Podcasts about New Writing

In the 10th episode of the Irish Stew Podcast's Lost in Belfast series, host Martin Nutty sits down with poet Linda McKenna. Together, they discuss poetry, history, and forgotten voices of Irish history.Linda's path to poetry began almost by accident, but her talent was apparent, confirmed when she received the prestigious 2018 Seamus Heaney Award for New Writing. Recording from the Observatory room at Belfast's Grand Central Hotel, Linda opens up about her unique approach to poetry, drawing inspiration from historical archives and fragmentary records to illuminate the often-overlooked stories of women throughout history.During this compelling discussion, Linda reads excerpts from her acclaimed collection Four Thousand Keys and offers insights into her upcoming work, which seeks to recover and amplify voices from Ireland's 1798 rebellion. Her poetry serves as both historical excavation and artistic expression, breathing life into stories that might otherwise remain buried in dusty archives.Join Martin and Linda for a conversation that connects past and present, exploring how poetry can serve as a bridge between forgotten histories and contemporary understanding.LinksLinda McKenna page at Doire PressTwitterFacebookBooksFour Thousand KeysIn the Museum of Misremembered ThingsEpisode Details: Season 7, Episode 20; Total Episode Count: 123

This week, Halley Sutton and I introduce a new series about writing! I've said on this podcast a few times that I will finish my book this year, and this series is a way to make sure I do spend time on it, and stay in the writing state of mind. For our first topic of this series, we talk about things that keep us close to writing even when we aren't putting down tons of words. Check out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on Instagram

Send us a textLink to our website:https://theliteracyview.com/Link to our professional services:https://theliteracyview.com/services/Link to our merch store:https://logosgreenwich.com/literacyview/shop/homeJoin our Facebook Community:https://www.facebook.com/share/g/1Xe5nExhVX/?mibextid=wwXIfrPlease also write us a great review! https://podcasts.apple.com/us/podcast/the-literacy-view/id1614519794 ❤️❤️❤️The One About…AI: A New Writing Pathway with Steve Graham, Phil Weinberg, and Sherry Lewkowicz How do we improve writing instruction and practice students receive without increasing the amount of preparation time for teachers? Article:Teaching writing during the COVID-19 pandemic in the 2021–2022 school yearPublished: 15 June 2023Volume 37, pages 1605–1634, (2024)https://link.springer.com/article/10.1007/s11145-023-10457-9 A meta-analysis of writing treatments for students in grades 6–12.https://psycnet.apa.org/doiLanding?doi=10.1037%2Fedu0000819  Bio:https://wptool.teachinglab.org/ Phil WeinbergSenior Advisor and Managing Director, The Writing Pathway at Teaching Lab StudioPhil was formerly the Deputy Chancellor for Teaching and Learning for the New York City Department of Education, the nation's largest school system.  Sherry LewkowiczSenior Director, The Writing Pathway at Teaching Lab StudioSherry has over 15 years of experience crafting learning opportunities related to writing instruction.  Dr. Steve GrahamResearch Advisor, Arizona State UniversityDr. Graham is the Regent and Warner Professor in the Division of Leadership and Innovation at Mary Lou Fulton Teachers College, Arizona State University. For more than 30 years, he has studied how writing develops, how to teach it effectively, and how writing can be used to support reading and learning. https://wptool.teachinglab.org/  Support the showThe Literacy View is an engaging and inclusive platform encouraging respectful discussion and debate about current issues in education.

Basudhara and I finished our conversation at 10 pm. One hour forty-three minutes. And my heart was full. We'd started off thinking we should aim for a thirty to forty five minutes talk. I'm just glad it wasn't to be.There is something reassuring about Basudhara. Because she speaks with conviction, of being completely honest to the moment. Thoughts, images, opinions, all, take shape like a building which is linear, with stark lines, but a place you know is warm and welcoming. Her latest book 'A Blur of a Woman' is the one I will be gifting the most this year, and possibly beyond. The poems are tender and hard, heartbreaking and life-affirming, as she bleeds her heart to open our souls.In this fabulous conversation, which I wished hadn't ended, she talks, amongst a million other things, of her provincial life, of how poetry improves on marination, how a poem can be obstinate to change, how illnesses define trajectories, and how Keki Daruwalla showed her why greatness is nothing but grace in ordinary things. Basudhara says writing is "a struggle to keep affirming life's movement, its open-endedness, its journey of becoming as well as its right and necessity to become". Basudhara teaches English at Karim City College in Jamshedpur. Creatively and academically drawn to themes of gender, mythology and ecology, her five published books include a monograph and three collections of poems - Moon in My Teacup, Stitching a Home and Inhabiting. Her work has featured widely in anthologies and magazines, including Chandrabhaga, The Punch MAgazine, Yearbook of Indian Poetry in English, Helter Skelter Anthology of New Writing, The Dhaka Tribune, EPW, and Madras Courier, among others. Co-editor of two poetry anthologies and a firm believer in the therapeutic power of verse, she writes, reviews, and sporadically curates adn translates poetry from Jamshedpur, Jharkhand, India.Catch her muse, reflect, recite in this first episode of the second season of 'Uncut Poetry presents Red River Sessions'.In Red River Sessions, we talk to published poets about their poetry, their craft, and what haunts them. It is brought to you by Red River, which is the premier independent publisher of poetry and curated prose, and Uncut Poetry, which is a much-loved weekly podcast of original poetry. Buy Basudhara's books and those of other fabulous poets at redriverpress.in

