Podcasts about peoples

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Diplomatic reporter Nava Freiberg joins host Gabriella Jacobs for today's episode. Following an 11th consecutive night of US strikes on Iran and Iranian strikes on its Gulf and Arab neighbors, Freiberg offers possible paths forward in the war. Freiberg analyzes US President Donald Trump's claim Tuesday that the US will be striking Iran’s Pickaxe Mountain “probably pretty soon,” amid reports that Tehran has moved nuclear centrifuges, and possibly even enriched uranium, to the secretive underground enrichment site. Is this bombastic threat just part of Trump's strategy to keep Iran guessing or could the US be prepping a ground invasion? Lebanese President Joseph Aoun met with US President Donald Trump in Washington on Tuesday, where Aoun declared that his country will permanently end hostilities with Israel. Freiberg comments on Trump's remark at the meeting that he is open to speaking directly with the Iran-backed terror group -- if Beirut asked -- after Aoun requested backing in his efforts to disarm Hezbollah. In the second half, we move on to discuss Trump’s Gaza peace plan, which nine months ago was hailed as an end to the war in the Strip and the beginning of Gaza's reconstruction. Freiberg explains why the framework is only moving forward in “baby steps.” The episode closes with a special visitor, Sarah Tuttle-Singer, curator of the Peoples of Israel project, who introduces us to her work and the project's goals.See omnystudio.com/listener for privacy information.

Welcome to another inspiring episode of the Daughters of the Moon Podcast!In Episode 358, Kim and Barb welcome Maddy Stellar for a fascinating conversation exploring intuitive gifts, higher consciousness, and the unseen energies that surround us.Together they discuss:✨ The Schumann Resonance and humanity's energetic connection to the Earth✨ Seeing auras and perceiving the energy fields around people and objects✨ Maddy's childhood experiences with spirit, including the mysterious "Sewage Pit Man" who appeared in her room✨ Messages from the Lemurians and what they may mean for humanity's evolution✨ Knowing of her grandfather's passing before it happened and how that experience shaped her spiritual path✨ Channeling to receive higher guidance and meaningful messages for others✨ Timeline stretching and how shifts in consciousness may influence our experience of timeThis thought-provoking conversation invites you to explore intuition, energy, consciousness, and the extraordinary experiences that can awaken us to a deeper understanding of ourselves and the universe.

On this week's Flames Central Podcast presented by OrthoVirginia, safeties coach Cory Peoples joins the show to discuss his coaching style, the depth at the safety position, and turnover celebrations. Plus, Matt, Joe and Emily share their top 3 most important football games of the season and more!

This week we look at improving the health of children and young Aboriginal and Torres Strait Islander peoples through participation. “The MJA acknowledges the Traditional Owners and Custodians of the land on which we live and work across Australia.  This podcast was recorded on the lands of the Wangal people. I pay my respects to their Elders past and present.”  Dr Jordan Cory a Kamilaroi woman and Bonnie Dukakis a Gunditjmara woman who were co-authors of an MJA paper on participation of Indigenous children and young people to improve health and wellbeing.  In this podcast, they talk to Sally Block about the paper and many other aspects of the health of young Indigenous peoples. Cultural safety is explored and described - as not another tick a box alongside fire training in an organisation - but an evolving commitment. Ms Dukasis is the CEO of The Koori Youth Council in Melbourne and we find out what they are doing for Indigenous young people.

Tim Hamer | Psalm 67 | July 19 2026

I. The people who trust. II. The people who acknowledge. III. The people who are impartial. IV. The people who have been tested.

Alex Kado, Senior Project Manager in the Office of Public Service for the City of Minneapolis, Minnesota, jointed the podcast to share the history and process of creating a public memorial at the location of George Floyd's murder. He discussed the public process for creating George Floyd Square, including determining the use for Peoples' Way, the former gas station at the site. He also shared lessons learned from working on such a complex project. Host: Lauren Palmer

The story of Point Reyes is a story about how the forces of colonialism continue to shape the fate of public lands in the United States, and the campaigns waged to fight back and protect Indigenous land. Covering the movements, issues and people fighting for some of the most important social justice issues of our time. Hosted by Amy Gastelum, Salima Hamirani, Anita Jonhson, and Lucy Kang. Sign up for program alerts and sneak peeks from Making Contact at: http://ow.ly/1FkV30aq1z2 The post The Coast Miwok Peoples, Colonization, and the Preservation of Indigenous History (Encore) appeared first on KPFA.

