Podcast appearances and mentions of Norton Anthology

Der Literaturwissenschaftler Martin Puchner studierte in Konstanz, Bologna und Santa Barbara und lehrt als Professor für Komparatistik und Englisch an der Harvard University.Er ist der Herausgeber der Norton Anthology of World Literature und Autor von Büchern wie „Literature for a Changing Planet“, „Die Sprache der Vagabunden“ und „Die Macht der Schrift: Wie Literatur die Geschichte der Menschheit formte“.Sein neues Buch „Kultur - Eine neue Geschichte der Welt“ ist im April 2025 bei Klett Cotta erschienen.Ein Gespräch über die Illusion originärer Kulturen, halluzinierende Chatbots, Zeitkapseln wie die Chauvet Höhle oder Pompeji, über die Future Library in Oslo, kulturelle Aneignung und den Umgang mit Raubkunst und wie die digitale Globalisierung zu einer Homogenisierung der Kultur beiträgt.Martin Puchner ließt:​04.2025 DAI Heidelberg​05.2025 American Academy Berlin​05.2025 Amerikahaus MünchenInfos & Links zur FolgeHomepage von Martin PuchnerBuch: Kultur - Eine neue Geschichte der Welt (bei Klett-Cotta)WeiterhörenFolge .223 mit Martin Puchner über Sprache, Kultur und das Gilgamesch-Epos ⁠⁠bei Apple Podcasts | ⁠⁠bei SpotifyFolge .237 Ägypten, eine Reise ⁠⁠bei Apple Podcasts | ⁠⁠bei SpotifyInfos & Links zum Podcast⁠⁠

This discussion is with Dr. Bryan Sinche, a Professor and Chair of English at the University of Hartford. He has written more than twenty essays and reviews which appear in journals such as American Literary History, African American Review, ESQ, Legacy, and Biography and in collections published by Basic Books, Cambridge University Press, and the University of Wisconsin Press. He is also the editor of two books: The Guide for Teachers accompanying the third edition of the Norton Anthology of African American Literature (2014) and the first scholarly edition of Appointed: An American Novel (2019, co-edited with Eric Gardner). In this conversation, we discuss his latest monograph, Published by the Author: Self-Publication and Nineteenth-Century African American Literature, published by the University of North Carolina Press in 2024, where he discusses the hidden history of African American self-publication and offers new ways to understand the significance of publication as a creative, reformist, and remunerative project. 

Amidst all the doom and gloom of the current zeitgeist, Harvard University literature professor & DLD 2025 speaker Martin Puchner remains cautiously optimistic about our high tech future. Reflecting on cultural and technological changes over the past 20 years. Puchner explains how digital technology has transformed academic research and teaching since 2005, noting how the internet has made obscure texts more accessible and changed how scholars work. While acknowledging concerns about declining humanities enrollment and student reading habits, Puchner maintains a cautiously optimistic outlook. He observes that while fewer top students choose to study literature, there's been a growth in public engagement with humanities through book clubs, podcasts, and adult education. Puchner offers nuanced perspectives on several contemporary issues, including the rise of student anxiety (which he attributes more to psycho-pharmaceuticals than technology), the paradox of people valuing reading while actually reading less, and the role of AI in education. He suggests that AI's ability to summarize texts might complement rather than replace deep reading, particularly for fiction where the reading experience itself is central. Looking ahead to 2045, Puchner is particularly optimistic about education's future, believing that interactive online platforms and AI could help democratize high-quality education globally. However, he maintains that human teachers will remain essential due to the affective, interpersonal nature of education—something demonstrated during COVID-19 when in-person interaction was lost. He sees technology as augmenting rather than replacing traditional educational experiences, much as print didn't eliminate lectures and film didn't replace theater.Martin Puchner, the Byron and Anita Wien Professor at Harvard University, is a prize-winning author, educator, public speaker, and institution builder in the arts and humanities. His writings range from philosophy and theater to culture and technology and have been translated into many languages. Through his best-selling Norton Anthology of World Literature and his HarvardX MOOC Masterpieces of World Literature, he has brought four thousand years of literature to audiences across the globe. His book, The Written World, which tells the story of literature from the invention of writing to the Internet, has been widely reviewed in The New York Times, The Times (London), the Financial Times, The Times Literary Supplement, The Atlantic, The Economist, among others, covered on radio and television, and has been translated into over twenty languages. It appeared on the Wall Street Journal bestseller list and received the Massachusetts Book Award. His book The Language of Thieves has been praised as an unusual combination of scholarship and memoir, and the writing, compared to Stevenson's Treasure Island and Tolkien's Lord of the Rings. An adventurous foray into the philosophy of language, it is also a reckoning with Germany's past. His book Literature for a Changing Planet is based on the inaugural Oxford University Lectures in European History, delivered in November 2019, has been reviewed in the Financial Times, The New York Review of Books and other venues. It calls for a new approach to storytelling and climate change. His most recent book, Culture: The Story of Us, tells a global history of culture that raises fundamental questions about how culture works, and how different cultures should relate to one another. In hundreds of lectures and workshops from the Arctic Circle to Brazil and from the Middle East to China, he has advocated for the arts and humanities in a changing world. At Harvard, he has instituted these ideas in a new program in theater, dance and media as well as in the Mellon School of Theater and Performance Research, which lasted from 2010-2022. Among his prizes are a Guggenheim Fellowship, fellowships at the Institute for Advanced Study in Berlin and at the Cullman Center at the New York Public Library, the Berlin Prize, and the 2021 Humboldt Prize. He is a permanent member of the European Academy.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Are home movies the grecian urns of the twentieth century? Today's poem says, “sort of.”Poet, editor, essayist, playwright, and lyricist Mary Jo Salter was born in Grand Rapids, Michigan. She grew up in Michigan and Maryland, and earned degrees from Harvard and Cambridge University. A former editor at the Atlantic Monthly, poetry editor at the New Republic, and co-editor of the fourth and fifth editions of the Norton Anthology of Poetry, Salter's thorough understanding of poetic tradition is clearly evident in her work. Salter is the author of many books of poetry, including A Kiss in Space (1999), Open Shutters (2003), A Phone Call to the Future (2008), Nothing by Design (2013), and The Surveyors (2017). Her second book, Unfinished Painting (1989) was a Lamont Selection for the most distinguished second volume of poetry published that year, Sunday Skaters (1994) was nominated for a National Book Critics Circle Award, and Open Shutters was a New York Times Notable Book of the Year. Salter has received fellowships from the National Endowment for the Arts and the Guggenheim Foundation and taught for many years at Mount Holyoke College. She is currently the Krieger-Eisenhower Professor in the Writing Seminars at Johns Hopkins University. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

In Part 2 of our discussion on Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, editor Caroline Levine discusses the lasting cultural impact of the novella, common challenges to teaching it, some of additional short stories by Stevenson which she included in the Norton Library edition, and more.Caroline Levine is David and Kathleen Ryan Professor of the Humanities and Professor of English at Cornell University. She has written three books: The Serious Pleasures of Suspense: Victorian Realism and Narrative Doubt (2003), Provoking Democracy: Why We Need the Arts (2007), and Forms: Whole, Rhythm, Hierarchy, Network (2015). She is the nineteenth-century editor for the Norton Anthology of World Literature.To learn more or purchase a copy of the Norton Library edition of The Strange Case of Dr. Jekyll and Mr. Hyde and Other Writings, go to https://seagull.wwnorton.com/JekyllAndHydeNL. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter @TNL_WWN.

In Part 1 of our discussion on Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, we welcome editor Caroline Levine to discuss Stevenson's biography; some of the novella's philosophical, scientific, and psychological themes; and how it fits in with other trends in late-nineteenth-century British literature.Caroline Levine is David and Kathleen Ryan Professor of the Humanities and Professor of English at Cornell University. She has written three books: The Serious Pleasures of Suspense: Victorian Realism and Narrative Doubt (2003), Provoking Democracy: Why We Need the Arts (2007), and Forms: Whole, Rhythm, Hierarchy, Network (2015). She is the nineteenth-century editor for the Norton Anthology of World Literature.To learn more or purchase a copy of the Norton Library edition of The Strange Case of Dr. Jekyll and Mr. Hyde and Other Writings, go to https://seagull.wwnorton.com/JekyllAndHydeNL. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter @TNL_WWN.

Reading poems! And ranking them!!Watch the livestream on YouTube: https://www.youtube.com/live/O2Fv31N-mvsReading from:The Norton Anthology of Poetry. 2005. Margaret Ferguson. 5th edition.The Oxford Book Of English Verse. 1931. Arthur Quiller-Couch.The Metaphysical Poets. 1985. Helen Gardner.The Penguin Book of Contemporary Verse. 1963. Kenneth Allot.Subscribe to the podcast: https://altschwiftx.simplecast.fm/Spotify: https://open.spotify.com/show/4VMQJhRCtbVdUCc9NoA01gTwitter: https://twitter.com/AltSchwiftXFacebook: https://www.facebook.com/groups/148969352315008/Discord: https://discord.gg/dSJjwvw

A short take on the Norton Anthology of African American Literature.Written by Howard Rambsy II Read by Kassandra Timm

The seventh episode of A Histoy of Literary Criticism. For today's episode, we return to the study of rhetoric with a discussion of Quintilian's Institutio Oratoria. First I'll outline Quintilian's biography and the social context in which he lived, then I'll give a brief overview of Institutio Oratoria before focusing on books 8, 9 and 12, which are the excerpts included in The Norton Anthology of Theory and Criticism.