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The beauty of flower names, time-thieving hedgehogs, the poetry of fertile earth, and the absurdity of English spelling - all appear in The Verb this week. Ian McMillan's guests are the poets Don Paterson, Zena Edwards, and John McAuliffe who's celebrating fellow poet Michael Longley - and we also hear a new 'eartoon' on the origin of words for numbers, by Stagedoor Johnny ( Richard Poynton).Don Paterson shares a brand new poem in which the speaker is a hedgehog who knows 'one big thing' - a big thing that challenges the way we might think about time. Don is also a musician, and a memoirist - his most recent book is 'Toy Fights' - described by the writer Geoff Dyer as 'devastatingly funny'. His award winning collections include 'Rain', 'Landing Light' and 'God's Gift to Women'.Zena Edwards is a poet and theatre maker who has collaborated with many different artists. Her passion for the natural world shines out in her poem 'Tincture' which she shares on the show, and which came about because of a project called We Feed the UK – which brings together spoken word poets from the climate science and poetry organisation Hotpoets, and regenerative farmers – coordinated by the Gaia Foundation. John McAuliffe is poet, and a director of the Centre for New Writing at the University of Manchester. He has published six poetry collections - and his latest - 'National Theatre' (Gallery) is out now. John celebrates the 'miniature but not minor' poem 'Thaw' by the Belfast born poet Michael Longley who died in January.And we hear another installment of a satirical history of the English language by Stagedoor Johnny - in which the letter 'U' has a crisis of confidence.

Mary Wollstonecraft, famous for her work A Vindication of the Rights of Woman, was born in London in 1759 but spent some of her early life in Beverley near Hull in Yorkshire. Playwright Maureen Lennon and actor Laura Elsworthy will together bring her back to the region in Maureen's play Mary and The Hyenas, in which Laura will play Mary. BTG Editor David Chadderton spoke to Maureen and Laura while the play was in rehearsal in Hull about Mary's life and legacy, the continuing relevance of her message, bringing her story to life on stage and the flourishing arts scene in Yorkshire. Laura Elsworthy stars in the title role of Mary and The Hyenas by Maureen Lennon for Hull Truck Theatre and Pilot Theatre, directed by Esther Richardson with music by Billy Nomates, which runs at Hull Truck Theatre from 7 February to 1 March 2025 before transferring to Wilton's Music Hall in London from 18 to 29 March.

Entries are now open for the Newfoundland and Labrador Creative Non-Fiction Writing Contest, a collaboration between the Newfoundland Quarterly literary magazine and Writers NL. We spoke with Joan Sullivan, editor of the Newfoundland Quarterly.

Join Michelle as she talks with prize-winning author Katerina Gibson about her new novel The Temperature. Katerina Gibson (1994) is a writer and bookseller living in Naarm. Her debut collection Women I Know won the 2023 Christina Stead Prize for Fiction, the Steele Rudd Award, and was shortlisted for the Glenda Adams Prize for New Writing. Her stories have appeared in HEAT, Granta, Overland, The Griffith Review, the Lifted Brow, Meanjin, and New Australian Fiction, among other places. Her story ‘Fertile Soil' was the Pacific region winner of the 2021 Commonwealth Short Story Prize, and was later translated into Italian. Katerina was named SMH 2023 Best Young Australian Novelist. Her debut novel The Temperature is forthcoming with Scribner in September 2024. Katerina is represented by Caitlan Cooper-Trent at Curtis Brown: caitlan@curtisbrown.com.au https://www.katerinagibson.com/

Crocodile-like men, fireflies, a soul hitching a ride on a bee, the coolness of Switzerland, anagrams, and a mysterious rhyming poem - all this and more from Ian McMillan's guests this week - as they explore the way a poetic image can change the way we see things,Arji Manuelpillai is a poet and creative facilitator. His poetry collection 'Improvised Explosive Device' (Penned in the Margins) emerged through research and interviews with academics, sociologists, and former members of extremist groups and their families. He also presents a poetry podcast: 'Arji's Pickle Jar'.Mona Arshi is a poet, and was a human rights lawyer. Her poetry collections are 'Small Hands' and 'Dear Big Gods' (Pavilion), and she recently published her first novel 'Somebody Loves You'. Mona's third poetry collection will be published next year. John McAuliffe is a poet, and a director of the Centre for New Writing at the University of Manchester. He has published six poetry collections - and his latest - 'National Theatre' (Gallery) will be out shortly. John unravels our 'neon' line this week ( a stand-out line in a classic poem) and explains why it works so well.Tom Chatfield is a novelist, writer and tech philosopher - and now author of 'Wise Animals: How technology has made us what we are' (Picador). He helps us pit human poets against AI or more precisely - against Large Language Models - to see what human poets can still do best.

Summary Morag Edwards is an educational psychologist and author. In this conersations she discusses her experience at a co-ed boarding school in the 1960s. She highlights the lack of female perspectives in boarding school literature and the predominance of male boarding stories. Morag shares her personal experience of being sent to boarding school at the age of 10 and the shock and anxiety she felt. She describes the unsafe environment, lack of supervision, and prevalence of peer-on-peer sexual abuse. Morag also discusses the absence of female role models and the emotional neglect she experienced. She emphasizes the need for schools to be aware of and intervene in peer-on-peer abuse. The conversation explores the experiences of Morag at a boarding school and the long-lasting effects it had on her identity and parenting. It also delves into the changes in the field of educational psychology over the years and the challenges faced by professionals in the field. Morag emphasizes the importance of writing as a therapeutic tool and the need to maintain a sense of self in closed institutions. She also suggests finding time for solitude and using storytelling as a way to explore emotions and experiences. https://www.amazon.co.uk/Almost-Boys-Psychology-Co-ed-Boarding/dp/1913719065 Morag Edwards spent over 32 years as an educational psychologist. Under the author name Isobel Ross, Morag uses her knowledge of child development to provide psychological insight into her personal experience at a co-ed boarding school. Her memoir, ‘Almost Boys: The Psychology of Co-Ed Boarding in the 1960s, was published in January 2024. Morag also writes historical fiction and contemporary domestic suspense (under the author name Isobel Ross). She has an MA in creative writing from the University of Manchester's Centre for New Writing.

