remembering details of a favorite canceled show and talks glowingly about “Rhinebeck” and its characters and themes; Andrew discusses the topics that interest him and inspired the story   At about 30:20, Pete and Andrew discuss “in-betweeners” in the collection, including Jimena and others who complicate romantic and friend relationships   At about 32:50, Pete cites the collection's titular story and the “netherworld” in which the characters exist; Andrew collects the story with the previously-mentioned ones in exploring “triangulation”   At about 34:20, The two discussed what Pete dubs “men unmoored” in the collection   At about 35:15, The two discuss art as a collection theme, and Anthony speaks on presenting different levels of art and different representations of the creative life and past versions of ourselves   At about 37:15, Andrew replies to Pete asking about art/writing as a “restorative process”   At about 38:25, The two discuss the ways in which fatherhood is discussed in the collection, especially in the story “Breathe”   At about 43:15, The two continue to talk about the ephemeral nature of so much of the book, including in the titular story   At about 44:25, Andrew responds to Pete's asking about the ephemeral nature of the book and how he wanted the titular story's ending to be a sort of an answer to the collection's first story   At about 46:20, Pete refers to the delightful ambiguity in the book   At about 47:15, Pete asks Andrew about future projects    At about 50:00, Andrew shouts out publishing info, social media contacts    You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    NEW MERCH! You can browse and buy here: https://www.etsy.com/shop/ChillsatWillPodcast    This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 214 with Leah Myers. Leah is a member of the Jamestown S'Klallam Tribe of the Pacific Northwest, and she earned her MFA in creative nonfiction from the University of New Orleans, where she won the Samuel Mockbee Award for Nonfiction two years in a row. Her debut memoir, THINNING BLOOD, is published by W.W. Norton and received a rave review in the New York Times.    The episode will air on November 28.

Versatility in writing across genres can be a great blessing for a writer, and in this episode we speak with Cameron Walker who works as a journalist, writes poetry and fiction, and has two books coming out this year—one, a book of essays, and the other is an illustrated book for kids about US National Monuments. We speak about how to push yourself in different genres, the importance of trust in your process, how gratefulness became an important part of her writing practice, and the challenges of telling a complicated story in a way simple enough for kids to comprehend without sacrificing the truth of the complexities.Cameron Walker is a writer based in California. Her journalism, essays, and fiction have appeared in publications including The New York Times, Hakai, The Missouri Review, and The Last Word on Nothing. She's won awards for her writing from the American Society of Journalists and Authors, the American Institute of Physics, and Terrain.org. She is the author of National Monuments of the U.S.A., a book for kids beautifully illustrated by Chris Turnham. Her essay collection, Points of Light, is coming out this fall from Hidden River Press.Links:Cameron's website: www.cameronwalker.netCameron's Last Word On Nothing archive: https://www.lastwordonnothing.com/category/cameron/Cameron's beautiful book, National Monuments of the USA (with illustrations by Chris Turnham) https://www.quarto.com/books/9780711265493/national-monuments-of-the-usa This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit emergingform.substack.com/subscribe

On today's episode of The Lives of Writers, Aaron Burch interviews Andrew Porter.Andrew Porter is the author of the novel In Between Days and two short story collections, The Theory of Light and Matter and, most recently, The Disappeared. Porter's short stories have appeared in One Story, Ploughshares, The Threepenny Review, The Missouri Review, and Prairie Schooner, among others. Aaron Burch is the author of the essay collection A Kind of In-Between and editor of How to Write a Novel: An Anthology of 20 Craft Essays About Writing, None of Which Ever Mention Writing, both from Autofocus Books. He's also the author of several other books, including the novel, Year of the Buffalo. He is currently the editor of Short Story, Long and the co-editor of WAS (Words & Sports) and HAD. ____________PART ONE, topics include:-- finishing up summer-- writing longhand-- teaching intro to creative writing-- discovering writing as an undergrad-- relationships with rejection-- early jobs and time in an MFA-- Twitter as a kind of MFA-- the decision to teach____________PART TWO, topics include:-- Andrew's new story collection, THE DISAPPEARED-- guilt about not writing much during early fatherhood-- writing the first story in the collection-- spinning a classic story in a new direction-- nostalgia as life and writing theme-- the line of sentimentality-- stories as self-contained moments in time____________PART THREE, topics include:-- short story gut punch moments-- knowing when a long story isn't a novel-- mixing the longer and short forms in a collection-- story collection order as album order-- quiet-loud-quiet-- work on a next novel____________Podcast theme music provided by Mike Nagel, author of Duplex. Here's more of his project: Yeah Yeah Cool Cool.The Lives of Writers is edited and produced by Michael Wheaton.