EPISODE 1936: In this special KEEN ON show from DLD in Munich, Andrew talks to Martin Puchner, author of CULTURE: THE STORY OF US, FROM CAVE ART TO K-POP, about on the future of artistic creativity in the age of the smart machine​Martin Puchner, the Byron and Anita Wien Professor at Harvard University, is a prize-winning author, educator, public speaker, and institution builder in the arts and humanities. His writings range from philosophy and theater to culture and technology and have been translated into many languages. Through his best-selling Norton Anthology of World Literature and his HarvardX MOOC Masterpieces of World Literature, he has brought four thousand years of literature to audiences across the globe. His book, The Written World, which tells the story of literature from the invention of writing to the Internet, has been widely reviewed in The New York Times, The Times (London), the Financial Times, The Times Literary Supplement, The Atlantic, The Economist, among others, covered on radio and television, and has been translated into some twenty languages. It appeared on the Wall Street Journal bestseller list and received the Massachusetts Book Award. His book The Language of Thieves has been praised as an unusual combination of scholarship and memoir, and the writing, compared to Stevenson's Treasure Island and Tolkien's Lord of the Rings. An adventurous foray into the philosophy of language, it is also a reckoning with Germany's past. His book Literature for a Changing Planet is based on the inaugural Oxford University Lectures in European History, delivered in November 2019, has been reviewed in the Financial Times, The New York Review of Books and other venues. It calls for a new approach to storytelling and climate change. His most recent book, Culture: The Story of Us, tells a global history of culture that raises fundamental questions about how culture works, and how different cultures should relate to one another.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Mary Jo Salter is the author of eight books of poetry including The Surveyors (2017) and, most recently Zoom Rooms: Poems (2022). She is also a lyricist whose song cycle “Rooms of Light: The Life of Photographs" was composed by Fred Hersch. Her children's book The Moon Comes Home appeared in 1989; her play Falling Bodies premiered in 2004. She is also a co-editor of The Norton Anthology of Poetry (4th edition, 1996; 5th edition, 2005; 6th edition, 2018). Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Today's poem is by Michael Dana Gioia (/ˈdʒɔɪ.ə/; born December 24, 1950), an American poet, literary critic, literary translator, and essayist.Since the early 1980s, Gioia has been considered part of the literary movements within American poetry known as New Formalism, which advocates the continued writing of poetry in rhyme and meter, and New Narrative, which advocates the telling of non-autobiographical stories. Gioia has also argued in favor of a return to the past tradition of poetry translators replicating the rhythm and verse structure of the original poem.Gioia has published five books of poetry and three volumes of literary criticism as well as opera libretti, song cycles, translations, and over two dozen literary anthologies. Gioia's poetry has been anthologized in The Norton Anthology of Poetry, The Oxford Book of American Poetry, and several other anthologies. His poetry has been translated into French, German, Italian, Spanish, Russian, Romanian, Bulgarian, Chinese, and Arabic. Gioia published translations of poets such as Eugenio Montale and Seneca the Younger.—Bio via Wikipedia Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

EPISODE 1691: In this special KEEN ON show from DLD Circular, Andrew talks to Martin Puchner, professor of literature at Harvard, about why truthful stories about nature should have neither beginnings nor endings Martin Puchner is the Byron and Anita Wien Professor of English and Comparative Literature at Harvard University, where he also serves as the founding director of the Mellon School of Theater and Performance Research. Puchner completed his BA at the Universität Konstanz; MA at the University of California, Santa Barbara, and at UC Irvine; and PhD at Harvard University. A recent fellow of both the Guggenheim Foundation and Cullman Center, he has published over a dozen books and anthologies, including Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (Princeton, 2006), which won the MLA's James Russell Lowell Award; The Drama of Ideas: Platonic Provocations in Theater and Philosophy (Oxford, 2010), awarded the Joe A. Callaway Prize and the Walter Channing Cabot Prize; and The Written World: How Literature Shaped Civilization (Random House, 2017). Puchner is the co-editor of Against Theatre: Creative Destructions on the Modernist Stage (Palgrave, 2006) and The Norton Anthology of Drama (2009), and the general editor of the Norton Anthology of World Literature. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. Learn more about your ad choices. Visit megaphone.fm/adchoices

City Lights presents Robert Lopez in conversation with Sarah Rose Etter. Robert Lopez discusses his new book “Dispatches from Puerto Nowhere: An American Story of Assimilation and Erasure”, published by Two Dollar Radio. This virtual event was hosted by Peter Maravelis. You can purchase copies of “Dispatches from Puerto Nowhere” directly from City Lights here: https://citylights.com/dispatches-from-puerto-nowhere/ Robert Lopez is the author of the novels, “Part of the World” and “Kamby Bolongo Mean River,” named one of 25 important books of the decade by HTML Giant, and All Back Full; two story collections, “Asunder” and “Good People,” and a novel-in-stories titled “A Better Class of People.” His fiction, nonfiction, and poetry has appeared in dozens of publications, including “Bomb,” “The Threepenny Review,” “Vice Magazine,” “New England Review,” “The Sun,” and the “Norton Anthology of Sudden Fiction – Latino.” He teaches at Stony Brook University and has previously taught at Columbia University, The New School, Pratt Institute, and Syracuse University. He lives in Brooklyn, New York. Find out more about the author here: robertlopez.net Sarah Rose Etter is the author of “Tongue Party” (Caketrain Press). Her work has appeared or is forthcoming in “The Cut,” “Electric Literature,” “VICE,” “Guernica,” “Philadelphia Weekly,” and more. She is the recipient of writing residencies at the Disquiet International Program in Portugal, and the Gullkistan Creative Program in Iceland. She earned her MFA from Rosemont College. She lives in San Francisco. This event was made possible by support from the City Lights Foundation: citylights.com/foundation

Episode 172 Notes and Links to Robert Lopez's Work       On Episode 172 of The Chills at Will Podcast, Pete welcomes  Robert Lopez, and the two discuss, among other things, growing up on Long Island, his renewed vigor for, and focus on, reading and writing in his early 20s, his inspirations in writers like Hemingway and Carver, John D'Agata, Eula Biss, ideas of erasure and assimilation that populate the book, his Puerto Rican heritage, his love of tennis as a sport and as metaphor, the idea of "dispatches" and how they inform his book, and his writing style of understatement and braided narrative.      Robert Lopez is the author of three novels, Part of the World, Kamby Bolongo Mean River —named one of 25 important books of the decade by HTML Giant, All Back Full, and two story collections, Asunder and Good People. A new novel-in-stories, A Better Class Of People, was published by Dzanc Books in April, 2022. Dispatches from Puerto Nowhere, his first nonfiction book, was published by Two Dollar Radio on March 14 of this year. His fiction, nonfiction, and poetry has appeared in dozens of publications, including Bomb, The Threepenny Review, Vice Magazine, New England Review, The Sun, and the Norton Anthology of Sudden Fiction – Latino. He teaches at Stony Brook University and has previously taught at Columbia University, The New School, Pratt Institute, and Syracuse University. He lives in Brooklyn, New York.   Buy Dispatches from Puerto Nowhere   Robert Lopez's Webpage   Sara Lippman Reviews Dispatches from Puerto Nowhere for Chicago Review of Books     At about 7:15, Robert describes the experience of having a book recently out in the world   At about 8:20, Robert discusses his adolescent reading habits    At about 9:50, Robert gives background on how a TV production class senior year of college inspired him to become an ardent reader and writer   At about 11:20, Robert responds to Pete's questions about Long Island and its cultural norms   At about 14:15, Pete asks Robert about writers and writing that inspired him to become a writer himself; Robert points out a few, especially Raymond Carver and Ernest Hemingway   At about 16:25, The two talk about their shared preference for Hemingway's stories over his novels   At about 17:00, Pete shouts out Robert's paean to Hemingway's “A Clean, Well-Lighted Place”   At about 18:05, Robert speaks to the book's background and seeds for the book in response to Pete's questions about what it was like to write nonfiction/memoir   At about 21:20, Pete cites a blurb by Eula Biss that trumpets the book's universality and specificity, leading Robert to define “Puerto Nowhere”   At about 23:20, Pete and Robert connects a quote from the book to Robert's comment that the book is more in search of questions than answers/conclusions    At about 26:05, Pete posits Sigrid Nunez's work as an analogue to Dispatches from Puerto Nowhere   At about 27:15, Vivían Gornick, Maggie Nelson, Eula Biss, Ander Monson, John D'Agata are referenced as writers whose work is “in conversation” with Robert's   At about 28:35, Pete asks about the structure/placing of the dispatches, and Robert describes how the book was put together with some sage advice from Eric Obenauf at Two Dollar Radio   At about 30:50, Pete aska bout Robert's understanding of “dispatches” and what it was like to write in first-person/personally   At about 32:25, Pete references two important lines from the book-the book's opening line and its connection to forgetting, and an important quote and its misquote from Milosz, which Robert breaks down   At about 36:00, Pete and Robert highlight and analyze key quotes from the book dealing with Spanish language loss and forced and subtle assimilation and connections to cultural erasure   At about 40:40, Robert discusses the parallel storyline from the book that deals with his grandfather, about whose journey to the States   At about 42:20, Pete wonders if Robert still has designs ongoing to Puerto Rico and doing family research after the pandemic    At about 43:40, Tennis references in the book are highlighted, and Robert talks about how and why he made connections to important topics in the book, like police violence and racism and loss in the family   At about 51:35, Robert describes a good friend referenced in the book who is a great example    At about 52:35, the two discuss second-generation Americans and forward and the realization that often there are many more creature comforts as the generations go in   At about 55:10, Pete compliments the book's powerful understatement and a resonant image involving Robert's grandfather eating     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 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 173 and 174, TWO episodes dropping on March 28, celebrating pub days for Rachel Heng and Allegra Hyde.     Rachel Heng is author of the novels The Great Reclamation-her new one-and Suicide Club, which has been translated into ten languages worldwide and won the Gladstone Library Writer-In-Residence Award. Her short fiction has been recognized by anthologies including Best American Short Stories, The Pushcart Prize, Best Small Fictions and Best New Singaporean Short Stories.    Allegra Hyde is a recipient of three Pushcart Prizes and author of ELEUTHERIA, named a "Best Book of 2022" by The New Yorker. She's also the author of the story collection, OF THIS NEW WORLD, which won the John Simmons Short Fiction Award, and her second story collection, THE LAST CATASTROPHE, is her new one.    The episodes air March 28.

EPISODE 1372: In this KEEN ON show, Andrew talks to the Harvard professor and author of CULTURE Martin Puchner about how culture - from cave art to K-Pop - is the syncretic story of all of us. Nobody has the "right" to it, he says. And we all "own" it. ​Martin Puchner, the Byron and Anita Wien Professor of English and Comparative Literature at Harvard University, is a prize-winning author, educator, public speaker, and institution builder in the arts and humanities. His writings range from philosophy and theater to world literature and culture and have been translated into many languages. Through his best-selling Norton Anthology of World Literature and his HarvardX MOOC Masterpieces of World Literature, he has brought four thousand years of literature to audiences across the globe. His new book, Culture: The Story of Us, tells a global history of culture that raises fundamental questions about how culture works, what good are the arts, and how different cultures should relate to one another.  Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. ​ Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Special Sauce we talk chef cookbook collaborations with the extraordinary James Beard Award-winning food writer JJ Goode. JJ has collaborated with everyone from Iron Chef Morimoto to Sam Kass, who cooked for the Obamas at the White House. JJ has accomplished it all in spite of physical limitations that might have held him back. JJ's essay in Gourmet magazine about trying to cook with only one arm was selected for The Norton Anthology of Nonfiction Writing.