Summary Morag Edwards is an educational psychologist and author. In this conersations she discusses her experience at a co-ed boarding school in the 1960s. She highlights the lack of female perspectives in boarding school literature and the predominance of male boarding stories. Morag shares her personal experience of being sent to boarding school at the age of 10 and the shock and anxiety she felt. She describes the unsafe environment, lack of supervision, and prevalence of peer-on-peer sexual abuse. Morag also discusses the absence of female role models and the emotional neglect she experienced. She emphasizes the need for schools to be aware of and intervene in peer-on-peer abuse. The conversation explores the experiences of Morag at a boarding school and the long-lasting effects it had on her identity and parenting. It also delves into the changes in the field of educational psychology over the years and the challenges faced by professionals in the field. Morag emphasizes the importance of writing as a therapeutic tool and the need to maintain a sense of self in closed institutions. She also suggests finding time for solitude and using storytelling as a way to explore emotions and experiences. https://www.amazon.co.uk/Almost-Boys-Psychology-Co-ed-Boarding/dp/1913719065 Morag Edwards spent over 32 years as an educational psychologist. Under the author name Isobel Ross, Morag uses her knowledge of child development to provide psychological insight into her personal experience at a co-ed boarding school. Her memoir, ‘Almost Boys: The Psychology of Co-Ed Boarding in the 1960s, was published in January 2024. Morag also writes historical fiction and contemporary domestic suspense (under the author name Isobel Ross). She has an MA in creative writing from the University of Manchester's Centre for New Writing.  

Significant changes are coming to the LSAT in August 2024. While much attention has been on the removal of the Logic Games section, there's also a new writing section to prepare for. LSAT expert Mena Pirone discusses strategies for tackling the evolving exam format and emphasizes the importance of clear, structured writing, outlining, and avoiding gimmicks in your argumentative essays.

The podcast episode titled "New Writing Units Uncovered – Part 2, Ep 106 with Sharon Callen" delves into the intricacies of teaching writing with joy and effectiveness. Sharon Callen and team discuss the process of planning writing units, emphasising the importance of starting with purpose and mentor texts rather than just focusing on structure. By immersing students in high-quality literature, teachers can inspire them to become enthusiastic and skilled writers.Sharon highlights the significance of frequent publishing throughout the writing process, advocating for turning student work into tangible books that can be shared and celebrated. The episode also touches on the value of author studies in helping students understand different writing styles and find their own voice as writers.Throughout the discussion, Sharon and the hosts stress the need for joyful and purposeful writing instruction, aiming to create an environment where students feel empowered and inspired to express themselves through writing. The episode provides practical insights and strategies for educators looking to enhance their writing instruction and foster a love for writing in their students.TEACHIFIC RESOURCESNew Writing Units by Grade 6 + 1 Traits Writing resourcesMud Mapping - planning resources for writingDrafting and  Revising in writingPODCASTSThe Art of Crafting the Writing WorkshopTeaching Writing Effectively with Alan WrightCOURSESWriter's Notebook with Alan WrightJOIN TEACHIFIC NOW AND SAVE!If you join Teachific by June 1st you will lock in a $12 a month membership price. Join here today. Access thousands of resources and a growing number of 'anytime' courses within your membership.THANK YOUThank you to these teachers for their contributing work:Bec and Sean at Fairview Primary School in WARick, Jenna and Kate at Mt Barker South Primary School in SA FURTHER INFORMATIONTune in to "Teacher's Tool Kit For Literacy," a free podcast where accomplished literacy educator Sharon Callen and her team share valuable insights and tips. With over 30 years of experience, they provide strategic learning solutions to empower teachers and leaders worldwide.  Subscribe on your favourite platform for exclusive literacy learning content.  Apple, Spotify,  Google, YouTubeRead our insightful blogs, which make valuable connections between resources, podcasts and courses.Visit our Cue Learning website and sign up for the Teacher's Toolkit Weekly newsletter to stay updated on resources, events and discover how Cue can support you and your school.Explore Teachific, our vast collection of PDF resources, to enhance your teaching toolkit. And get even more support from our growing number of 'anytime' online courses.Connect with the latest news and other educators by joining our Teacher's Toolkit Facebook groupExplore upcoming live or online webinar  eventsHave questions or feedback? Reach out to us directly at admin@cuelearning.com.au. 

The podcast discusses the universal principles of learning and teaching, emphasising the importance of understanding learners' perspectives regardless of age. It explores the idea that teaching should involve putting oneself in the shoes of the learner to better adapt to their needs. Hosts Sharon and Phil reflect on their experiences as learners and the continuous journey of improvement. They delve into the struggles teachers face, such as aligning teaching with standardised assessments like NAPLAN, and how to incorporate diverse writing genres into the curriculum beyond the dominant focus on narrative and persuasive writing. The conversation highlights the need for a richer understanding of the Australian curriculum, emphasising literature-based models for writing instruction. The hosts discuss the development of writing units aimed at enhancing students' writing skills through intentional focus on elements like word choice, revision, and genre diversity. They stress the importance of frequent revision cycles in the writing process and provide practical tips for planning writing units, including pre-planning strategies, purposeful connections to other subjects, and structuring the writing process within a unit. The podcast aims to empower teachers with tools and techniques for creating engaging and effective writing instruction.TEACHIFIC RESOURCESNew Writing Units by Grade 6 + 1 Traits Writing resourcesMud Mapping - planning resources for writingDrafting and  Revising in writingPODCASTSThe Art of Crafting the Writing WorkshopTeaching Writing Effectively with Alan WrightCOURSESWriter's Notebook with Alan WrightJOIN TEACHIFIC NOW AND SAVE!If you join Teachific by June 1st you will lock in a $12 a month membership price. Join here today. Access thousands of resources and a growing number of 'anytime' courses within your membership.THANK YOUThank you to these teachers for their contributing work:Bec and Sean at Fairview Primary School in WARick, Jenna and Kate at Mt Barker South Primary School in SA FURTHER INFORMATIONTune in to "Teacher's Tool Kit For Literacy," a free podcast where accomplished literacy educator Sharon Callen and her team share valuable insights and tips. With over 30 years of experience, they provide strategic learning solutions to empower teachers and leaders worldwide.  Subscribe on your favourite platform for exclusive literacy learning content.  Apple, Spotify,  Google, YouTubeRead our insightful blogs, which make valuable connections between resources, podcasts and courses.Visit our Cue Learning website and sign up for the Teacher's Toolkit Weekly newsletter to stay updated on resources, events and discover how Cue can support you and your school.Explore Teachific, our vast collection of PDF resources, to enhance your teaching toolkit. And get even more support from our growing number of 'anytime' online courses.Connect with the latest news and other educators by joining our Teacher's Toolkit Facebook groupExplore upcoming live or online webinar  eventsHave questions or feedback? Reach out to us directly at admin@cuelearning.com.au.