Today on the Poddy: 00:00 - Intro 02:21 - In-Flight Erotica 25:31 - Dead Peoples Stuff 44:25 - Outro Hit us up and get all our links: https://linktr.ee/notforradio Become a Sniper Elite: ⁠⁠https://plus.rova.nz/] Learn more about your ad choices. Visit megaphone.fm/adchoices

Here is a capture and summary of most of all the highlights, controversy, speculations and teams support of Africa Referee and Players and of each other at this World Cup Competition.   This Poor Peoples News includes news clips from News organizations, Social Media and other peoples commentary, critiques, investigative research and their perspectives.  

Naniniwala ang ALPA (Advanced League of Peoples' Artists) isang Pinoy reggae band, na mahalagang patuloy na sumuporta sa Pilipinas kahit pa nasa ibang bansa. 

11 - MASS ORGANISING - The Peoples Party is on the move by Australian Citizens Party

Dive into the history of Point Reyes National Seashore, one of the most iconic parks in northern California, with us. Known for rugged sweeping beaches and the famous tule elk, we'll recount the waves of colonization that violently upended the lives of the Coast Miwok peoples who lived there – and one Indigenous woman's struggle to preserve her family history.  The story of Point Reyes is a story about how the forces of colonialism continue to shape the fate of public lands in the United States, and the campaigns waged to fight back and protect Indigenous land.  Featuring: Theresa Harlan (Kewa Pueblo/Jemez Pueblo), adopted daughter of Elizabeth Campigli Harlan (Coast Miwok), founder and executive director of The Alliance for Felix Cove Credits: Host: Lucy Kang Executive Director: Jina Chung Editor: Adwoa Gyimah-Brempong Engineer: Jeff Emtman  Digital Media Marketing: Lissa Deonarain "Whose Point Reyes?: A Battle for the Future of Public Lands" Parts 1 and 2 Credits: Reporter and producer: Sam Anderson Editor: Lucy Kang First aired on KPFA Learn More: Whose Point Reyes on Apple Podcasts Alliance for Felix Cove Coast Miwok Tribal Council of Marin Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

We look at this very significant but flawed document of July 7, 1952, from the third volume in The Whole Truth About Fatima.Please support the Our Lady of Fatima Podcast:http://buymeacoffee.com/TerenceMStantonLike and subscribe on YouTube:https://m.youtube.com/@OurLadyOfFatimaPodcastFollow us on X:@FatimaPodcastThank you!

Send us Fan MailThis week we're revisiting an Australian author — and the 1979 film adaptation of her work — which originally captured Kim and Amy's fancy back in 2024. Published in 1901 and written when author Miles Franklin was only eighteen years old, My Brilliant Career became an instant classic of Australian literature and still delights readers with its feisty heroine, Sybylla Melvin, and its realistic depiction of Australian life and lingo at the turn of the 20th century. In our discussion of the novel and its film adaptation (starring Judy Davis and Sam Neill) we'll explain why Franklin's fear of being a literary one-hit-wonder proved unfounded, and why her name today graces one of Australia's top annual literary prizes.Mentioned in this episode:Miles FranklinMy Brilliant Career filmMy Brilliant Career novelJudy DavisSam NeillDirector Gillain ArmstrongOscar and LucindaCharlotte GreyBlackwood's publishing houseAnne of Green GablesThe Thorn BirdsBrent of Bin BinUp the Country by Brent of Bin BinLost Ladies of Lit Episode No. 128 on Margaret OliphantHenry LawsonCold Comfort Farm by Stella GibbonsBring the Monkey by Miles FranklinMy Career Goes Bung by Miles FranklinAll That Swagger by Miles FranklinS.H. Prior Memorial PrizeThe Miles Franklin AwardThe Stella PrizeMiles Franklin: A Short Biography by Jill RoeOf Foreign Lands and Peoples by Robert Schumann (soundtrack to film)Support the showFor episodes and show notes, visit: LostLadiesofLit.comSubscribe to our substack newsletter.Follow us on instagram @lostladiesoflit. Email us: Contact — Lost Ladies of Lit Podcast