Richard Bausch (“A master of the novel as well as the story ” —Sven Birkerts, The New York Times)  previews a chapter of his 13th novel, PLAYHOUSE, scheduled for release by Alfred A. Knopf on February 14, then talks with Alan Rifkin about the book and his craft. Bausch's works have appeared in The Atlantic Monthly, Esquire, Harper's, The New Yorker, Narrative, Gentleman's Quarterly. Playboy, The Southern Review, New Stories From the South, The Best American Short Stories, O. Henry Prize Stories and The Pushcart Prize Stories; and they have been widely anthologized, including in The Granta Book of the American Short Story and The Vintage Book of the Contemporary American Short Story. The Modern Library published The Selected Stories of Richard Bausch in March, 1996. He has won two National Magazine Awards, a Guggenheim Fellowship, and a Lila-Wallace Reader's Digest Fund Writer's Award, the Award of the American Academy of Arts and Letters, and The 2004 PEN/Malamud Award for Excellence in the Short Story. In 1995 he was elected to the Fellowship of Southern Writers. In 1999 he signed on as co-editor, with RV Cassill, of The Norton Anthology of Short Fiction. Since Cassill's passing, in 2002, he has been the sole editor of that prestigious anthology. Richard is the 2013 Winner of the REA award for Short Fiction. He is currently a professor at Chapman University in Orange, California. Host Alan Rifkin's novels, essays and short stories of Los Angeles have been published widely. Learn more at www.alanrifkin.com.Intro music is from the song "Slow," performed by Sally Dworsky. Written by Sally Dworsky and Chris Hickey. Available on iTunes, Spotify, Apple Music and all other streaming platforms.Podcast art by Ryan Longnecker.Special thanks to Ben Rifkin.

Literary canons have come under fire for perpetuating privilege and exclusion. But some artists — including William Shakespeare and Hamilton's Lin-Manuel Miranda — show us how canons can actually build community and democracy. Guests: Stephen Greenblatt, Cogan University Professor of the Humanities at Harvard University and editor of the Norton edition of Shakespeare's works and the Norton Anthology of English Literature. Oskar Eustis, artistic director of New York City's Public Theatre. John Ray Proctor, actor and drama professor at Tulane University. Rory Loughnane, senior lecturer in Early Modern Studies at the University of Kent and associate editor of the New Oxford Shakespeare. 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

Literary canons have come under fire for perpetuating privilege and exclusion. But some artists — including William Shakespeare and Hamilton's Lin-Manuel Miranda — show us how canons can actually build community and democracy. Guests: Stephen Greenblatt, Cogan University Professor of the Humanities at Harvard University and editor of the Norton edition of Shakespeare's works and the Norton Anthology of English Literature. Oskar Eustis, artistic director of New York City's Public Theatre. John Ray Proctor, actor and drama professor at Tulane University. Rory Loughnane, senior lecturer in Early Modern Studies at the University of Kent and associate editor of the New Oxford Shakespeare. Learn more about your ad choices. Visit megaphone.fm/adchoices

As part of a celebratory launch party for the new Poetry Unbound book, Pádraig welcomed Lorna Goodison, former Poet Laureate of Jamaica, into a joyful Zoom room of poetry lovers and listeners of the show, old and new. We draw Season 6 to a close with their conversation on themes explored in Lorna's poem “Reporting Back to Queen Isabella” (one of the 50 featured in the book): poetry as a “made thing”; poetry as a form of travel.And: Pádraig chats with our wonderful producer and composer Gautam Srikishan on the role of music in the show, with a warm hello from all the humans behind Poetry Unbound. Watch the full, unedited event here.Lorna Goodison is one of the Caribbean's most distinguished contemporary poets. Her work appears in the Norton Anthology of World Masterpieces and her many honors include the Commonwealth Poetry Prize, Americas Region. She is the author of numerous books of poetry, including Supplying Salt and Light, Controlling the Silver, Traveling Mercies, and many more. Her work, translated into many languages, is widely published and anthologized.Find Lorna Goodison's poem in Poetry Unbound: 50 Poems to Open Your World, and in Season 3 of Poetry Unbound.Thanks to everyone who joined us for Season 6 — we'll be back with Season 7 later in 2023. In the meantime, continue your poetry ritual through our weekly Substack newsletter, with more musings and prompts from Pádraig and lively community of conversation in the comments.Find the transcript for this show at onbeing.org.

There are a number of controversies surrounding the humanities and the classics, including concerns about their usefulness (why should anyone bother to read old books?) and racial dynamics (doesn't studying the classics simply reinforce and perpetuate a white, Eurocentric perspective?). In this episode of More Human, Dr. Anika Prather of Howard University and Johns Hopkins University joins Dean Jordan for a wide-ranging conversation about the nature and value of studying the classics.  Dr. Prather's book Living in the Constellation of the Canon: The Lived Experiences of African-American Students Reading Great Books Literature can be found on Amazon at https://www.amazon.com/Living-Constellation-Canon-Experiences-African-American/dp/172493337X. Other resources discussed or recommended include The Norton Anthology of African American Literature (https://wwnorton.com/books/9780393911558), Antigone (https://www.amazon.com/Sophocles-Antigone-Translation-Diane-Rayor/dp/0521134781), The Souls of Black Folk (https://www.amazon.com/Souls-Black-Folk-B-Bois/dp/1505223377) and the Touchstones Discussion Project (https://touchstones.org/).

The Tenth Edition introduces diverse, compelling, relevant texts-from Civil War songs and stories to The Turn of the Screw to The Great Gatsby to poems by Juan Felipe Herrera and Claudia Rankine to a science fiction cluster featuring Octavia Butler and N. K. Jemisin. And continuing its course of innovative and market-responsive changes, the anthology now offers resources to help instructors meet today's teaching challenges. Chief among these resources is InQuizitive, Norton's award-winning learning tool, which includes interactive questions on the period introductions and often-taught works in the anthology. In addition, the Tenth Edition maintains the anthology's exceptional editorial apparatus and generous and diverse slate of texts overall. Available in print and as an annotatable ebook, the anthology is ideal for online, hybrid, or in-person teaching. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. 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

The Tenth Edition introduces diverse, compelling, relevant texts-from Civil War songs and stories to The Turn of the Screw to The Great Gatsby to poems by Juan Felipe Herrera and Claudia Rankine to a science fiction cluster featuring Octavia Butler and N. K. Jemisin. And continuing its course of innovative and market-responsive changes, the anthology now offers resources to help instructors meet today's teaching challenges. Chief among these resources is InQuizitive, Norton's award-winning learning tool, which includes interactive questions on the period introductions and often-taught works in the anthology. In addition, the Tenth Edition maintains the anthology's exceptional editorial apparatus and generous and diverse slate of texts overall. Available in print and as an annotatable ebook, the anthology is ideal for online, hybrid, or in-person teaching. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Tenth Edition introduces diverse, compelling, relevant texts-from Civil War songs and stories to The Turn of the Screw to The Great Gatsby to poems by Juan Felipe Herrera and Claudia Rankine to a science fiction cluster featuring Octavia Butler and N. K. Jemisin. And continuing its course of innovative and market-responsive changes, the anthology now offers resources to help instructors meet today's teaching challenges. Chief among these resources is InQuizitive, Norton's award-winning learning tool, which includes interactive questions on the period introductions and often-taught works in the anthology. In addition, the Tenth Edition maintains the anthology's exceptional editorial apparatus and generous and diverse slate of texts overall. Available in print and as an annotatable ebook, the anthology is ideal for online, hybrid, or in-person teaching. William Domnarski is a longtime lawyer who before and during has been a literary guy, with a Ph.D. in English. He's written five books on judges, lawyers, and courts, two with Oxford, one with Illinois, one with Michigan, and one with the American Bar Association. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Summer 2022 issue of Social Research, Books That Matter II, invited notable scholars to select one book that had a deep and lasting influence on their thinking and life. Joining us this episode is Dr. Wendy Doniger. Dr. Doniger is the Mircea Eliade Distinguished Service Professor of the History of Religions at the University of Chicago, Emerita. She is the author of over forty books, including The Hindus: An Alternative History [2010], Hinduism in the Norton Anthology of World Religions [2014]. Dr. Doniger's essay for Books that Matter II, "My Life in Wonderland", explores the many ways the work of Lewis Carroll has held a special place in her heart. She joined us to discuss her essay and how Carroll's work has threaded through her scholarly work, as well.

We are so excited to be sharing this episode with you. This week, we are sitting down for a conversation with Sir Jonathan Bate and Eric Rasmussen about their recently released second edition of the Royal Shakespeare Company's Complete Works of William Shakespeare, now available at a fine bookseller near you.  The newly revised, wonderfully authoritative First Folio of William Shakespeare's Complete Works, edited by acclaimed Shakespearean scholars and endorsed by the world-famous Royal Shakespeare Company. Combining innovative scholarship with brilliant commentary and textual analysis that emphasizes performance history and values, this landmark edition is indispensable to students, theater professionals, and general readers alike. Jonathan Bate is professor of Shakespeare and Renaissance literature at the University of Warwick. Widely known as an award-winning biographer, critic, and broadcaster, Bate is the author of several books on Shakespeare, including Shakespeare and Ovid and The Genius of Shakespeare, which was described by Sir Peter Hall, founder of the RSC, as "the best modern book on Shakespeare." Eric Rasmussen is professor of English and director of graduate study at the University of Nevada. He is a co-editor of the Norton Anthology of English Renaissance Drama and of the forthcoming New Variorum Shakespeare edition of Hamlet. He has edited a number of works for the Arden Shakespeare series, Oxford's World's Classics, and the Revels Plays series, and is the general textual editor of the Internet Shakespeare Editions Project. Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Shakespeare, William, and Jonathan Bate. “Preface to Shakespeare: A Second Edition.” Complete Works, edited by Jonathan Bate et al., 2nd ed., The Modern Library, New York, NY, 2022, pp. 6–14. Shakespeare, William, et al. “Foreward.” Complete Works, 2nd ed., The Modern Library, New York, NY, 2022, pp. 59–60.  