In Episode 132, Jamie sits down with talented Writer and Performer Josie White, whose darkly comical play ‘Rotten' is on tour now.  Josie spoke to us about everything from: The importance of developing new writing The highs and lows of a creative career Her earliest creative influences Mental health Why local representation matters  How her new play ‘Rotten' came about and much more Josie White: 'Rotten' on Team Angelica: https://www.teamangelica.com/post/rotten-josie-white  Josie on Jerwood Arts: https://jerwoodarts.org/artist/josie-white/    Check out our website!: https://www.justgetarealjob.com  Donate to our Patreon page ☺️: www.patreon.com/justgetarealjob  Follow us on... Instagram: https://www.instagram.com/justgetarealjob/ X: https://twitter.com/justgetarealjob 

In this episode we talk about the Sister Act Spectacle at Heaven Nightclub and Blue's Electrifying Drama at Seven Dials Playhouse. Plus Natalie goes backstage at Just For One Day with cast member Tamara Tare. Sister Act (media event): In this episode, we bring you the glitz and glamour from the Sister Act media event at Heaven Nightclub. Join the star-studded cast, including Olivier Award-winner Beverley Knight, the soulful Ruth Jones, Lesley Joseph, Clive Rowe, Lizzie Bea, Lemar, Alison Jiear, and Carl Mullaney, as they gear up for the much-anticipated West End production at the Dominion Theatre. Beverley Knight reprises her role as the disco diva-in-disguise Deloris van Cartier, and Gavin and Stacey co-creator Ruth Jones takes on the role of Mother Superior. With a Motown-inspired score by Alan Menken, this joyous tale of music, mishaps, and nuns on the run is set to captivate audiences from 15 March to 31 August.Blue:We dive into the intense and thought-provoking world of Blue at Seven Dials Playhouse. Detective LaRhonda Parker, portrayed by the brilliant Tamara Tare, takes centre stage in a gripping interrogation, adding layers of complexity as she investigates one of her own in the shooting of a Black motorist. This powerful two-hander, hailed with 5-star reviews and the prestigious Fringe First Award, delves into the intricacies of race, justice, and loyalty.Interview with Tamara Tare: As a bonus, Natalie sits down with Just For One Day cast member Tamara Tare for an exclusive chat as she shares behind-the-scenes stories, her role, and other intriguing aspects of this dynamic show.Tune in for all the drama, laughter, and backstage revelations in this exciting episode!

Terry Hayes, international bestseller, movie producer, and author of I Am Pilgrim and the brand new, certain to be a bestseller, The Year of the Locust, joins the show to talk about his decade-long absence from the thriller world, how he got back into writing, and what he's been doing all this time! Terry is widely known as a talented producer and his bestselling book, I Am Pilgrim, was an international sensation, selling thousands of books in countries across the world. I caught up with him while he was in between book tours, and picked his brain. We even talk about parenting, the Last Supper, and coffee with Jesus. It was fun! Terry just released The Year of the Locust, and is working on the sequel to I am Pilgrim. Check the synopsis below and order today: https://amzn.to/490mR63 The Year of the Locust synopsis: If, like Kane, you're a Denied Access Area spy for the CIA, then boundaries have no meaning. Your function is to go in, do whatever is required, and get out again—by whatever means necessary. You know when to run, when to hide—and when to shoot. 0:00 - Intro 3:00 - Book Tour 6:40 - Selling Socks 11:00 - Character Setup 17:00 - New Writing 30:00 - 10 Year Gap 35:00 -Being Chased with Mel Gibson 36:00 - I Am Pilgrim41:00 - Parenting 44:30 - The Year of the Locust/1 Million Words 50:00 - Quality Writing 57:00 - Coffee with Jesus 60:00 - Book 3 & Pirates Subscribe: @jeffclarkofficial Sign Up: Jeffclarkofficial.com/contact Follow for more: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠jeffclarkofficial.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or... Instagram ⁠⁠⁠⁠⁠⁠⁠@⁠⁠officialJSClark⁠⁠⁠⁠⁠⁠⁠⁠ ⁠ Facebook ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@officialJSClark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ X/Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@officialJSClark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ Full Episodes at: ⁠⁠⁠⁠⁠YouTube.com⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠@jeffclarkofficial⁠⁠⁠⁠⁠ ⁠⁠ Listen on ApplePodcasts.com/CourseofAction⁠⁠ ⁠⁠Listen on Spotify.com/Course of Action⁠

More info about the program here -- https://fabiocerpelloni.com/writing-program/

It's November, also known as National Novel Writing Month. NaNoWriMo can be a great jumpstart to a writing project, or to make progress on an existing project. It can help instill a regular writing routine, along with community and support.  But too often writers will start something in NaNoWriMo and never finish. Because after the initial inspiration fades, they lose momentum and drive. In this episode, I'll give you some guidelines to get the most out of your work in progress. And if you're participating in NaNoWriMo, I'll tell you how to get the most progress in the next 24 days and beyond. Episode Web PageRate, Review, & Follow on Apple Podcasts.  Love what you're learning from the Writer Unleashed podcast? Pease consider rating and reviewing my show! This helps me support more writers -- just like you -- to write the story that won't let them go.Click here, scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then be sure to let me know what you loved most about the episode!Also, if you haven't done so already, follow the podcast so you never miss an episode. Want to join a community of like-minded writers? Need inspiration and support? Join us in our private Writer Unleashed Community Facebook Group. It's totally free to join.