For more than 50 years, NAIDOC Week has stood as a powerful celebration of the culture, resilience and achievements of Aboriginal and Torres Strait Islander peoples. It is a time to recognise truth, promote justice, and amplify the voices of First Nations peoples. - Sa loob ng mahigit 50 taon, ang NAIDOC Week ay naging makapangyarihang simbolo ng kultura, katatagan at karangalan ng mga Aboriginal at Torres Strait Islander. Panahon ito ng pagkilala sa katotohanan, pagsusulong ng katarungan at pagpapalakas ng mga tinig ng mga First Nations people.

This is my Special Playlist of songs that I have written, produced, released and sang the past years. I have a total of 3 plus Albums released and I have chosen several songs from those Albums to create this hour long Playlist mix.  You will also hear my Rap songs that I am very fond of to share. If you like please share and download any song you favor from my website at www.oldskoolqueene.ne/music or download and add from any Stream platform you use.  Thank you for your support of the Independent Artist.    Leave Your Email Hit Subscribe Youtube Channel  Oldskoolqueene Youtube Channel  

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Welcome to Today'sEpisode of the Daughters of the Moon Podcast! In this episode, we're tuning into the powerful messagesand energies for the month of July.

What does it mean to truly live in harmony with yourself and the universe?In this episode of Daughters of the Moon, Kim & Barb welcomes renowned Taoist teacher, author, and artist Deng Ming-Dao for a profound conversation inspired by his newest book, Taming Tigers & Butterfly Dreams.Together, they explore the timeless wisdom of Traditional Taoism and what it means to return to our most natural state. Ming-Dao explains that when energy is allowed to move freely, we naturally become healthier in body, mind, and spirit. When we resist life, we create stagnation and close ourselves off from possibility.This heartfelt conversation explores:• What the Tao is and how it flows through the universe• Aligning your personal path with the universal path• Returning to your authentic self• Why meditation is an essential daily practice• The power of simplicity and discovering your true values• The importance of breath, nourishing food, restful sleep, and movement• How stories help us understand ourselves and the world• Why resistance creates suffering and flow creates transformationWhether you're discovering Taoism for the first time or have practiced for years, this episode offers practical wisdom for living with greater peace, balance, and authenticity.Connect with Ming-Dao Deng

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This Poor Peoples News includes news clips from News organizations, Social Media and other peoples commentary, critiques, investigative research and their perspectives. It is old News but relevant today. I captured Business News on the US Dollar that Trump threaten Nigeria about and other Nations are creating their own Digital Money. Africa News that Angola President joined the Saheal. Entertainment News in Music that TikTok made changes to their Algorithym for going viral in Afrobeat songs and other Music shifted its metrics to sales versus likes.  Universal Music Label (UMG) created House of Commons to capture Independent Artist Music. Hear the latest Buzz Marketing explained by Ariel Hyatt of Cyber Care Music in her webinar.   Leave Your Email Subscribe Apple Podcast Hit Subscribe Youtube Channel  Oldskoolqueene Youtube Channel    

There is something we do not talk about enough. We talk about being supported. We talk about being seen. But we do not talk often enough about what it takes to genuinely celebrate another person. Not in a superficial way. Not in a polite way. But in the way that actually honors what someone else has done or become or overcome. And I think that silence matters. Because celebrating others is one of those practices that sounds simple until you try to do it with your whole self, and then you discover it is actually one of the more difficult things a person can do. So I want to sit with that with you today. Not to tell you to be better at it. Not to add another item to your list of things you should be doing.DISCLAIMER

This week, Ian spoke with G. Flint Taylor of People's Law Office in Chicago and his new book, The Conviction Machine: Prosecutors, Politicians, and Police Violence in Chicago, out now from Haymarket Books. The conversation vacillates between the past and the present as Taylor talks about the misconduct and cover-up by the FBI and Chicago PD in the assassination of Chicago Black Panther's Leader Fred Hampton, the forty year effort to free Andrew and Jackie Wilson, the tradition of movement lawyering, and the legacy of the People's Law Office. . ... . .. Featured Track: TFSR by The Willows Whisper

Thanks for listening to this week's message from New City Church in Shawnee, Kansas. To learn more about New City Church, visit newcitychurch.com.