Hello friends,Today, a podcast episode!It would not have been possible to have our Everything Emma month here at the Austen Connection without consulting Professor George Justice. Dr. Justice is the editor of the 2011 Norton Critical Edition of Emma, a professor of 18th Century British literature, and a frequent contributor to the Chronicle of Higher Education. And he's also the husband of Austen scholar, author, and friend Devoney Looser, who tells the story of their romantic meet-cute in a previous Austen Connection episode. Consult him we did, and the conversation was really fun, because: Emma is fun, just as it is also complex, surprising, baffling, and romantic. All of this complexity comes out in the conversation with George Justice. We explore what's going on with Austen men, what's going on with Austen women, and how romance and power get wrapped up in the stories of Austen. I first met Dr. Justice on the campus of the University of Missouri, where he served as dean of the graduate school. Now, he is a professor of English at Arizona State University. But in the process of that journey, from Missouri to Arizona, and from administration back to the classroom, he rediscovered the power of teaching Jane Austen.  This journey also has involved a recovery from a serious illness, and Dr. Justice says one of the things that got him through tough times has been reading Jane Austen, and talking about Jane Austen with his students. We spoke on a recent sunny Saturday, by Zoom. Here's an edited excerpt from our conversation:*Please note: There is a light mention of sexual assault in this conversation, about 20 minutes in, and again at 40 about minutes.Plain JaneI'm so glad that you're sharing your beautiful Saturday morning. Let me just ask a little bit about your work, George. So you're obviously on English literature with a focus on women's writing and publishing. And you're writing a book on Jane Austen, as a writer for Reaktion Books, the “Critical Lives” series. You also write about higher education, very compellingly, in the Chronicle of Higher Education. What, in all of this, are you most focused on and most passionate about, like, right this minute?George JusticeI can't say there is one thing because you're right, you just outlined the two major threads of my career as they've evolved. They both involve students, higher education, and places where I think I can contribute. But on the literature side, it feels like a miracle to me to be able to write about Jane Austen, to do research on Jane Austen, and especially, to teach Jane Austen to undergraduate students, which I can't imagine a more enjoyable thing that I can pretend is productive for myself to do. But my most recently published book is How to Be a Dean from the Johns Hopkins University Press. So figuring out ways, outside of administration, to take my passion for higher education to make structural change, structural change that is also focused on the individual. And I think that's something that maybe I'll be able to bring back to a discussion of the novels, genre, and to teaching. I love thinking about what the novel is. But what I also love is what it means to individual human beings to change their lives and do great things in the world.Plain Jane George, you said something else, about your illness, which you handled, it seemed, so gracefully. But I know that it's been huge. And in some ways, you were hit by this turn-the-world-upside-down thing. And then the world itself was turned upside down, not too long later. So in some ways, we're all kind of stunned. But you look the picture of health, and it's so great to see it. What were you reading during this time? Can Jane Austen get you through something like that?George JusticeTo me, it was therapeutic. It was therapeutic not only to reread her books, and to dig back in, more generally, to 18th century literature, but I was a little shaky, you know, I had been very sick. I had not from my own choice been thrust out of a job that I had spent 70 hours working on actively, and the rest of my life kind of thinking about, when I got into the classroom, and started teaching Jane Austen again. And it was absolutely life-changing. And I realized, that is what the life of an educator should be. And it was really … a life-changing class for me, not only because it marked kind of re-entry into a different kind of career: But the students were so shockingly great to me. To me, having these students in that class, loving Jane Austen and understanding things about Jane Austen, was transformational in my understanding about what the rest of my life and the rest of my career are going to be. I can bring together a complete passion for bringing Jane Austen not just to white, upper-middle class students at a private liberal arts college, but at Arizona State University, 120,000 students. It's now a Hispanic serving institution. It serves many, many first generation and low-income students, and they love Jane Austen. Not only with as much passion, but with at least as much insight as any students I've ever had anywhere else in my life. That class changed my life, when I had these students engaging with such depth and brilliance with the texts.Plain Jane That's amazing. I hear you George, I think that's true. It is life changing. And this project arose also from the difficult times, the winter of the pandemic, and just looking for something to lift you up and a community to engage in. What you're describing, going into that classroom, sharing Austen, but then also having some brilliance shared back at you and just literally connecting around the stories. But you know, the Norton Anthology that you edited and curated came out almost 20 years ago. And you may have not looked at it recently. I have. But you were talking about the power of Jane Austen, then, so it's Everything Emma in the Austen connection right now.George JusticeGood for me.Plain Jane Yes. Well, is Emma your favorite novel of all time?George JusticeOh, that is a a very difficult question. And I know because you talked to Devoney and you had Devoney on your podcast a couple of weeks ago. In that now infamous conversation, I declared to Devoney that Mansfield Park was my favorite novel. And I do love Mansfield Park … because it was the first one that grabbed me. I mean, I was assigned it in a class my first year of grad school. I didn't read it until then, and I started reading it and it was just one of those amazing things, but my life was changed: How could I not have seen this or understood this in my past 22 years of life? I stayed up all night reading it, and it was like an onslaught. If you ask me, yes, that was my favorite. Plain Jane Well, I'm just curious. It seems to me like you were a more mature 22 year old. I mean, I read Mansfield Park when I was just out of college. Weirdly, I've never been assigned much Jane Austen at all. I just discovered it after all of the degrees - it was only two degrees - in English. … It wasn't until later that I realized there's a heck of a lot going on with Austen. What were you noticing? Why were you reading it up late at night? I mean … I had kind of a weird education, up until college. But you had a good education. So maybe you did have the training to spot the subtexts.George JusticeI don't know if it was about the subtext. I think it was about Fanny Price. Plain JaneYou like the underdog! Devoney said this … George Justice  The underdog and the person with depth, with a strong, correct, and unassailable moral code, oppressed by the world. I mean, that was a thing that just for whatever reason, maybe, from my high school years, which were kind of miserable, the person who was neglected. I mean, it just spoke to me, this whole world moving around in a cynical and nasty way. And yet, there's a moral center to that world, which was Fanny Price. So it wasn't even, it was not a literary reading, where I was looking at themes and context. It was Fanny Price. Who is, as you know, of such huge controversy in the Jane Austen world, because there are so many self-proclaimed Janeites who hate Fanny Price. To me, Fanny Price is the true center of Jane Austen. Which is why I found the film both interesting and disturbing, because Patricia Rozema melds Jane Austen and Fanny Price together, which I think actually weakens Fanny Price. But I do believe that the role of Fanny Price in the world, and especially in her world, is a truth about the social world. And it grabbed me. To me, Fanny Price is the true center of Jane Austen. … I do believe that the role of Fanny Price in the world, and especially in her world, is a truth about the social world. And it grabbed me. And the unbelievable moment when she turns down Henry Crawford. I always bring it up in class and I ask my students, “Should she have accepted Henry Crawford?” And the ones who read it correctly but glibly, always say, “Of course not.” The ones who are very cynical say, “Of course she should.” The real answer is, “I don't know.” Because that actually is the answer that the narrator provides to some extent. I just thought it captured a truth about the choices we have to make in the world, and the possibility of choosing good, not as an obvious choice, and not as a glibly self-justifying choice. But as a choice that resonates as truth within one's own moral complexity.Plain JaneI agree with everything you're saying about Fanny Price. … She is ascendant. And you talk about Henry Crawford: She's superior. Like, you can't read that without thinking, “This child, this female child of the species, is superior to everyone. What are you gonna do with that, people? What are you going to do with that? Not even the parsonage and Edmund and not even the grand estate of Mansfield Park is worthy of this child. So, take that!” And I don't know if people really see it that way. You say it's still a little controversial. But you saw this when you were 22?George Justice Well, I think it was a weakness in my psychology.Plain Jane No, because Austen was showing you. Austen was showing you. But we just, I feel like there's still so much to unpack with Austen with every new generation. George JusticeAnd she shows it to you both without humiliating her and without glorifying her. So, as you were talking so eloquently, what came into my mind [is] another woman author of the 19th century, George Eliot and Middlemarch and Dorothea Brooke, and Dorothea Brooke is both humiliated and glorified. You are right, Fanny Price tears everything down. The humiliations are our humiliations from society, not from the writer. I mean, Dorothea Brooke is somewhat humiliated by George Eliot. Jane Austen never humiliates Fanny Price, even if Mrs. Norris is there brutalizing her, but she's definitely not glorifying her either. Fanny Price comes back, and in some ways you could say she assimilates herself to the patriarchy, she marries her cousin, the bossy Edmund  - I don't even think he even fully 100% appreciates her but maybe that's just me. I think I would have been better for Fanny Price than he is.Plain JaneYou would have, George! And no, Austen does not want us to love Edmund, you know? That's clear. She does not love Edmund. We're giving our opinions here! So let us know, people, if you disagree. But yeah, but I love what you're saying, George, that Austen is not humiliating. And in fact, it's not really Fanny tearing things down. Right? Fanny is not doing that; Austen is doing that. And the world is humiliating. The world is full of humiliations, insults, injuries. And here's how you stand. Here's how you stand in this. You point out something in your writing that I want to get to too, which is that there's imagination. This is, in some ways, a fantasy of what can happen. This is re-envisioning a world where a young woman, a young person who identifies as female, a young person who identifies as however you identify, whatever your race, color, sexuality, gender, you - just as a human - you can stand, and this is how you might survive and maybe even be ascendant. Even though it's not necessarily going to happen in real life.So, Mansfield Park. The next novel Austen wrote, I believe, right after Emma. How does she go from Fanny Price to this heroine that has so little to vex her?George Justice When you look at Mansfield Park, which is certainly an experiment in light of Pride and Prejudice, and Sense and Sensibility, and a novelist who is a genius and who is shaping the form and breaking the form at the same time that she's inhabiting it. In a way it's the right next experiment. You take somebody who's very much unlike Fanny Price. She's wealthy. She's beautiful. She's admired. She never makes social mistakes. Really. She is the queen of the world, as opposed to Cinderella. So Fanny Price is Cinderella. Emma is one of the wicked sisters. Yet, and the brilliant ... “I'm going to create a heroine nobody but myself will much like”: That's something an artist would do. It's a kind of intellectual game. But unlike the way postmodern novels sometimes [create] experiments without a heart. It's an experiment in which life overwhelms whatever kind of intellectual experiment may have given rise, to trying to write about an entirely different character, because there is just as much life in Emma, as there is in Mansfield Park. And there is in its own way, just as much integrity in the character of Emma, as there is in the character Fanny Price.Plain Jane It's interesting because she's taking us on this roller coaster ride. So she's like, “Here, I showed you the poor, mousy Cinderella, who becomes ascendent. How does that happen? Now I'm going to show you somebody who - as you say, George - the queen, she's at the top. But she also is going to change and evolve. And in both cases, she's focusing on what matters to her, which is character, and kindness, and how to exist in the world - not to just be on top because that's not the goal, people - we're still getting that memo. But it's to be a contributor, a good citizen, a kind person. How do you feel about that, that aspect of this, that she's got someone on the bottom there, she's got a female character that's already at the top. But yet, what are the themes that remained the same? George JusticeWell, I think you actually just put it in a way that crystallizes something for me. And it's what I become much more self-conscious about …  in life: which is that kindness is at the core. And so that's not something that I wrote about in the introduction that you very kindly mentioned, to the Norton Critical Edition. But it is something that is absolutely true. And I point out to students, you know, [Emma] does what she's supposed to do. She visits the poor, she's charitable to the poor. And that's the kind of structural kindness, and she doesn't do it cynically. So there is a goodness to her character that gets expressed. And kindness. Of course, as we know, she's not always kind to some of the people that are closest to her, including Miss Bates, including Jane Fairfax. … One of the prevalent readings of Emma continues to be that Emma is … humiliated into kindness. The scene on Box Hill, where she is so cruel to Miss Bates, and so out of touch with her surroundings, because one thing about Emma is that she is unbelievably … perceptive about the world around her, at the same time that she doesn't put all the clues together. So she's this detective who's taking in all the evidence, and then she can't quite put it together to understand what's going on. Like Mr. Elton trying to rape her in the carriage - when anybody who had been reading it, anybody in Emma's position should have been able to see exactly what was happening. But that's very different from Box Hill, where she's not even perceptive. … But at the same time, that is a crucial moment in which she certainly sees the world more clearly and is able to correlate her kindness as you put it, this is correlated with her role in the social hierarchy, and her own personal satisfaction and romance. And it doesn't stamp out her imagination. Her imagination is still there. … No, she's a brilliantly imaginative person who doesn't have a job where she can do anything with it. … I love Mr. Knightley. But Emma, Emma wins the novel. And she wins novel not because she makes some sort of cynical or moral change from who she was, to who she will be as Mrs. George Knightley. It's because she has reshaped her world - uncomfortably because we're still in patriarchal, early 19th century England. But she shaped a world in which she can continue to love, be kind, have a lot of nice things, be admired by other people, which she certainly loves to do. And do good in the world. Plain JaneSo speaking of Knightley: You love Knightley. You say something in your intro [to the Norton Critical Edition]: Emma is being forced to recalibrate the cultural and the social hierarchy. She thinks she knows this social hierarchy. She has that classic definition of privilege, where it's not something she has to think about. She's just at the top of it. But she in fact is wrong about it, and then it turns out - you point this out - she's recalibrating, but that recalibration is coming every single time from challenges from Knightley. How does a romance and marriage and all of this fit into this recalibration and what is it like, also George, reading this as as a person identifying as a man reading that?George Justice Hmm, let me backtrack a little bit into how you've set this up in a very interesting, complicated way. It is Austen who has given Knightley those characteristics and that genuine insight into the world. Mr. Knightley really does understand and he's older - I mean, it grosses my students out how significantly older Mr. Knightley is. And he's kind to her and he's loved her since  - that also grosses out the students ...Plain Jane … for some reason Austen likes that older, very older, powerful guy to be the one just kind of showing us the way. I mean, she gives that power, and who knows why she does that. George JusticeBut it's not just giving him the power. It's also, I do believe, he is speaking for her. He is speaking correctly. The brilliant, writer, critic named Sarah Raff wrote a wonderful essay that talks about Emma and Mr. Knightley and Emma's relationship in the context of the letters of advice that Jane Austen is writing to her niece, who's trying to decide whom to marry. And there is a bullying, authoritative voice and approach to her niece, that mirrors a little bit of this relationship. It's a it's a great essay about it.Emma wins the novel. … because she has reshaped her world - uncomfortably because we're still in patriarchal, early 19th century England. But she shaped a world in which she can continue to love, be kind, have a lot of nice things, be admired by other people, which she certainly loves to do. And do good in the world. Plain JaneIf you're a woman, Regency writer, you're a genius, and you see the world and you're reflecting the world, there'll be some things that … occur when you have genius and imagination and art intersecting, right? Some things are going to occur to us 206 years later that you didn't envision, but … she's giving Knightley her viewpoints because people will listen to Knightley. People will listen to Knightley and not necessarily listen to someone else.George Justice And maybe in a romantic relationship - this is utter speculation! - she'd be more the Knightley character. And so you know, we do have these interesting intersections of gender, power and attraction. Plain JaneI love that we don't know how Jane Austen identified 100%. We have no idea. She may have identified with Knightley, she might have been in love with Emma, she might have ... Who knows? I think that's wonderful. And that's a whole other aspect we could dive into which is the LGBTQI critical approaches and queer theory approaches to Austen. Really the question we were discussing, sorry, is how it all ends up in the hands of Knightley, but also how to channel all of this into romance?George Justice Oh, yeah. I mean, because it is romantic. And I know there are some against-the-grain readers who don't find the love between Emma and Mr. Knightley plausible. I am not one of them. I find the scene - and it's a scene in which despite the fact that Mr. Knightley has just dressed her down and made her weep - the narrative is constructed so that Emma is allowed in private to have her moment of internal revelation that no one but she must marry Mr. Knightley. And then she also finally, instead of being clueless, she figures out that he likes her. So in that, it is a, to me, it's a wonderful thing. When he he starts, you know, “Can I talk to you?” And Emma's a little nervous. Because she doesn't 100% know. But as the conversation gets going, she knows exactly what's coming. And so the power is turned. Emma actually knows before he knows that Mr. Knightley is going to propose to her and that she will say yes. Before Mr. Knightley understands that. And so he's, like, mortified: I shouldn't go on. And she's like: No, no, go ahead and go on. And it's an interesting power dynamic. And I'm certainly not the person who's seen this first or seen it best. Claudia Johnson's [written] about Mr. Knightley as a character who is very masculine. And yet he's a kind of new man, because he is truly emotionally sensitive to Emma. [I]t is romantic. And I know there are some against-the-grain readers who don't find the love between Emma and Mr. Knightley plausible. I am not one of them.What is interesting in the romance is that power is so completely built into the sexual energy between Mr. Knightley and Emma. He was a teenager, looking at a little girl. And as they grew up, he would kind of mock her and tease her. And she'd flirt with him, totally unafraid of this older guy, really. So I mean, she was herself, who really has the power there? And …  in the context of Box Hill, where he really has, you know, put his hand down, if you reread the novel from the beginning, Mr. Knightley doesn't have really any power over her. He has her total respect, but she has the power of doing what she wants. And that really is what comes through at the end - that this powerful romance, which I think it is not a kind of dominance-submission thing. It is really a romance of two morally and intellectually equal people. They are very masculine and very feminine - it's interesting if you get into the GLBTQ thing, because there is a long history of people seeing Emma not as being a woman. But we shouldn't forget that it's very clear … and Jan Fergus points this out really beautifully in an essay that I put at the back of my Norton Critical Edition: We linger over the feminine, beautiful form of Emma. But her mind is powerfully intellectual. … Even as it's kind. She is a kind, intellectually brilliant person who answers to nobody. So where you might see it as, “She makes all these lists of books that she hasn't read!” … That shows her power. She has the intellectual power to know what she should do. And she has the intellectual power and the judgment to say, “I'm not going to do it.” And is happy to live within the structures, the class structures, the social structures, the architectural structures of her society. But she kind of scoffs at any structures that would restrain her moral and intellectual worth. Plain Jane  Well, it's almost like she doesn't even notice those structures. She's like, clueless in some interesting ways.George Justice Yes, but I, but I don't think it's clueless overall.  … She's clear-sighted and not insecure. She's totally non-insecure. It's kind of amazing.Plain JaneWell, it's interesting describing her power. It's true. Like you say, Austen's not humiliating these characters with Emma, she's doing the opposite. She's showing someone who is not only superior, but she's artificially superior. Emma's so powerful, she can be as wrong as the Eltons and the, you know, all of the wrong patriarchal figures. Emma's wrong and artificially propped up just like they are. But she has this transformation that comes from this this man. .. There was a little post I did called The Smartest Person in the Room. ...I feel like maybe Austen wanted someone, man/woman/person to be as smart as she was. That's a hard way to go through the world when marriage is your option. Who is going to be smart enough for Jane Austen? She didn't find it. She created stories with people who find it. But at the same time, obviously, she showed us so much more than that romance.George Justice  That's sad! And it's very true. Let's go through from the beginning: I'm just going to ask you. Do you think Mr. Darcy is worthy of Elizabeth Bennet?Plain Jane  Yes, I believe that. It seems to me like Darcy and Elizabeth Bennett make each other worthy of each other. It seems to me like the both characters You want to just focus on Darcy and Elizabeth for a minute? George Justice  Yeah, I mean, I'm going to go through the whole list.Plain Jane Externally, he's worthy, right? He's a ticket. Internally, not so much. But because he transforms, they make each other better. I feel like they make each other better. And I feel like Austin is showing us that marriage - if you're going to get married, make sure it's somebody who will make you better and not make you worse. And she's full of examples of people who make each other worse.George JusticeThe Crofts. Admiral and Mrs. Croft make each other better.Plain JaneAnd are they the only ones?!George JusticeThey probably are. I want to go [through the list] because I think this is something I haven't thought of. We already said that Edmund really isn't worthy of Fanny. But Darcy is worthy of Elizabeth. Would you say that Edward is worthy of Elinor.Plain Jane Almost! He has potential. That little engagement on the side is extremely disappointing. But he needs to speak up. He needs to grow a spine. But he has potential Maybe with Elinor's extremely strong spine, those two will be all right. What do you think?George JusticeI don't think he's worthy of her. But he's whom she chose. And he's not terrible. That's like Edmund. It's, that's who Fanny wanted and he's not terrible. I'd say the same thing about Henry Tilney. Catherine Morland's not as fully developed a character. But he's, he's not a bad guy. We linger over the feminine, beautiful form of Emma. But her mind is powerfully intellectual. … Even as it's kind. She is a kind, intellectually brilliant person who answers to nobody.But if you take Mr. Darcy, and you take Captain Wentworth, and you take, Mr. Knightley, those are characters who embody - as I said, Claudia Johnson talks about it - these new men who are masculine and powerful, and yet have a sensitive intelligence to them, as well. And respect and value deeply the women that they're with. … This conversation has made me want to think about that. And why the last two, thinking about Persuasion, and Emma, the last two of those powerful men are truly worthy, I think. And you know, of course, I think the moment at the end of that letter, in Persuasion, is one of the most intense things. But I know a colleague who thinks it's camp, that it's purposely overdone. I don't believe that at all. I think it's one of the most beautiful things ever written in the English language.Plain Jane  It's so beautiful. I love your categorizing all these leading men, who's worthy, who's not. It's really interesting. You, okay, I had to pick up the Norton Edition, Claudia Johnson. Here's what she says: She says Knightley is “a fantastically wishful creation of benign authority, in whom the benefits and attractions of power are preserved, and the abuses and encroachments expelled.” So what do you think is going on with that as you categorize the leading men? That's Claudia Johnson's Knightley, wrapped up in power.George Justice And because authority and power are inherently not wrong things in these books. When I'm teaching classes, I bring it back to the authority and the power of the narrator, who is the actual authority and power in all of these novels. And I think that's partly why the turn from an epistolary novel, where, you know, it's harder to weld that to increasingly intense narrative strategies that express their authority, often by merging the voice through free indirect discourse, with the voice of the main character. So it is such a trick to have the most fully controlling and authoritative and benign narrators who efface themselves and express their authority and power, almost through their own self effacement.Plain Jane Let me George, read your own writing back to you, because this is so amazing. And it just kind of sums up everything that we said, and I have this kind of as our last question. You write almost 20 years ago in your introduction to the Norton Critical Edition. Here's what you wrote: “Reading Emma requires interaction. We impose meaning on the text just as the text pushes its various meanings on to us. Trying to understand Emma, with its interplay of psychological realism and moral vision, is like trying to understand ourselves and the world. We must be both introspective and exceedingly observant of what lies around us. Complete success eludes us. We must reread, reflect and change our minds, and perhaps become better people for having done so.” I almost cried when I read that!George Justice That's very kind (laughing). I can't believe I wrote that. It does sound pretty good. Plain JaneMy question for you with that is, Do you still think that? Twenty years later, almost 20 years later?George Justice Yeah. And that's an interesting thing I do. And it's an interesting thing, and it's humbling about teaching, and it's a wonderful thing about teaching. Like any teacher, when I teach a novel a lot of times, like I do with Emma, I have go-to points, I have shticks. I have different scenes I like to focus on. … So I'm, you know, leading, I like to talk about the carriage theme, for example, and I do have a strong reading, and Mr. Elton is basically raping Emma, and I want students to see the actual violence that is in that scene. It isn't just the sloppy, silly guy who is physically menacing in that space and in the way that he approached. But then students will say, “Well, I read it in this way.” And any good teacher has to be able to say, “Wow, I hadn't thought about that.” Just as your focusing on just your use of the word kindness, and putting that deeply into our conversation about Emma. I had not articulated it to myself in that way before. That's new to me. And I can tell you, I'm going to be thinking about that for months to come. So I do believe that every time I read this book, it's a new book to me. She's constructed the books so carefully that it's impossible to understand even what's happening, 20 times through the book, for me. And then when you add the increased complexity of how human beings interact with each other, and how the fixed and unfixed parts of their personality come into this complicated matrix of interaction. Yeah, it's a new book every time. And it's a new book that is morally compelling. Because it tells us to look at everything anew.Thanks for joining this conversation, friends.As always, let us know your thoughts on: Austen's men - who's Worthy and who's Not Worthy? Who makes your list? What are your thoughts on Emma, Knightley, and the power dynamics in Austen's romances? You can comment here!You can also find us on Twitter, at @AustenConnect and on Insta at @austenconnection.Meanwhile, stay in touch, and hope you enjoy a beautiful autumn with soups, teas, and lots of great novels.Yours truly,Plain JaneIf you liked this post, feel free to share it!Links:“Critical Lives” series - Reaktion Books: http://www.reaktionbooks.co.uk/results.asp?SF1=series_exact&ST1=CRITICALLIVES&DS=Critical%20Lives&SORT=sort_titleThe Norton Critical Edition of Emma:  https://wwnorton.com/books/9780393927641More on scholar and critic Claudia Johnson: https://english.princeton.edu/people/claudia-l-johnsonDever Justice LLC: https://deverjustice.com/about/How to Be a Dean - from Johns Hopkins University Press: https://jhupbooks.press.jhu.edu/title/how-be-dean Get full access to The Austen Connection at austenconnection.substack.com/subscribe