During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War (U Iowa Press, 2015) explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century. Eric Bennett is professor of English at Providence College in Rhode Island. He is the author of A Big Enough Lie, and his writing has appeared in A Public Space, New Writing, Modern Fiction Studies, Blackwell-Wiley's Companion to Creative Writing, The Chronicle of Higher Education, VQR, MFA vs. NYC, and Africana. He lives in Providence, Rhode Island. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. 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

During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War (U Iowa Press, 2015) explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century. Eric Bennett is professor of English at Providence College in Rhode Island. He is the author of A Big Enough Lie, and his writing has appeared in A Public Space, New Writing, Modern Fiction Studies, Blackwell-Wiley's Companion to Creative Writing, The Chronicle of Higher Education, VQR, MFA vs. NYC, and Africana. He lives in Providence, Rhode Island. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War (U Iowa Press, 2015) explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century. Eric Bennett is professor of English at Providence College in Rhode Island. He is the author of A Big Enough Lie, and his writing has appeared in A Public Space, New Writing, Modern Fiction Studies, Blackwell-Wiley's Companion to Creative Writing, The Chronicle of Higher Education, VQR, MFA vs. NYC, and Africana. He lives in Providence, Rhode Island. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War (U Iowa Press, 2015) explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century. Eric Bennett is professor of English at Providence College in Rhode Island. He is the author of A Big Enough Lie, and his writing has appeared in A Public Space, New Writing, Modern Fiction Studies, Blackwell-Wiley's Companion to Creative Writing, The Chronicle of Higher Education, VQR, MFA vs. NYC, and Africana. He lives in Providence, Rhode Island. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

During and just after World War II, an influential group of American writers and intellectuals projected a vision for literature that would save the free world. Novels, stories, plays, and poems, they believed, could inoculate weak minds against simplistic totalitarian ideologies, heal the spiritual wounds of global catastrophe, and just maybe prevent the like from happening again. As the Cold War began, high-minded and well-intentioned scholars, critics, and writers from across the political spectrum argued that human values remained crucial to civilization and that such values stood in dire need of formulation and affirmation. They believed that the complexity of literature—of ideas bound to concrete images, of ideologies leavened with experiences—enshrined such values as no other medium could. Creative writing emerged as a graduate discipline in the United States amid this astonishing swirl of grand conceptions. The early workshops were formed not only at the time of, but in the image of, and under the tremendous urgency of, the postwar imperatives for the humanities. Vivid renderings of personal experience would preserve the liberal democratic soul—a soul menaced by the gathering leftwing totalitarianism of the USSR and the memory of fascism in Italy and Germany. Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War (U Iowa Press, 2015) explores this history via the careers of Paul Engle at the University of Iowa and Wallace Stegner at Stanford. In the story of these founding fathers of the discipline, Eric Bennett discovers the cultural, political, literary, intellectual, and institutional underpinnings of creative writing programs within the university. He shows how the model of literary technique championed by the first writing programs—a model that values the interior and private life of the individual, whose experiences are not determined by any community, ideology, or political system—was born out of this Cold War context and continues to influence the way creative writing is taught, studied, read, and written into the twenty-first century. Eric Bennett is professor of English at Providence College in Rhode Island. He is the author of A Big Enough Lie, and his writing has appeared in A Public Space, New Writing, Modern Fiction Studies, Blackwell-Wiley's Companion to Creative Writing, The Chronicle of Higher Education, VQR, MFA vs. NYC, and Africana. He lives in Providence, Rhode Island. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

LINKTR.EEhttps://linktr.ee/retreatcomedyWEBSITEhttps://www.retreatcomedy.com/Blurb about Retreat PodcastKNOCKNAHAY, IRELAND— SEASON ONEShannon, an Irish-American textile artist of dubious talent, arrives in Ireland,  trapped in a fruitless mindset for self-improvement and positive thinking.  She arrives at an Irish arts residency to meet her cousin Brigit, a Druidic healer and unpublished poet for an artistic collaboration. Their poetry quilt project starts at the fairy fort. It is meant to celebrate their shared DNA and rekindle any of Shannon's latent Celtic fire. Their arts residency, a creative paradise, is buzzing with egocentric and renown artists, writers, poets, celebrities, and staff from Ireland, Germany, Russia, England, and France.  The big house is in dire need of repairs and the director is desperate for funding. When a thwarted heiress arrives with offers of corporate sponsorship and a world-class exhibition-- in exchange for the residents' recorded audio diaries detailing artistic creative processes, Shannon makes some unwise choices. Andi Watson IpaktchiCo-Creator, Actor, ProducerAndi is a multi-disciplinary American artist who lives in Paris. She holds a fine arts degree from the Parsons School of Design. In December 2022,  a staged, spin-off of Retreat Comedy was shortlisted for the 2023 Hammond House Publishing Prize for Comedy (UK). In 2015, her illustration work made the Undiscovered Voices (UK) anthology shortlist. Her artwork has been shown  in the US and France. In 2019 and 2020, she was a Tyrone Guthrie Artist Arts Center resident in the printmaking studio where she and met her writing met. She continues working in the printmaking studio and writes.Aoibheann McCannCo-Creator, Actor, ProducerAoibheann is originally from Donegal. She now lives in Galway where she writes fiction, non-fiction and the occasional poem. Her work has been published in literary journals in Ireland, UK, Italy and USA. Her work has been anthologised by Pankhurst Press (UK), New Binary Press, Arlen House, Doire and Prospero (Italy). Her short stories have been longlisted for Colm Toibin 2019, shortlisted for Words on Waves 2015, Sunday Business Post/ Penguin Ireland 2018, Cúirt New Writing 2019 and second in the Maria Edgeworth and Dalkey Creates 2019. She was awarded the Tyrone Guthrie Residency by Galway City Council for 2018. In December 2022, she learned that a staged, spin-off of Retreat was shortlisted for the 2023 Hammond House Publishing Prize for comedy in the (UK). Aoibheann is currently working on her first collection of short fiction and a comedy series.Andi Ipaktchi (France)Support the show