Pastor Bryan continues his lesson from Psalm 117. This passage reminds us that God's steadfast love creates a sense of purpose and meaning in our lives, and we can be assured that His love will triumph over the trails we may face. To support this ministry financially, visit: https://www.oneplace.com/donate/1286/29?v=20251111

First Peoples Melbourne Art Trams 2026 celebrates First Peoples art, culture and storytelling, launching as part of RISING festival.

Pastor Bryan shares a message from Psalm 117. Dr. Chapell highlights how we are to go forth and preach the gospel, and to urge all nations to praise our God To support this ministry financially, visit: https://www.oneplace.com/donate/1286/29?v=20251111

The brain trust at Garage Logic have alleged that the Promise Act was designed solely to be a conduit for fraud. Johnny Heidt with guitar news. Johnny Heidt with guitar news. Heard On The Show:University of Minnesota holds hearing on it's 3.8% tuition increase proposalMinneapolis City Council passes financial relief near George Floyd Square, rejects mayor's pick for developing The Peoples' WayLive Updates: "Final, agreed upon text" of U.S.-Iran peace deal has been reached, Pakistan saysSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

VLOG June 12 Brad Lander acquitted https://matthewrussellleeicp.substack.com/p/unclear-brad-lander-acquitted-of UFC in DC, no hearing on TRO bid. Malvasio RE fraud trial, Maryland RE sentencing too sealed. Peoples Bank ignores citizens https://innercitypress.com/mergers16bpeoplesbankkywarshffw060826.html Int'l Seabed Authority corrupt: https://innercitypress.com/ungate3seabedauthicp061126.html

In this episode of the Daughters of the Moon Podcast, we welcome Spencer Delisle for a deep exploration into the nature of the human mind, emotions, and breath as a gateway to inner reset and awareness.We explore what it means to “defrag” the human system—like a spring cleaning for consciousness—releasing emotional resistance, understanding the laws of the mind, and observing how we exist within our own patterns of thought, feeling, and perception. Spencer shares insights into mental and emotional resets, and how awareness becomes the turning point for transformation.Together, we dive into the ancient science of breath, including Kriya practices, and how breathwork supports nervous system regulation, emotional release, and a deeper sense of inner stability. The conversation weaves together science, spirituality, and lived experience to illuminate how mind, body, and breath are intimately connected.At its core, this episode is about simplicity and return: breath as anchor, awareness as doorway, and presence as the reset code for life itself.

Eli W had been sober 10 years at the time he told his story at this Young Peoples ASCYPAA conference held in 2010 in Flagstaff Arizona. Support Sober Cast: https://sobercast.com/donate Email: sobercast@gmail.com Sober Cast has 3200+ episodes available, visit SoberCast.com to access all the episodes where you can easily find topics or specific speakers using tags or search. https://sobercast.com