Marie: This is Minnesota Native News, I'm Marie Rock. Coming up…Dr. Gwen Nell Westerman has been appointed the new MN Poet Laureate. And...A celebration is being held soon for the publication of five Ojibwe language books. And also…Dr Antony Stately, CEO of the Native American COmmunity Clinic, shares wise words on the radio.Here's Leah Lemm with these stories...STORY #1: GWEN NELL WESTERMAN APPOINTED AS NEW MN POET LAUREATEDr Gwen Nell Westerman is a citizen of the Sisseton Wahpeton Oyate.She has won two Minnesota Book awards, and the focus of her writing is on Dakota history and language. And now has been appointed the new MN Poet Laureate.Dr. Westerman's poetry book “Follow the Blackbirds” is written in the English and Dakota languages. Her poems and essays have been published in journals and anthologies, including… New Poets of Native Nations, Norton Anthology of Native Nations Poetry, and more.Dr Westerman is currently a Professor in the English Department at Minnesota State University, Mankato.STORY #2: PUBLICATION CELEBRATION FOR AANJIBIMAADIZINGNext, William Premo Jr. reads AUDIOFive Ojibwe language books are published in cooperation with the Mille Lacs Band of Ojibwe's Aanjibimaadizing Project and the MN Historical Society.Sixteen first speakers teamed up with linguists, teachers, and Ojibwe language experts to create new literature. The books are entirely in Anishinaabemowin. William Premo Jr. reads AUDIOWilliam Premo Jr reads one of his stories from the book, “Akawe Niwii-tibaajim.”  The story ‘Chi-Giniizhe,' is about… the complexities of the food chain among an acorn, a NOrthern Pike, and a squirrel. William Premo Jr. reads AUDIOThe celebration will be held October 6th at the Mille Lacs Indian Museum and Trading Post. The event is free and open to the public.STORY #3: COVID-19 COMMUNITY CONVERSATIONS - PIVOTING TO LESS PREDICTABILITYAnd finally, the Covid-19 Community Conversations radio program features community voices and hosts Leah Lemm, that's me, and Dr Antony Stately. We talk about Indian Country in Minnesota's response to the pandemic.The latest episode explores the often difficult process of living with less and less predictability. Here's a segment of our conversation where Dr Antony Stately shares helpful insight for those times.Dr Antony Stately: You think about how as Indigenous people, that's one of the things that we really are good at, which is, you know, we don't always have to have all of the answers. We don't have to know what's going to happen tomorrow or the next day or next week or next year. There's a certain amount of sort of like faith. I think that we have and the knowing that the seasons are going to continue the earth is going to renew herself. There's these things that we know that we can kind of count on. And I'll, maybe I'll I have to focus on is like right here, but sort of like right in front of me. And so that helps us to stand in that space of not knowing, I think a little bit easier.And so sometimes it's about trying to remind people like, you know, we're resilient people. We've had a lot of these kinds of things we've had where we've actually faced pandemics, right. And survive those things as Indigenous people. So we do have a certain amount of knowing that helps us in that space and place and trying to remind each other of that and support one another and be loving and compassionate.Find more about Covid 19 Community Conversation and listen to the program at MN Native News DOT ORG.For Minnesota Native News, I'm Leah Lemm. 