Abbas is just seventeen years old when his gifts as a woodcarver come to the attention of Tipu Sultan, and he is drawn into service at the palace in order to build a giant tiger automaton for Tipu's sons, a gift to commemorate their return from British captivity. His fate--and the fate of the wooden tiger he helps create--will mirror the vicissitudes of nations and dynasties ravaged by war across India and Europe. Working alongside the legendary French clockmaker Lucien du Leze, Abbas hones his craft, learns French, and meets Jehanne, the daughter of a French expatriate. When Du Leze is finally permitted to return home to Rouen, he invites Abbas to come along as his apprentice. But by the time Abbas travels to Europe, Tipu's palace has been looted by British forces, and the tiger automaton has disappeared. To prove himself, Abbas must retrieve the tiger from an estate in the English countryside, where it is displayed in a collection of plundered art. Tania James is the author of Atlas of Unknowns, Aerogrammes, and Other Stories, and The Tusk That Did the Damage. Her stories have appeared in Freeman's: The Future of New Writing, Granta, the New Yorker, O, The Oprah Magazine, and One Story, and have been featured on Symphony Space Selected Shorts. The Tusk that Did the Damage was shortlisted for the Dylan Thomas Prize. Tania lives in Washing D.C. where she is an associate professor of English at George Mason University. Recommended Books: Hua Hsu, Stay True Marcy Dermansky, Very Nice Rita Chang-Eppig, Deep as the Sky, Red as the Sea  *A video of a period expert playing Tipu's Tiger at the Victoria and Albert Museum in London is available here Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract 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

Abbas is just seventeen years old when his gifts as a woodcarver come to the attention of Tipu Sultan, and he is drawn into service at the palace in order to build a giant tiger automaton for Tipu's sons, a gift to commemorate their return from British captivity. His fate--and the fate of the wooden tiger he helps create--will mirror the vicissitudes of nations and dynasties ravaged by war across India and Europe. Working alongside the legendary French clockmaker Lucien du Leze, Abbas hones his craft, learns French, and meets Jehanne, the daughter of a French expatriate. When Du Leze is finally permitted to return home to Rouen, he invites Abbas to come along as his apprentice. But by the time Abbas travels to Europe, Tipu's palace has been looted by British forces, and the tiger automaton has disappeared. To prove himself, Abbas must retrieve the tiger from an estate in the English countryside, where it is displayed in a collection of plundered art. Tania James is the author of Atlas of Unknowns, Aerogrammes, and Other Stories, and The Tusk That Did the Damage. Her stories have appeared in Freeman's: The Future of New Writing, Granta, the New Yorker, O, The Oprah Magazine, and One Story, and have been featured on Symphony Space Selected Shorts. The Tusk that Did the Damage was shortlisted for the Dylan Thomas Prize. Tania lives in Washing D.C. where she is an associate professor of English at George Mason University. Recommended Books: Hua Hsu, Stay True Marcy Dermansky, Very Nice Rita Chang-Eppig, Deep as the Sky, Red as the Sea  *A video of a period expert playing Tipu's Tiger at the Victoria and Albert Museum in London is available here Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract 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

Abbas is just seventeen years old when his gifts as a woodcarver come to the attention of Tipu Sultan, and he is drawn into service at the palace in order to build a giant tiger automaton for Tipu's sons, a gift to commemorate their return from British captivity. His fate--and the fate of the wooden tiger he helps create--will mirror the vicissitudes of nations and dynasties ravaged by war across India and Europe. Working alongside the legendary French clockmaker Lucien du Leze, Abbas hones his craft, learns French, and meets Jehanne, the daughter of a French expatriate. When Du Leze is finally permitted to return home to Rouen, he invites Abbas to come along as his apprentice. But by the time Abbas travels to Europe, Tipu's palace has been looted by British forces, and the tiger automaton has disappeared. To prove himself, Abbas must retrieve the tiger from an estate in the English countryside, where it is displayed in a collection of plundered art. Tania James is the author of Atlas of Unknowns, Aerogrammes, and Other Stories, and The Tusk That Did the Damage. Her stories have appeared in Freeman's: The Future of New Writing, Granta, the New Yorker, O, The Oprah Magazine, and One Story, and have been featured on Symphony Space Selected Shorts. The Tusk that Did the Damage was shortlisted for the Dylan Thomas Prize. Tania lives in Washing D.C. where she is an associate professor of English at George Mason University. Recommended Books: Hua Hsu, Stay True Marcy Dermansky, Very Nice Rita Chang-Eppig, Deep as the Sky, Red as the Sea  *A video of a period expert playing Tipu's Tiger at the Victoria and Albert Museum in London is available here Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract 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