Daniel Hornsby discusses his new novel, Sucker, as well as the difficulty of editing a book's opening, tech hubris, writing a character who inhabits the punk/DIY world and is full of shit, caves are great but spelunking is idiotic, Celine Dion is a time lord, and so much more!  Plus: Alex has returned for one ep only! Keep up with all things Great Place Books and Alex's novel True Failure! Daniel Hornsby is the author of the novels Sucker and Via Negativa, and his stories and essays have appeared in the Los Angeles Review of Books, Electric Literature, The Missouri Review, and Joyland. He lives in Minneapolis, Minnesota.  Learn more about your ad choices. Visit megaphone.fm/adchoices

First pages are impossible… so we're hearing from authors about how they got them right. In this episode, Frances de Pontes Peebles discusses the first pages of her latest novel, The Air You Breathe, her powerful use of a reminiscent narrator, how to plant the seeds of what your reader needs to know (and leave out what they don't), how best to include lists and dialog to wake up your prose, and how to stick to your decisions as a writer.Peebles's first pages can be found here.Help local bookstores and our authors by buying this book on Bookshop.Click here for the audio/video version of this interview.The above link will be available for 48 hours. Missed it? The podcast version is always available, both here and on your favorite podcast platform.Frances de Pontes Peebles is the author of the novels The Seamstress and The Air You Breathe. She is a Creative Writing Fellow in Literature for 2020 from The National Endowment for the Arts. Her books have been translated into ten languages and won the Elle Grand Prix for fiction, the Friends of American Writers Award, and the James Michener-Copernicus Society of America Fellowship. Her second novel, The Air You Breathe, was a Book of the Month Club pick. Born in Pernambuco, Brazil, she is a graduate of the Iowa Writers' Workshop. She has received a Fulbright Grant, Brazil's Sacatar Foundation Fellowship, and was a Teaching Fellow at the Bread Loaf Writers' Conference. Her short stories and essays have appeared in O. Henry Prize Stories, Zoetrope: All-Story, Ploughshares, Guernica, Missouri Review, Indiana Review, Catapult, and Real Simple. Her novel, The Seamstress, was adapted for film and mini-series on Brazil's Globo Network. She is proud to serve as Chair of the Board of the Young Center for Immigrant Children's Rights. In Spring 2019, she served as Visiting Associate Professor of Fiction at the Iowa Writers' Workshop. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

“What it felt like was - I am absolutely here, but this is not happening to us…This is not happening at all.” Today's episode featured John W. Evans. John is the author of three award-winning books. His poems and essays appear in Slate, The Missouri Review, ZYZZYVA, Poets & Writers, and have been listed as Notable in Best American Essays. He is the Nancy Draper Lecturer of Creative Nonfiction at Stanford University. His author website is www.johnwevans.com. Producers: Whit Missildine, Jason Blalock Episode Summary: A newly married man traveling the world with the love of his life faces unimaginable horror on a hiking trail in Romania. Social Media:Instagram: @actuallyhappeningThis Is Actually Happening Discussion Group on Facebook: https://www.facebook.com/groups/201783687561039/ Website: www.thisisactuallyhappening.com Website for Jason Blalock: jasonblalock.com Content/Trigger Warnings: graphic violence, graphic bodily injury, death, animal attack, animal death, explicit language Wondery Plus: All episodes of the show prior to episode #130 are now part of the Wondery Plus premium service. To access the full catalog of episodes, and get all episodes ad free, sign up for Wondery Plus at https://wondery.com/plusEpisode Sponsors: Article: article.com/happening; Noom: noom.com/happening; The Jordan Harbinger Podcast: jordanharbinger.com/startSupport the Show: Support The Show on Patreon https://www.patreon.com/happening Shop at the Store: The This Is Actually Happening online store is now officially open. Follow this link: https://www.thisisactuallyhappening.com/shop to access branded t-shirts, posters, stickers and more from the shop. Intro Music: "Illabye" – TipperMusic Bed: “Union Flow” – Spuntic ServicesIf you or someone you know is struggling with the effects of trauma or mental illness, please refer to the following resources. National Suicide Prevention Lifeline: 1-800-273-8255 National Alliance on Mental Illness: 1-800-950-6264National Sexual Assault Hotline (RAINN): 1-800-656-HOPE (4673)Crisis Text Line: Within the US, text HOME to 741741See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.