عن مفهوم البطل، ماذا نعني بالبطل، من هو، وما مفهومه، وهل دائمًا البطل له ما للكلمة من إيحاء، حاجة حلوة، وإلا أحيانا البطل يكون نقيض هذا الإيحاء الذي يبديه المعنى، فيكون شريرًا ملعونًا لكنه بطلا؟ يقدم البث: رشاد حسن باحث دكتورة في الترجمة والأدب بجامعة ليدز. المراجع: عبدالرحمن رأفت باشا – البطولة- دار الأدب الإسلامي – 1996م – القاهرة توماس كارلايل - الأبطال وعبادة البطل والبطولي في التاريخ – ترجمة محمد السباعي – دار الكاتب العربي البطولة في العصر الأموي، إعداد: المعتز بالله حمدي محمود منصور، رسالة ماجستير، الجامعة الأردنية، 2010م. البطولة، عبد الرَّحمن رأفت الباشا، الطَّبعة الأولى، 1417هـ ـ 1996م، دار الأدب الإسلامي، القاهرة. صورة البطل في القصَّة القصير السُّعوديَّة، إعداد: عبير العويضي، رسالة ماجستير، جامعة أمّ القُرى، 1435ه ـ 2014م. صورة البطل في كتب الحماسة، إعداد: صادق الشيخ صالح خريوش، رسالة دكتوراة، الجامعة الأردنية، 1990م ـ 1991م. صورة البطل عند الشعراء الصعاليك في الجاهلية، إعداد: خالد العجمي، رسالة ماجستير، الجامعة الأردنية، 2008م. بطولة الشَّاعر الجاهلي وأثرها في الأداء القصصي، د. مي يوسف خليف، 1998م، دار قباء للطباعة والنشر والتوزيع، القاهرة. البطولة في الشِّعر الجاهلي، إعداد: منذر الزعبي، رسالة ماجستير، 1418هـ ـ 1997م، جامعة اليرموك. مقالة البطولة في الأدب الجاهلي، بقلم محمد مهدي المجذوب. البطولة في الشعر العربي، د. شوقي ضيف، الطبعة الثانية، دار المعارف. البطولة في شعر الخوارج، إعداد: ثائر شعبان أبو ركبة، رسالة ماجستير، 1433هـ ـ 2012م،الجامعة الإسلامية، غزة. صورة البطل في شعر أبي تمام، إعداد: قابل المرامحي، رسالة ماجستير، 1434هـ ، جامعة أم القرى. البطل في الأدب العربي المعاصر، سلمى الخضراء الجيوسي، مجلة الآداب، العدد 10، 1977م، طرابلس. شعر الفخر عند الشعراء الفرسان في العصر الجاهلي دراسة تحليلية، إعداد: حنان الحتاملة، رسالة ماجستير، 1994م، جامعة اليرموك. محمد هلال الغنيمي، 2008، الأدب المقارن، الطبعة التاسعة، Pallone, N. J., & Hennessy, J. J. (1998). Counterfeit courage: Toward a process psychology paradigm for the “heroic rescue fantasy.” Current Psychology, 17, 197–209. Pallone, N. J., & Hennessy, J. J. (1998). Counterfeit courage: Toward a process psychology paradigm for the “heroic rescue fantasy.” Current Psychology, 17, 197–209. Quaife, M. M. (1931). A forgotten hero of Rock Island. Journal of the Illinois State Historical Society, 23, 4, 652– 663 Quaife, M. M. (1931). A forgotten hero of Rock Island. Journal of theIllinois State Historical Society, 23, 4, 652– 663 Zimbardo, P. G. (2006, January 1). The banality of evil is matched by thebanality of heroism [Web essay]. Retrieved from http://www.edge.org/q2006/q06_index.html#zimbardo ˇiklova´, J. (2004). Courage, heroism, and the postmodern paradox. SocialResearch, 71, 135–148 Pallone, N. J., & Hennessy, J. J. (1998). Counterfeit courage: Toward aprocess psychology paradigm for the “heroic rescue fantasy.” CurrentPsychology, 17, 197–209. Anderson, William S. The Art of the Aeneid. Englewood Cliffs, N.J.: Prentice-Hall Inc., 1969. Beowulf. Trans. Seamus Heaney. The Norton Anthology of Western Literature. Ed. Sarah Lawall. New York: W. W. Norton and Company, 2006. 1180-1247. Dunkle, Roger. "Iliad." Classics Technology Center. 2005. AbleOne Education Network. Homer. Iliad. Trans. Lattimore, Richard. Chicago and London: The University of Chicago Press. 1967. Jaeger , Werner. Paideia: The Ideals of Greek Culture. Trans. Gilbert Highet. 2nd ed. New York: Oxford University Press, 1939. Jaeger , Werner. Paideia: The Ideals of Greek Culture. Trans. Gilbert Highet. 2nd ed. New York: Oxford University Press, 1939. Redfield, James. Nature and Culture in the Iliad. Chicago and London: The University of Chicago Press, 1975.

