Podcasts about poets

Cinelle Barnes joins Let's Talk Memoir for a conversation about her brain aneurism rupture, writing a memoir two years after brain surgery, the healing modality that is writing personal narrative, memoir as a palimpsest, having multiple memoirs, narrating from the perspective of the adult, choosing to be in a place of discovery, alternating timelines, offloading thoughts onto sticky notes, when writing becomes episodic and collage like, gratitude as fertilizer for the brain, holding onto our words and art to keep holding onto who we are, investigating the many selves within the self, and her new memoir A Way Home: A Memoir of Losing Yourself and the Beauty of Returning.   Ronit's upcoming workshop: Writing Dynamic Memoir: From Lived Experience to Gripping Story https://www.lmcmurtrylitcenter.org/workshops/writing-dynamic-memoir-from-lived-experience-to-gripping-story   Also in this episode: -micromemoirs -fostering neuroplasticity -changing as we explore   Books mentioned in this episode:  -Easy Beauty by Chloe Cooper Jones -Mother Mary Comes to Me by Arundhati Roy -The Man Who Could Move Clouds by Ingrid Contreras   Cinelle Barnes is the Philippine-born author of Monsoon Mansion: A Memoir, Malaya: Essays on Freedom, and A Way Home: A Memoir of Losing Yourself and the Beauty of Returning. She is also the editor of the New York Times “New and Noteworthy” A Measure of Belonging: Twenty-One Writers of Color on the New American South. Cinelle is a survivor of a brain aneurysm rupture and sits on the Brain Injury Leadership Council of South Carolina, and is the recipient of awards and fellowships from the Sustainable Arts Fund, the Authors League Fund, the National Endowment for the Arts, South Arts, and the North American Travel Journalists Association, among others. She has served on the jury panels for several literary awards, including the inaugural Pulitzer Prize for Memoir. Her writing has appeared in Coastal Living, Travel + Leisure, Buzzfeed, Catapult, Electric Literature, and Longreads, among others. Cinelle lives in Charleston, SC, with her husband, daughter, and cat.    Connect with Cinelle: Webiste: cinellebarnes.com Instagram: @cinellebarnesbooks   Purchase Book via Bookshop: https://bookshop.org/p/books/a-way-home-a-memoir-of-losing-yourself-and-the-beauty-of-returning-cinelle-barnes/1a3f1cce1c657294?ean=9781662510618&next=t   - Ronit Plank bio and links:  Ronit Plank is a writer, teacher, and editor whose work has appeared in The Atlantic, Poets & Writers, River Teeth's Beautiful Things, The Rumpus, Salon, Hippocampus, The New York Times, and elsewhere, earning Best of the Net, Best Microfiction, and multiple Pushcart Prize nominations. Her memoir When She Comes Back was a Book Riot Best True Crime Book and Kirkus Reviews calls it, “An intimate, intuitive, emotionally vivid family account that finds hope in reconciliation". Ronit is also the author of the award-winning short story collection Home is a Made-Up Place, and her work has been anthologized in Selected Memories, Vol. 2: 15 Years of Hippocampus Magazine and Manna Songs: Stories of Jewish Culture and Heritage. Ronit is the Creative Nonfiction Editor at The Citron Review, teaches memoir at a host of venues including the University of Washington's Continuum Program, Antioch University, and 92NY's Roundtable, and is host of the podcast Let's Talk Memoir and the Substack Let's Talk Memoir. Find her on social media @ronitplank   Website: www.ronitplank.com Substack: https://substack.com/@ronitplank Instagram: https://www.instagram.com/ronitplank/ When She Comes Back: https://ronitplank.com/when-she-comes-back/

In a special Pride Month feature produced by Brian DeShazor, young poets from Los Angeles-based Get Lit – Words Ignite respond to the words of LGBTQ trailblazers across generations. After listening to archival recordings by James Baldwin, Audre Lorde, and Quentin Crisp, the poets James Mondares, Candi aka Vonne, and Samantha Rios created original spoken-word pieces inspired by those voices and their enduring messages. The result is a moving intergenerational conversation that connects LGBTQ history, literature, and activism with the experiences of today's emerging writers, demonstrating how the power of queer storytelling continues to inspire new generations. This week on This Way Out, NewsWrap reports on growing concerns over proposed cuts to LGBTQ+ health research and federal grant programs under a new Trump administration plan. We also mark the tenth anniversary of the Pulse nightclub massacre in Orlando, follow protests by transgender rights activists in the United Kingdom over new public-facility restrictions, report on a neo-Nazi disruption of Pride events in Athens, Georgia, and celebrate Broadway history as Qween Jean becomes the first openly transgender Tony Award winner. Featured speakers: Zohran Mamdani, Bruce Villanch, Brian Sonia-Wallace, James Baldwin, James Mondares, Audre Lorde, Candi aka Vonne, Quentin Crisp Samantha Rios Credits: Associate Producer/Lucia Chappelle, Producer/Host Brian DeShazor, News writer Jeb Backe, feature producer Brian DeShazor, NewsWrap reporters, Joe Boehnlein and Melanie Keller, music by Raye and Kim Wilson.