Local beekeepers, gardeners, and native plant experts join in a conversation about turning your own backyard into a native ecosystem oasis. Learn about the benefits of mason bees, the importance of best-gardening practices to protect Puget Sound salmon, and how you can make a difference in keeping our city climate change resilient. Featuring Dave Hunter, author of Mason Bee Revolution: How the Hardest Working Bee Can Save the World One Backyard at a Time, along with panelists Jessi Bloom, Bill Thorness, Kim M. Camara, and Swil Kanim, this event hopes to empower everyone to play a part in rebuilding healthy pollinator networks — and securing a thriving, sustainable planet. Dave Hunter is the founder of the Orchard Bee Association and Crown Bees, which helps people support pollinators with the right supplies, expert guidance, and easy-to-follow programs. His work has been featured in Urban Farm, The Seattle Times, NPR, and more. He lives in Woodinville, Washington. Visit him online at crownbees.com or on Instagram @crown_bees Jessi Bloom is an ecological landscape designer, author, arborist, and teacher. Over the years, she has worn many hats professionally, helping thousands of land stewards with consulting and design/build work, and educating through books and educational events. Jessi started NW Bloom EcoLogical Services, based in Woodinville, WA, in 2000 to innovate and emphasize awareness of permaculture, sustainable landscape design, construction, and land management. The Seattle Times named her a "rockstar in the ecological gardening movement," where her leadership led NW Bloom to numerous environmental awards. She sits on the advisory committee for the WA State Dept. of Natural Resources Urban Forestry Programs, where her decades as a private sector arborist serve in behalf of the PNW ISA (International Society of Arboriculture). Bill Thorness is a writer and gardener who's been doing both in Seattle since the mid-1980s. He is the author of Cool Season Gardener: Extend the Harvest, Plan Ahead, and Grow Vegetables Year Round and Edible Heirlooms: Heritage Vegetables for the Maritime Garden, and writes for many regional publications, including The Seattle Times. He is also a King County Master Gardener. Kim M. Camara serves as Executive Director of Windz of Change Alliance, based in Seattle for over 25 years. Kim is a visionary collectively working with Indigenous inter-Tribal community peoples on contemporary and traditional sacred pathways. Her roles interweave project developer, grant writer, teacher/educator, choreographic and event producer, visual design artist, and youth mentor. With a focus on imparting knowledge, bridging, engaging, and inspiring creative leadership and relationships, she advocates the Windz vision to respectfully bridge and strengthen Indigenous Tribal community Peoples, Presence, Place, Sacred Spaces and Relationships. Accomplishment activities encompass artistic cultural heritage events, eco-cultural parks activation installations, presentations, and workshops, festivals, art shows, youth teaching, and artist opportunity referrals and granting assistance. Swil Kanim is a U.S. Army veteran, storyteller, actor, and classically trained violinist from Washington State. A board member of the Seattle Symphony, he blends original compositions with powerful stories drawn from his life and heritage, inspiring audiences nationwide. His music and compositions are the direct result of a well-supported public school music program, which he credits for nurturing his artistry. Swil Kanim is the recipient of the Woodring College Professional Excellence Award, the Bellingham Mayor's Arts Award, and has been recognized as a Certified Virtuoso Violinist by the Whatcom Chapter of the Washington Music Educators Association. In 2008, he was also honored to perform with His Holiness the Dalai Lama during the Seeds of Compassion event in Seattle. Buy the Book Mason Bee Revolution: How the Hardest Working Bee Can Save the World One Backyard at a Time (2nd edition) Third Place Books

As the United States marks 250 years since independence, a new episode from the KPBS show "Historic Places" dives into the story of the First Peoples of Southern California before the American Revolution.KPBS Midday Edition's Jade Hindmon sits down with host Elsa Sevilla and talks about the stories of the Kumeyaay and other Indigenous peoples in the region during that time — and how that rich cultural history has been preserved over millennia.Guest:Elsa Sevilla, host, "Historic Places with Elsa Sevilla"Links: "Historic Places with Elsa Sevilla" — KPBS+