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."So the book is divided. In the first section, summer, the equivalent of summer is Heat. And then there is Flood, which in Australia does tend to happen sort of towards the beginning of autumn, particularly if there have been tropical cyclones in the north of the country. And then winter I've given Tremor. Australia is not somewhere that particularly experiences earthquakes. And so I was interested in introducing something, sort of climactic form of extremity that doesn't happen very often. And then the end of the book, the springtime is Fire. So that was how it came into form because I was interested in talking about the ways in which humans have created an idea of what nature should be in the way that we make our human culture and human meaning from the weather in our environments. And that was not the case where I was from, and it's not the case anymore. So to sort of undo some of that idea of the four seasons being harmonious."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"So the book is divided. In the first section, summer, the equivalent of summer is Heat. And then there is Flood, which in Australia does tend to happen sort of towards the beginning of autumn, particularly if there have been tropical cyclones in the north of the country. And then winter I've given Tremor. Australia is not somewhere that particularly experiences earthquakes. And so I was interested in introducing something, sort of climactic form of extremity that doesn't happen very often. And then the end of the book, the springtime is Fire. So that was how it came into form because I was interested in talking about the ways in which humans have created an idea of what nature should be in the way that we make our human culture and human meaning from the weather in our environments. And that was not the case where I was from, and it's not the case anymore. So to sort of undo some of that idea of the four seasons being harmonious."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The Inland Sea came out in 2020. And in that period as I was writing it, I would keep noticing each year would be 'the worst on record.' Like the hottest day on record, the most fires on record. And there was a sort of strangeness to having written the book in a period of Black Summer fires that burned for nearly six months and just decimated huge sways of land. In 2020, I had gone back to the Sydney Writers Festival and spent some time with family, and then just got stuck for months in the COVID lockdown. And I would go on runs into these stretches of bushland that had been burned, and I would make my way through these skeleton forests. The trees were black. The soil was black. There was no color at all. No bird song. No insects. And it was March. There should have been so much wildlife. It was deeply eerie."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."The Inland Sea came out in 2020. And in that period as I was writing it, I would keep noticing each year would be 'the worst on record.' Like the hottest day on record, the most fires on record. And there was a sort of strangeness to having written the book in a period of Black Summer fires that burned for nearly six months and just decimated huge sways of land. In 2020, I had gone back to the Sydney Writers Festival and spent some time with family, and then just got stuck for months in the COVID lockdown. And I would go on runs into these stretches of bushland that had been burned, and I would make my way through these skeleton forests. The trees were black. The soil was black. There was no color at all. No bird song. No insects. And it was March. There should have been so much wildlife. It was deeply eerie."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"So the book is divided. In the first section, summer, the equivalent of summer is Heat. And then there is Flood, which in Australia does tend to happen sort of towards the beginning of autumn, particularly if there have been tropical cyclones in the north of the country. And then winter I've given Tremor. Australia is not somewhere that particularly experiences earthquakes. And so I was interested in introducing something, sort of climactic form of extremity that doesn't happen very often. And then the end of the book, the springtime is Fire. So that was how it came into form because I was interested in talking about the ways in which humans have created an idea of what nature should be in the way that we make our human culture and human meaning from the weather in our environments. And that was not the case where I was from, and it's not the case anymore. So to sort of undo some of that idea of the four seasons being harmonious."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."So the book is divided. In the first section, summer, the equivalent of summer is Heat. And then there is Flood, which in Australia does tend to happen sort of towards the beginning of autumn, particularly if there have been tropical cyclones in the north of the country. And then winter I've given Tremor. Australia is not somewhere that particularly experiences earthquakes. And so I was interested in introducing something, sort of climactic form of extremity that doesn't happen very often. And then the end of the book, the springtime is Fire. So that was how it came into form because I was interested in talking about the ways in which humans have created an idea of what nature should be in the way that we make our human culture and human meaning from the weather in our environments. And that was not the case where I was from, and it's not the case anymore. So to sort of undo some of that idea of the four seasons being harmonious."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I think one thing that is not talked about enough is the importance of the arts and the importance of the humanities. And on the university level, the defunding of these sorts of programs and the kind of devaluing of that knowledge is an enormous loss. The arts are what tell us who we are. They're for the soul and they make being alive worthwhile. And the importance of making connections and finding a way to reach others and communicate and connect by trying to be honest and complicated and complex - because I truly believe that without those things, whatever future we can imagine for ourselves is going to be paltry. And it won't be imaginative. And without the humanities and the arts, it doesn't make me feel hopeful about the future."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."I think one thing that is not talked about enough is the importance of the arts and the importance of the humanities. And on the university level, the defunding of these sorts of programs and the kind of devaluing of that knowledge is an enormous loss. The arts are what tell us who we are. They're for the soul and they make being alive worthwhile. And the importance of making connections and finding a way to reach others and communicate and connect by trying to be honest and complicated and complex - because I truly believe that without those things, whatever future we can imagine for ourselves is going to be paltry. And it won't be imaginative. And without the humanities and the arts, it doesn't make me feel hopeful about the future."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I was reading ecological history and also reading about violence against women and how violence perpetuates itself over many generations. And there was something about this European sort of supremacy of ideas about nature, their ideas about rationality, all of this stuff that sort of came from the Enlightenment. John Oxley's diaries made no mention of the Indigenous Australians who were at the time subject to genocide. So I was interested in these ideas about how they tried to tame the land, which is often talked about as 'a woman' and the way that the kind of violence that comes from a particular kind of European colonial project that is enacted on the land intertwines with the way that violence is enacted upon women. And it was something that I felt growing up in Australia."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."I was reading ecological history and also reading about violence against women and how violence perpetuates itself over many generations. And there was something about this European sort of supremacy of ideas about nature, their ideas about rationality, all of this stuff that sort of came from the Enlightenment. John Oxley's diaries made no mention of the Indigenous Australians who were at the time subject to genocide. So I was interested in these ideas about how they tried to tame the land, which is often talked about as 'a woman' and the way that the kind of violence that comes from a particular kind of European colonial project that is enacted on the land intertwines with the way that violence is enacted upon women. And it was something that I felt growing up in Australia."