On this episode, we have Stephen Greenblatt, an author with high accolades! Stephen is Cogan University Professor of the Humanities at Harvard University. He is the author of fourteen books, including Tyrant: Shakespeare on Politics; The Rise and Fall of Adam and Eve; and The Swerve: How the World Became Modern. He is General Editor of The Norton Anthology of English Literature and of The Norton Shakespeare. His honors include the 2016 Holberg Prize from the Norwegian Parliament, the 2012 Pulitzer Prize and the 2011 National Book Award for The Swerve. He was recently inducted into the British Academy. We talk about the inspiration he had in writing the book, The Swerve. Tony, Stew, and Stephen discuss about the variations in Lucretius' poem and the impact transcription could have on this poem. You'll also learn about how Lucretius was ahead of his time but also alone in his thoughts, as the concepts he wrote about were the exact opposite of the thinkings of the people of that time. This episode is full of information and taught in a way that anyone can learn from!   Find Stephen on IG @harvardenglish! Find us on IG @s.h.a.p.e.shifters

In this episode, we discuss the history and context of The Proposal with cast member Gwendolyn Annee. Learn more about the life of Chekhov and the stylistic genre of the play. This episode features Gwendolyn Année, Kjiersten Schmidt, and Monika Hash. Information about Chekhov courtesy of Encyclopedia Britannica and Norton Anthology of Drama Volume 2. Music courtesy of our friend Tyler Appleby. Follow us on Instagram @teatimeradiotheatreco.

In Lorna Goodison’s imagined scene, Spain’s Queen Isabella receives the ‘report’ of the discovery of Xamaica from Christopher Columbus, an Italian man who was financed by the Spanish court to ransack foreign lands. Lorna Goodison is the former Poet Laureate of Jamaica, and in this tight, terse poem, she’s the explorer: exploring practices of colonization, finance, power and administration. With pomp and ceremony she describes a scene that was as vacuous as it was dangerous.Lorna Goodison is one of the Caribbean's most distinguished contemporary poets. Her work appears in the Norton Anthology of World Masterpieces and her many honors include the Commonwealth Poetry Prize, Americas Region. She is the author of numerous books of poetry, including Supplying Salt and Light, Controlling the Silver, Traveling Mercies, and many more. Her work, translated into many languages, is widely published and anthologized.Find the transcript for this show at onbeing.org.

Welcome to Star Wars English Class! This week, Julia and Fern introduce themselves, discuss the Star Wars English Class curriculum, and tackle a question that's been on their minds: is Anakin Skywalker a tragic hero? In this lesson, you will learn about the history of the tragic hero as Fern and Julia trace its roots from Greek and Renaissance tragedy to contemporary fiction. How do we define tragic heroism? To what extent does a tragic hero have agency over his fate? And how does Anakin Skywalker fit into this literary tradition?On the Syllabus:Sophocles, Oedipus Rex  (c. 429 BCE) William Shakespeare, Hamlet (1600)Thomas Kyd, The Spanish Tragedy (1587)Star Wars Episode I: The Phantom Menace (1999)Star Wars Episode II: Attack of the Clones (2002)Star Wars Episode III: Revenge of the Sith (2005)“Antigone, Sophocles.” Youtube, uploaded by The Center for Hellenic Studies, 5 August2020, https://www.youtube.com/watch?v=WSnfzgN7QfA&list=PLq5ea-jR9u2ojLpe4x3suBCx1eGuXwnL2&index=21Aristotle. “Poetics.” The Norton Anthology of Theory and Criticism: Second Edition, edited by Vincent B. Leitch, W. W. Norton & Company, 2010, pp. 88-115.”Bacchae, Euripides - Reading Greek Tragedy Online.” Youtube, uploaded by The Center for Hellenic Studies, 20 April 2020, https://www.youtube.com/watch?v=ZAt1FDCF2hQ&list=PLq5ea-jR9u2ojLpe4x3suBCx1eGuXwnL2&index=6 Boas, George. “The Evolution of the Tragic Hero.” The Carleton Drama Review, vol. 1, no. 1, 1955, pp. 5–21. JSTOR, www.jstor.org/stable/1124612.Bradley, A.C. Shakespearean Tragedy. St. Martin's Press, 1985.“CHS Dialogues with Gregory Nagy | Tragedy, Anger, and Agamemnon.” Youtube, uploaded by The Center for Hellenic Studies, 5 November 2020, https://www.youtube.com/watch?v=D0Ez3HT_TJo&list=PLq5ea-jR9u2prF3fg9FCJPGEz6TJzDwH2&index=14&t=450sKrieger, Murray. “Tragedy and the Tragic Vision.” The Kenyon Review, vol. 20, no. 2, 1958, pp. 281–299. JSTOR, www.jstor.org/stable/4333856.McDonald, Russ. "Theater à la Mode: Shakespeare and the Kinds of Drama." The Bedford Companion to Shakespeare: An Introduction with Documents, 79-108.Segal, Charles. Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge. Twayne Publishers, 1993.Segal, Charles. “Charles Segal on the Greatness of Oedipus the King.” Sophocles' Oedipus Plays: A Contemporary Literary Views Book, edited by Harold Bloom, Chelsea House Publishers, 1996, pp. 73-75.Social Media:@swenglishclass on Twitter and TikTokJulia is on TikTok @juliachristine77Fern is on TikTok @alwaysfernBusiness inquiries: starwarsenglishclass@gmail.comMusic by ZapSplat.com

Join us as we discuss our most recent production with some of our cast members. Learn more about the playwright Susan Glaspell, and ponder some of the moral quandaries she presents in Trifles. Information about Susan Glaspell courtesy of the Norton Anthology of Drama Volume 2 and americanliterature.com. Follow us on Instagram @teatimeradiotheatreco Music: Bright Wish by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3458-bright-wish License: https://filmmusic.io/standard-license

"Shakespeare's world was not that of the 'Renaissance Pleasure Fair.' It was a world of oppression, spying and betrayal, mass executions, censorship. But understanding how we got something precious from that should be part of what strengthens our grasp of what we have received from the past." The great literary scholar and Shakespeare expert Stephen Greenblatt is here for a discussion about The Bard--- his plays, his influence, and how one goes about teaching Shakespeare. Themes that have come up before on this show reappear here, notably what does one do with the uncomfortable, sometimes disturbing content of The Taming of the Shrew, Othello, or The Merchant of Venice? What is a college class supposed to make of all this in America in 2021? How does Greenblatt take lessons from the history of world art and culture and funnel them through Shakespeare to his students, to the readers of his books? Also included here is a deep dive into Verdi's Otello-- what Greenblatt believes to be a profoundly moving treatment of one of Shakespeare's great masterpieces. Support Talking Beats with Daniel Lelchuk on Patreon. You will contribute to continued presentation of substantive interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever. Stephen Greenblatt is Cogan University Professor of the Humanities at Harvard University. He is the author of fourteen books, including Tyrant: Shakespeare on Politics; The Rise and Fall of Adam and Eve; The Swerve: How the World Became Modern; Shakespeare's Freedom; Will in the World: How Shakespeare Became Shakespeare; Hamlet in Purgatory; Marvelous Possessions; and Renaissance Self-Fashioning. He is General Editor of The Norton Anthology of English Literature and of The Norton Shakespeare, has edited seven collections of criticism, and is a founding editor of the journal Representations. His honors include the 2016 Holberg Prize from the Norwegian Parliament, the 2012 Pulitzer Prize and the 2011 National Book Award for The Swerve, MLA’s James Russell Lowell Prize (twice), Harvard University’s Cabot Fellowship, the Distinguished Humanist Award from the Mellon Foundation, Yale’s Wilbur Cross Medal, the William Shakespeare Award for Classical Theatre, the Erasmus Institute Prize, two Guggenheim Fellowships and the Distinguished Teaching Award from the University of California, Berkeley. Among his named lecture series are the Adorno Lectures in Frankfurt, the University Lectures at Princeton, and the Clarendon Lectures at Oxford, and he has held visiting professorships at universities in Beijing, Kyoto, London, Paris, Florence, Torino, Trieste, and Bologna, as well as the Renaissance residency at the American Academy in Rome. He was president of the Modern Language Association of America and a long-term fellow of the Institute for Advanced Study in Berlin. He has been elected to membership in the American Academy of Arts and Sciences, the American Academy of Arts and Letters, the American Philosophical Society, the Italian literary academy Accademia degli Arcadi, and is a fellow of the British Academy.

John Donne (1572-1631) was the foremost of the metaphysical poets and is one of the most famous and well-regarded poets of the English language. This week, in honor of Valentine's Day, I read his timeless classic “The Ecstasy”, in which he recounts his profound metaphysical visions while lying beside a riverbank with his beloved. In my analysis I share who I think his beloved might be, and how this poem ties to the tragic story of his life. This is a poem I have a personal history with and is definitely one for the lovers. It's also an ambitious piece and is an episode I'm very proud of. I sincerely hope you enjoy. To read “The Ecstasy” online, click here To learn more about John Donne, click here To learn about Christian Wiman, click here To order Christian Wiman's book “The Long Home”, click here To order the current edition of The Norton Anthology of Poetry, click here Visit on the web at http://renofmen.com Connect with us on Instagram and Twitter.