The United Jewish Peoples' Order is in the midst of celebrating their 100th year as a secular, leftist Jewish organization in Canada.Three of UJPO's staff join Blueprints to share some of what they've learned working for the century-old organization, and reflect on how they might build for the next 100 years.What UJPO does is largely a reflection of their origin story as outsiders:"We began in the 1920s out of a need for mutual aid between secular, leftist Jews - the majority of them factory workers. They needed community." - Shayle Kilroy, UJPO Operations Manager gives a brief history of how socio-economic conditions led to the creation of a versatile network that understands the importance of collective liberation.We hear how UJPO has navigated through extraordinary times, both globally and internally - and how they've remained Leftists through it all; Embracing change, and inclusivity, while holding onto their core values.UJPO have a big event coming up on June 11th, titled "Joy and Struggle". Its an example of how the organization seeks to blend the cultural (the communal) with the political - an approach Executive Director Sarena Sarain and Cultural Director David Wall say have been critical to the longevity of the group.The three guests also talk a lot about what solidarity means, how they practice collective liberation and the other elements that have made them what they are today.Hosted by: Jessa McLeanGet Tickets to the 100th Celebration: Joy and StruggleRelated Episodes: Jews Say No to Genocide (Dec 2024) Serena Sairan and Lauren Moses-Brettle on the identity crisis being purposely crafted by the Israeli lobby to thwart the work being done to liberate Palestine. Return and Liberation (Oct 2022) A discussion with the Palestinian Youth Movement on how they organize as a diaspora, both culturally and politically, in an environment hostile to their existence.More Resources: UJPO on YouTubeOur History – Morris Winchevsky Centre | Secular Jewish TorontoGet ALL our content through our SUBSTACK.All of our content is free - made possible by the generous sponsorships of our Patrons. If you would like to support our work through monthly contributions: PatreonFollow us on Instagram or on Bluesky

Thank you for tuning in to the Daughters of the Moon Podcast. In this episode, we welcome Thayne Martin for a heartfelt conversation about healing, transformation, and the power of love.Thayne shares his journey through mental health challenges, dissociation, sexual trauma, and the shame that kept him silent for years. We explore his profound near-death experience after drowning, the concept of infinite intelligence, soul contracts, life reviews, and his belief that the language of the universe is mathematics.Together, we discuss gratitude as a catalyst for change, letting go of what no longer serves us, reinventing ourselves, rewiring the brain, and cultivating genuine happiness, love, and abundance. This conversation is a reminder that life moves in cycles and that healing is possible, one choice at a time.Connect with Us:

Message from Jonathan Yarboro on June 7, 2026

This is based on Psalm 67's invitation to all the people's of the earth to worship God, but mainly the global vision of redemption present within Scripture and the kingdom from beginning to end.You're on a ball in space. Zoom out.

This is based on Psalm 67's invitation to all the people's of the earth to worship God, but mainly the global vision of redemption present within Scripture and the kingdom from beginning to end.You're on a ball in space. Zoom out.

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

A couple of weeks ago, we looked at the practices of ancient and medieval Celts, and how those practices were transformed and integrated into Christianity over time. Today, we're shifting the lens eastward to investigate some of the last Europeans to accept Christianity. What did these people believe before the missionaries arrived? And how did their pre-Christian beliefs shape their eventual practice of Christianity, itself? This week, Danièle speaks with Francis Young about who the last pagan holdouts on the continent were, why Christian missionaries struggled to convert these regions, and how pagan traditions were integrated into this new faith.This podcast is made possible by the generous support of listeners like you! To find out how to help spread the joy of medieval history, please visit patreon.com/themedievalpodcast

Thirty-seven years ago today, the Chinese Communist Party violently crushed freedom demonstrations in Beijing's Tiananmen Square and other cities across China. Grave insult was added to the murderous injury inflicted when the U.S. government made clear that such repression would not be allowed to interfere with business as usual between the two countries. The message was personally conveyed to that epic crime's perpetrators by President George H.W. Bush's National Security Advisor, Brent Scowcroft – a longtime protégé of former Secretary of State Henry Kissinger, who blazed the path for “engagement” with the CCP.  In practice, as author Peter Schweizer has devastatingly documented in his latest best-seller, Invisible Coup, Kissinger, Scowcroft, and former Treasury Secretary Hank Paulson spawned the practice of profiting immensely by selling out our country to China at the expense of Americans' economic wellbeing and national security.  That must end.