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."The Inland Sea came out in 2020. And in that period as I was writing it, I would keep noticing each year would be 'the worst on record.' Like the hottest day on record, the most fires on record. And there was a sort of strangeness to having written the book in a period of Black Summer fires that burned for nearly six months and just decimated huge sways of land. In 2020, I had gone back to the Sydney Writers Festival and spent some time with family, and then just got stuck for months in the COVID lockdown. And I would go on runs into these stretches of bushland that had been burned, and I would make my way through these skeleton forests. The trees were black. The soil was black. There was no color at all. No bird song. No insects. And it was March. There should have been so much wildlife. It was deeply eerie."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The Inland Sea came out in 2020. And in that period as I was writing it, I would keep noticing each year would be 'the worst on record.' Like the hottest day on record, the most fires on record. And there was a sort of strangeness to having written the book in a period of Black Summer fires that burned for nearly six months and just decimated huge sways of land. In 2020, I had gone back to the Sydney Writers Festival and spent some time with family, and then just got stuck for months in the COVID lockdown. And I would go on runs into these stretches of bushland that had been burned, and I would make my way through these skeleton forests. The trees were black. The soil was black. There was no color at all. No bird song. No insects. And it was March. There should have been so much wildlife. It was deeply eerie."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."I was reading ecological history and also reading about violence against women and how violence perpetuates itself over many generations. And there was something about this European sort of supremacy of ideas about nature, their ideas about rationality, all of this stuff that sort of came from the Enlightenment. John Oxley's diaries made no mention of the Indigenous Australians who were at the time subject to genocide. So I was interested in these ideas about how they tried to tame the land, which is often talked about as 'a woman' and the way that the kind of violence that comes from a particular kind of European colonial project that is enacted on the land intertwines with the way that violence is enacted upon women. And it was something that I felt growing up in Australia."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I was reading ecological history and also reading about violence against women and how violence perpetuates itself over many generations. And there was something about this European sort of supremacy of ideas about nature, their ideas about rationality, all of this stuff that sort of came from the Enlightenment. John Oxley's diaries made no mention of the Indigenous Australians who were at the time subject to genocide. So I was interested in these ideas about how they tried to tame the land, which is often talked about as 'a woman' and the way that the kind of violence that comes from a particular kind of European colonial project that is enacted on the land intertwines with the way that violence is enacted upon women. And it was something that I felt growing up in Australia."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"So the book is divided. In the first section, summer, the equivalent of summer is Heat. And then there is Flood, which in Australia does tend to happen sort of towards the beginning of autumn, particularly if there have been tropical cyclones in the north of the country. And then winter I've given Tremor. Australia is not somewhere that particularly experiences earthquakes. And so I was interested in introducing something, sort of climactic form of extremity that doesn't happen very often. And then the end of the book, the springtime is Fire. So that was how it came into form because I was interested in talking about the ways in which humans have created an idea of what nature should be in the way that we make our human culture and human meaning from the weather in our environments. And that was not the case where I was from, and it's not the case anymore. So to sort of undo some of that idea of the four seasons being harmonious."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The Inland Sea came out in 2020. And in that period as I was writing it, I would keep noticing each year would be 'the worst on record.' Like the hottest day on record, the most fires on record. And there was a sort of strangeness to having written the book in a period of Black Summer fires that burned for nearly six months and just decimated huge sways of land. In 2020, I had gone back to the Sydney Writers Festival and spent some time with family, and then just got stuck for months in the COVID lockdown. And I would go on runs into these stretches of bushland that had been burned, and I would make my way through these skeleton forests. The trees were black. The soil was black. There was no color at all. No bird song. No insects. And it was March. There should have been so much wildlife. It was deeply eerie."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper's Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."The Inland Sea came out in 2020. And in that period as I was writing it, I would keep noticing each year would be 'the worst on record.' Like the hottest day on record, the most fires on record. And there was a sort of strangeness to having written the book in a period of Black Summer fires that burned for nearly six months and just decimated huge sways of land. In 2020, I had gone back to the Sydney Writers Festival and spent some time with family, and then just got stuck for months in the COVID lockdown. And I would go on runs into these stretches of bushland that had been burned, and I would make my way through these skeleton forests. The trees were black. The soil was black. There was no color at all. No bird song. No insects. And it was March. There should have been so much wildlife. It was deeply eerie."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Omolola Ijeoma Ogunyemi's novel Jollof Rice and Other Revolutions: A Novel in Interlocking Stories (Amistad 2022), is a moving and unforgettable collection of stories that span a lifetime. Four young girls rebel against a boarding school principal and the aftermath stays with them throughout their lives in this complex weaving of relationships and customs. Stories about immigration, powerful mothers and strong-willed daughters lead into stories about raising boys, searching for home, and seeking happiness. Ogunyemi references Nigerian history and traditions prior to the changes enforced by the missionaries, and considers a dystopian future, but the friends continue to love and count on each other across the years and the miles. Omolola Ijeoma Ogunyemi was born and raised in Ibadan, Nigeria. A finalist for the 2009 PEN/Studzinski Award, her stories have been published in New Writing from Africa 2009 (a collection of PEN/Studzinski Award finalists' stories), Ploughshares, and mentioned in The Best American Short Stories 2018. Her poetry has appeared in the Massachusetts Review, the Indiana Review and Wasafiri. She graduated from Barnard and UPenn with bachelor's, master's, and doctoral degrees in computer science. Omolola is a Professor of Preventive and Social Medicine at Charles R. Drew University of Medicine and Science in South Los Angeles, where she teaches and conducts research on using biomedical informatics to reduce health disparities. Jollof Rice and Other Revolutions, her first book, was selected as a New York Times Editors Choice (October 20, 2022), made The New Yorker's list of "Best Books of 2022 So Far," was a Los Angeles Public Library pick for "Best of 2022: Fiction," and was the October 2022 selection for Roxane Gay's Audacious Book Club with Literati. Omolola lives in California with her husband and loves to try out new restaurants, especially fusion cuisine. 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/new-books-network

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With her book "Children of Blood and Bone" spending 120 weeks on the New York Times bestseller list, Tomi Adeyemi knows what it takes to write a great book. Listen in on my conversation with this charming writer about her thoughts on the writing life and what she has to offer in her new masterclass, The Writer's Roadmap.| Subscribe to the Grammar Girl newsletter for regular updates.| Watch my LinkedIn Learning writing course.| Peeve Wars card game. | Grammar Girl books. | HOST: Mignon Fogarty| VOICEMAIL: 833-214-GIRL (833-214-4475)| Grammar Girl is part of the Quick and Dirty Tips podcast network.| Theme music by Catherine Rannus at beautifulmusic.co.uk.| Links:https://www.quickanddirtytips.com/https://www.quickanddirtytips.com/podcastshttps://www.quickanddirtytips.com/subscribehttps://www.tiktok.com/@therealgrammargirlhttp://twitter.com/grammargirlhttp://facebook.com/grammargirlhttp://facebook.com/grammargirlhttp://instagram.com/thegrammargirlhttps://www.linkedin.com/company/grammar-girl