Here is Elizabeth Jiménez Montelongo reading her poem “It is I, the immigrant.”

Listen to Christian Zyp interview with GIna Payzant (writer/director/producer) and Darrin Hagen (composer) about the film PHYSICS FOR POETS. See it at the Telus World of Science Edmonton IMAX Theatre June 25-28 and July 2-4. Each screening starts at 4:30pm.   PHYSICS FOR POETS blends historical drama with magical realism. The film unfolds over one pivotal night in 1633, as Galileo grapples with truth, power, and consequence. Ghostly visits from Johannes Kepler echo across time, connecting the birth of modern science to today's technological age—and asking: Who is in charge? Minimalist staging, jewel-toned costumes, and innovative lighting create a timeless visual world where ideas take centre stage. At its heart, Physics for Poets explores a question that feels more urgent than ever:TIX and INFO: https://www.onlinebookings.edmontonscience.com/DateSelection.aspx?item=6756FACEBOOK: Reel Mench Productions

Music from: Axel the Sot, Bard of the South, Village Idiots, Coeur De Lion, Jenneth Tollin, New World Renaissance Band, Jolly Rogues, Celtic Stone, Belles of Bedlam, Lark the Harper, Kerridwynn, Cross Rogues, Owl Morrisson, In Our Cups, The Hooligans, Culchies, Mickle a Do, Iris and Rose, Maidens III, The Shantyman (Gregg Csikos), Belles of Bedlam, Galamor the Bard VISIT OUR SPONSORS Bawdy Podcast Happy To Be Coloring Pages RESCU The Patrons of the Podcast The Ren List SONGS Song 01: Till the Jug is Dry [02] by Axel the Sot from The Best of Axel The Sot www.facebook.com/pg/Axel-the-Sot-145245625508912 Song 02: Last Princess Of Wales by Bard of the South from The Minstrel Boy www.bardofthesouth.com/ Song 03: South Australia [16] by Village Idiots from Guardians of the Renfaire www.facebook.com/the.village.idiots/ Song 04: Queen's Lunch by Coeur De Lion from Coeur De Lion www.mpetersco.com/CDL/ Song 05: She Moved Through The Faire [13] by Jenneth Tollin from The Bardic Wyrd www.youtube.com/playlist?list=OLAK5uy_k-P7A6YetaThhJ-0wlYUSQ10LQAo4Ik4I Song 06: My Fate [01] by New World Renaissance Band from Poets, Bards, & Singers Of Song[01] Song 07: Old Maui [07] by Jolly Rogues from Hicks the Pirate www.jollyrogues.com Song 08: Little Beggarman [03] by Celtic Stone from Celtic Stone Song 09: Finnegan's Wake [02] by Belles of Bedlam from Folked Up! www.facebook.com/bellesofbedlam Song 10: Loch Lomond [08] by Lark the Harper from Soothing Sounds For Shattered Psyches Song 11: Drunken Sailor [11] by Kerridwynn from Castleton's Best Song 12: Pull Down Below [02] by Cross Rogues from Another Round[03] www.jesselinder.bandcamp.com/ Song 13: Bedlam Boys [08] by Owl Morrison from Sister Viola Song 14: We Bid You Well by In Our Cups from Foolish Pleasure Song 15: Loch Lomond [16] by The Hooligans from In Cider UNKNOW WEBSITE Song 16: Hector The Hero by Culchies from Bruscar Ban Song 17: Rocky Road To Dublin [12] by Mickle a Do from Dear Friends And Gentle Hearts Song 18: The Irish Pig by Iris and Rose from Bedtime Stories www.iris-n-rose.com/ Song 19: Star of the County Down [26] by Maidens III from Charm & Fire Song 20: Jolly Roving Tar [06] by The Shantyman (Gregg Csikos) from Pirate's Life Song 21: The Wild Rover [04] by Belles of Bedlam from Folked Up! www.facebook.com/bellesofbedlam Song 22: Johnny Jump Up [23] by Galamor the Bard from Drive By Barding www.stevemacdonald.org/ Song 23: We Be Soldiers Three [01] by Curtis & Loretta from Sit Down Beside Me www.curtisandloretta.com Song 24: Parting Glass [10] by Counterfeit Bards from Bard from this Hall HOW TO CONTACT US Please post it on Facebook https://www.facebook.com/renfestmusic Please email us at renfestpodcast@gmail.com OTHER CREDITS Thee Bawdy Verson https://renfestbawdypodcast.libsyn.com/ The Minion Song by Fugli www.povera.com Valediction by Marc Gunn https://marcgunn.com/ HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