In this episode of Daughters of the Moon Podcast, we sit down with Marcella Kroll and Adam Smith to explore the unfolding creation of their new oracle deck, The Initiates Oracle.This conversation moves through the fertile ground of spiritual practice, where ideas become embodiment and intention becomes lived experience. Together we explore what it means to plant seeds of magic through ritual, awareness, and conscious creation.We dive into:• Occult teachings and esoteric wisdom• The 8 limbs of yoga and embodied spiritual practice• Ceremonial magic and ritual as transformation• Planting energetic seeds and working with intention over time• A powerful journey to Egypt and its initiatory energy• Meditation, grounding practices, and energetic boundaries• Working with oracle cards, guides, and intuitive symbolism• Hieroglyphics, sacred imagery, and the organic creative process• Hermetic teachings and the architecture of spiritual understanding• The difference between performing ritual and living magicAt the heart of this conversation is a simple but powerful truth: magic is not something we do occasionally—it is something we learn to live.✨ Connect with the guests:Marcella KrollWebsite: https://marcellakroll.comInstagram & TikTok: @marcellakrollAdam SmithWebsite: https://thehiddentarot.comInstagram: @adambombl13✨ Connect with Daughters of the Moon Podcast:

President/General of the Universal African Peoples Organization, Zaki Baruti, returns to our classroom! Zaki will break down the Supreme Court’s recent Voting Rights decision and reveal how it could shape the future of our democracy—including this fall’s elections. He’ll dive into what happened in the Texas Primary and preview the pivotal races ahead in California and St. Louis, offering insight you won’t find anywhere else. The morning kicks off with Sister Phile, who brings urgency to the ongoing search for thousands of missing Black women and girls—stories that demand our attention and action. Then, how well do you know your history? Dr. Nah Dove, acclaimed Afrocology professor at Temple University, will challenge us to rethink what we know about Africa’s past, exploring the rise and fall of legendary civilizations like Kush, the Malian Empire, the Kingdom of Dahomey, Great Zimbabwe, and many more.See omnystudio.com/listener for privacy information.

Welcome to Today'sEpisode of the Daughters of the Moon Podcast! In this episode, we're tuning into the powerful messagesand energies for the month of June

Tonight we come to the end of the entire History of Middle-earth! Join us on the Signum University Discord server: https://discord.com/invite/szXMFAv

Retired 82nd Airborne Captain and member of Veterans for Responsible Leadership, Scott Peoples, joins the Holler for a Memorial Day conversation about service, democracy, political division, and what it means to defend the Constitution after taking off the uniform.They chat about what Memorial Day actually means beyond beach trips and cookouts, to jumping out of planes at Fort Bragg, the growing politicization of the military, and why veterans across the country are speaking out about protecting democratic norms.Scott shares the story that inspired him to join the Army after 9/11, what life inside the 82nd Airborne was really like, and why he believes veterans still have a responsibility to serve long after active duty ends.Become a Sustainer: patreon.com/c/TheHometownHollerSubstack: https://substack.com/@thehometownhollerWebsite: https://www.thehometownholler.com/

Guest speaker Sean Cooper, of Global Serve International, traces the story of Scripture from Genesis to Revelation to show that God's purpose has always been to gather a people for Himself from every tongue, tribe, and nation, fulfilled ultimately in Jesus Christ and the Great Commission. He challenges believers to examine whether God's global mission—especially to unreached peoples—truly matters to them, not necessarily by all going, but by all being meaningfully engaged in God's worldwide purpose through the local church.Faith Bible Church is a loving community making disciples of Jesus Christ.View our full archive of sermons and resourcesLearn more about our church

Here's our recent chat with two members of The Peoples Want Network, an attempt to build an Internationalist movement from below and to the left. For this chat, Rindala and Doxie speak about sharing lessons from movements and uprisings of the recent past from around the world among participants and those hoping to create movements in their own lives, organizing in exile, the enriching practice of building solidarity and the recently published English booklet of The Peoples Want manifesto, Revolutions Of Our Times (Haymarket 2026). At the end of the chat, Rindala announces the upcoming, June 2026 project Mujawara for networking local movement sites with those around the world to further increase intercommunication and solidarity and support such spaces in conflict sites in the SWANA. We've covered a number of the uprisings, migrant struggles, and internationalist organizing topics and movements discussed in the episode since we started in 2010, so feel free to pick through our website if you want to dig a little deeper and hear some views from the times. . ... . .. Featured Track: TFSR by The Willows Whisper

As we approach the very end of HoME, we look at two instances of Tolkien's story-genesis process: The New Shadow and Tal-Elmar. Join us on the Signum University Discord server: https://discord.com/invite/szXMFAv