In this episode of The Antidote for The Belladonna Comedy, host Rosanna Stevens interviews comedy writer for TV and online, Sofía Manfredi. The show also features a set of recommendations from humor author and citizen of Standing Rock Nation Tiffany Midge, and a reading of a piece on The Belladonna website, performed by Eva Gilliam. Sofía Manfredi Twitter: https://twitter.com/sofiajmanfredi Tiffany Midge Twitter: https://twitter.com/TiffanyMidge Website: https://tiffanymidge.wixsite.com/website Bury My Heart at Chuck E. Cheese's: https://www.nebraskapress.unl.edu/bison-books/9781496215574/ When the Light of the World was Subdued Our Songs Came Through, A Norton Anthology of Native Nations' Poetry https://wwnorton.com/books/9780393356809 A link to the Pushcart Prize essay Tiffany described: https://medium.com/imaginary-papers/monsters-ee14f2d997b4 Oprah Just Unveiled the Seven Books that Help Her Through Tough Times https://www.oprahmag.com/entertainment/books/a34473594/oprah-books-tough-times-list/ Eva Gilliam Website: https://www.evagilliam.com/ Twitter: https://twitter.com/evalschmeva Mama City Improv Fest: https://www.mamacityimprovfest.com/ Shelby Slauer Website: www.shelbyslauer.com Twitter: https://twitter.com/shelbyslauer Instagram: https://www.instagram.com/shelbyslauer/ I Am Sorry I Can No Longer Attend The Function: https://thebelladonnacomedy.com/im-sorry-i-can-no-longer-attend-the-function-675d8d27b306

Hello, listeners! Boy, do we have a treat for you! This is an in-depth special episode where we had the greatest pleasure of chatting with one of our favorite people from Iowa... ART BORRECA! He is the Co-Head of the Playwriting Program and Head of the Dramaturgy Program at the University of Iowa (aka where Sam and I met and became friends!). Art talks about his journey into theater and dramaturgy, what he loves about new plays, and shares with us the Iowa Playwrights Workshop program. We are so excited for you to listen to this one. So please, grab your favorite drink, kick your feet up, and listen to this very special episode. Art Borreca is associate professor of dramaturgy, dramatic literature, and theatre history, co-head of the playwriting program, and head of the dramaturgy program. He has worked as a dramaturg with a number of leading theatre artists, including Athol Fugard, Wole Soyinka, Theodora Skipitares, David Gothard, and Naomi Wallace in such venues as the Yale Repertory Theatre, New York Theatre Workshop, LaMama ETC, Oxford Stage Company in the U.K., and T.P.T (Theatre Project Tokyo) in Japan. His research interests include contemporary British and American theatre, new play dramaturgy, and political dramaturgy. His articles and reviews have appeared in TDR (The Drama Review), Modern Drama, and Theatre Journal; as well as in several books, including Dramaturgy in American Theatre, What is Dramaturgy? and Approaching the Millennium: Essays on Angels in America. Professor Borreca is a contributing editor of the two-volume Norton Anthology of Drama. GLISTENS: Sarah - Sinkholes Sam - American Shakespeare Virtual Tour americanshakespearecenter.com/vr/ Art - His students from his Post-Modern class. ________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

On this episode of The Poetry Gods, we talk to Willie Perdomo about how he got started writing poetry, The Crazy Bunch, friendships in poetry, and so much more. As always you can reach us at emailthepoetrygods@gmail.com. We love to hear from you, so please drop us a line! Leave us a review on iTunes! Bring us to your college/ local hummus emporium! WILLIE PERDOMO BIO: WILLIE PERDOMO is the author of The Essential Hits of Shorty Bon Bon (Penguin Poets), a finalist for the National Book Critics Circle Award and Milton Kessler Poetry Award; winner of the International Latino Book Award, and a Hurston/Wright Legacy Award nominee. He is also the author of Smoking Lovely (Rattapallax), winner of the PEN/Beyond Margins Awards and Where a Nickel Costs a Dime (Norton), a finalist for the Poetry Society of America Norma Farber First Book Award. Perdomo is a Pushcart nominee, two-time New York Foundation for the Arts Poetry Fellow and a former Woolrich Fellow in Creative Writing at Columbia University. His work has appeared in The New York Times Magazine, The Norton Anthology of Latino Literature, Bomb Magazine, and African Voices. He is currently a member of the VONA/Voices faculty and an English Instructor at Phillips Exeter Academy. Follow Willie Perdomo on Instagram & Twitter: @willieperdomo Visit Willie's website: http://willieperdomo.com/ Follow The Poetry Gods on all social media: @_joseolivarez, @azizabarnes/ @azizabarneswriter (IG), @iamjonsands, @thepoetrygods & CHECK OUR WEBSITE: thepoetrygods.com/ (much thanks to José Ortiz for designing the website! shouts to Jess X Snow for making our logo)

Where (Tor Books)  In a coastal town on the Outer Carolina Banks, David Ribault and Merrill Poulnot are trying to revive their stale relationship. Meanwhile, a slick developer claiming to be related to a historic town hero, Rawson Steele, has come to town and is buying up property. Steele makes a romantic advance on Merrill and an unusual 5am appointment outside of town with David. But Steele is a no-show, and at the time of the appointment everyone in the town disappears, removed entirely from our space and time to a featureless isolated village - including Merrill and her young son. Born into a Navy family, Kit Reed moved so often as a kid that she never settled down in one place, and she doesn't know whether that's a good thing or not. It's a very good thing in its relationship to, Where, in which the entire population of a small island vanishes. As a kid she spent two years in the tidelands of South Carolina-- in Beaufort and on Parris Island, both landmarks on the Inland Waterway. Her fiction covers territory variously labeled speculative fiction/science fiction/literary fiction, with stops at stations in between that include horror, dystopian SF, psychothrillers and black comedy, making her "transgenred." Recent novels are Son of Destruction and, from Tor, Enclave, The Baby Merchant and the ALA award-winning Thinner Than Thou. Her stories appear in venues ranging from Asimov's SF and The Magazine of Fantasy and Science Fiction to The Yale Review, The Kenyon Review and The Norton Anthology. Her newest collection is The Story Until Now: A Great Big Book of Stories, from the Wesleyan University Press. She was twice nominated for the Shirley Jackson Award and the Tiptree Award. A Guggenheim fellow, Reed is Resident Writer at Wesleyan University, and serves on the board of The Authors League Fund. Scott O'Connor is the author of the novella Among Wolves, and the novels Untouchable and Half World, which is now out in paperback. Additional work has appeared in Zyzzyva, The Rattling Wall, and The Los Angeles Review of Books, and has been nominated for the 2015 Sunday Times/EFG Short Story Prize. He lives with his family in Los Angeles.

The Moor's Account (Pantheon) Tonight's reading is part of the Los Angeles/Islam Arts Initiative (LA/IAI). From the author of Secret Son and Hope and Other Dangerous Pursuits comes  The Moor's Account, the imagined memoirs of the New World's first explorer of African descent, a Moroccan slave known as Estebanico. In 1527, Panfilo de Narvaez sailed from Spain with a crew of six hundred men, intending to claim for the Spanish crown what is now the Gulf Coast of the United States. But from the moment the expedition reached Florida, it met with ceaseless bad luck--storms, disease, starvation, hostile natives--and within a year there were only four survivors, including the young explorer Andres Dorantes and his slave, Estebanico. After six years of enslavement by Native Americans, the four men escaped and wandered through what is now Florida, Texas, New Mexico, and Arizona. The Moor's Account brilliantly captures Estebanico's voice and vision, giving us an alternate narrative for this famed expedition. As this dramatic chronicle unfolds, we come to understand that, contrary to popular belief, black men played a significant part in New World exploration, and that Native American men and women were not merely silent witnesses to it. In Laila Lalami's deft hands, Estebanico's memoir illuminates the ways in which stories can transmigrate into history, even as storytelling can offer a chance at redemption and survival. Praise for The Moor's Account “A beautiful, rousing tale that would be difficult to believe if it were not actually true. Lalami has once again shown why she is one of her generation's most gifted writers.” —Reza Aslan, author of Zealot “¡Qué belleza! Laila Lalami has given us a mesmerizing reimagining of one of the foundational chronicles of exploration of the New World and an indictment of the uncontainable hubris displayed by Spanish explorers—told from the point of view of Estebanillo, an Arab slave and Cabeza de Vaca's companion in a trek across the United States that is as important as that of Lewis and Clark. The style and voice of sixteenth-century crónicas are turned upside down to subtly undermine our understanding of race and religion, now and then. The Moor's Account is a worthy stepchild of Don Quixote de la Mancha.”—Ilan Stavans, author of On Borrowed Words: A Memoir of Language and general editor of The Norton Anthology of Latino Literature “A novel of extraordinary scope, ambition and originality. Laila Lalami has given voice to a man silenced by for five centuries, a voice both convincing and compelling. The Moor's Account is a work of creativity and compassion, one which demonstrates the full might of Lalami's talent as a writer.”—Aminatta Forna, the Commonwealth Writers' Prize and Hurston Prize Legacy Award winning author of The Memory of Love, Ancestor Stones, and The Devil That Danced on the Water Laila Lalami was born and raised in Morocco. She attended Université Mohammed V in Rabat, University College in London, and the University of Southern California, where she earned a Ph.D. in linguistics. She is the author of the short story collection Hope and Other Dangerous Pursuits, which was a finalist for the Oregon Book Award, and the novel Secret Son, which was on the Orange Prize longlist. Her essays and opinion pieces have appeared in Newsweek, Los Angeles Times, The Washington Post, The Nation, The Guardian, The New York Times, and in numerous anthologies. Her work has been translated into ten languages. She is the recipient of a British Council Fellowship, a Fulbright Fellowship, and a Lannan Foundation Residency Fellowship, and is currently an associate professor of creative writing at the University of California at Riverside. This reading is a part of the Los Angeles / Islam Arts Initiative (LA/IAI) Launching this fall, the Los Angeles / Islam Arts Initiative (LA/IAI) brings together nearly 30 cultural institutions throughout Los Angeles to tell various stories of traditional and contemporary art from multiple Islamic regions and their significant global diasporas. LA/IAI is the first-of-its kind, wide-scale citywide initiative on Islamic arts producing and presenting programming such as art exhibitions, panels, discussions, and performances. Anchoring LA/IAI are two connected exhibitions, Doris Duke's Shangri La: Architecture, Landscape, and Islamic Art and the contemporary art exhibition, Shangri La: Imagined Cities commissioned by the Department of Cultural Affairs (DCA) to be held at DCA's Los Angeles Municipal Art Gallery (LAMAG) at Barnsdall Park from October 26 to December 28, 2014. Los Angeles' substantial populations from areas with strong Islamic roots make LA a compelling location for this initiative. LA/IAI casts a wide net, being inclusive and welcoming, with art as its central focus. The term “Islamic art” includes work created by non-Muslim artists from Muslim-dominant countries, work by Muslims creating art in non-Muslim dominant countries, and work by artists culturally influenced by Islam. Designed to build a greater understanding of the role of Islamic arts, LA/IAI seeks to stimulate the global conversation in connection to cultural, political, and social issues. The celebration of Islamic art and culture is presented by DCA with major support from the Doris Duke Foundation for Islamic Art, the National Endowment for the Arts, the California Community Foundation, the California Institute of the Arts (CalArts), and the Barnsdall Park Foundation. For more information, please visit:  http://www.laislamarts.org/