Send us Fan MailMatteus 16:13-16 Toe Jesus in die streke van Sesarea-Filippi kom, het Hy vir sy dissipels gevra: “Wie, sê die mense, is die Seun van die mens?” Hulle antwoord: “Party sê Johannes die Doper, party Elia, party Jeremia of een van die profete.” “Maar julle,” het Hy gevra, “wie, sê julle, is Ek?” Simon Petrus het geantwoord: “U is die Christus, die Seun van die lewende God.” Ons sien deesdae hoe oneerlike en onbetroubare verslaggewers dikwels bekende mense se karakters in die media wanvoorstel. Ons word blootgestel aan glanspersone se openbare beeld. Poets hulle sy beeld, of bestempel hulle hom as die grootste skarminkel bekend? Maar dan is daar die werklike persoon, wat waarskynlik net ‘n gewone mens soos ek en jy is. Dit is geensins 'n nuwe probleem nie. Jesus het op sy dag, ‘n groot opskudding veroorsaak. Mense was verward. Hulle kon nie vir hulself besluit wie Hy werklik was nie.Matteus 16:13-16 Toe Jesus in die streke van Sesarea-Filippi kom, het Hy vir sy dissipels gevra: “Wie, sê die mense, is die Seun van die mens?” Hulle antwoord: “Party sê Johannes die Doper, party Elia, party Jeremia of een van die profete.” “Maar julle,” het Hy gevra, “wie, sê julle, is Ek?” Simon Petrus het geantwoord: “U is die Christus, die Seun van die lewende God.”Sesarea Filippi was 'n heidense streek bekend vir sy aanbidding van 'n hele aantal gode. Dit gee ons konteks vir die agterdog van die mense. Hulle was gewoond aan die afgode en die heidense Romeinse heerskappy rondom hulle. Die Jode het ‘n Messias verwag. Hulle ‘n profeet verwag, wat hulle uit hulle vreeslike omstandighede gaan bevry. Ander mense het Jesus gesien as ‘n opstoker; ander as ‘n wonderwerker. Maar Jesus vra sy dissipels vir hulle persoonlike oortuigings.Wanneer Petrus sonder huiwering sê - “U is die Christus, die Seun van die lewende God”- is dit nie ‘n bloot intellektuele antwoord nie. Soos Jesus self later bevestig, is dit ‘n Gees-geopenbaarde waarheid. Ware geloof is 'n geskenk en 'n openbaring. In vandag se kultuur van botsende opinies en valse gode in ‘n wêreld van vervalle moraliteit en steeds groeiende verdeeldheid, word ware geloof gebou op hierdie belydenis: dat Jesus die Verlosser van die wêreld is. Die enigste Verlosser van die wêreld is.Dis God se Woord. Vars … vir jou … vandag.Support the showEnjoying The Content?For the price of a cup of coffee each month, you can enable Christianityworks to reach 10,000+ people with a message about the love of Jesus!DONATE R50 MONTHLY

Amil Niazi joins Let's Talk Memoir for a conversation about the pressure on children of immigrants, outsiderness, striving to change our circumstances, what happens to women in the workplace after becoming mothers, confronting misogyny and racism, The Hard Part - her series for The Cut, when people are threatened by ambition, avoiding the need to make memoir prescriptive, offering people perspective that is uniquely yours, sticking to our original vision, finding a way to get our books into the worlds, when work, motherhood, and ambition collide, the desire to have more, the journey of a life, and her new memoir Life After Ambition: A “Good Enough” Memoir. Ronit's upcoming workshop: Writing Dynamic Memoir: From Lived Experience to Gripping Story https://www.lmcmurtrylitcenter.org/workshops/writing-dynamic-memoir-from-lived-experience-to-gripping-story Also in this episode: -pivoting -obligatory gratitude -asking ourselves what drives us   Books mentioned in this episode: Slouching Toward Bethlehem by Joan Didion Daughter by Claudia Dey   Amil Niazi is a writer and producer. She writes The Cut's series on parenting, The Hard Part, and covers work and motherhood and how the two intersect. Her writing has also appeared in The New York Times, The Guardian, and The Washington Post.   Connect with Amil: Instagram: https://www.instagram.com/amilniazi/ Ami Niazi's column on The Cut: https://www.thecut.com/author/amil-niazi/ Life After Ambition: https://www.simonandschuster.com/books/Life-After-Ambition/Amil-Niazi/9781668056035   - Ronit Plank bio and links:  Ronit Plank is a writer, teacher, and editor whose work has appeared in The Atlantic, Poets & Writers, River Teeth's Beautiful Things, The Rumpus, Salon, Hippocampus, The New York Times, and elsewhere, earning Best of the Net, Best Microfiction, and multiple Pushcart Prize nominations. Her memoir When She Comes Back was a Book Riot Best True Crime Book and Kirkus Reviews calls it, “An intimate, intuitive, emotionally vivid family account that finds hope in reconciliation". Ronit is also the author of the award-winning short story collection Home is a Made-Up Place, and her work has been anthologized in Selected Memories, Vol. 2: 15 Years of Hippocampus Magazine and Manna Songs: Stories of Jewish Culture and Heritage. Ronit is the Creative Nonfiction Editor at The Citron Review, teaches memoir at a host of venues including the University of Washington's Continuum Program, Antioch University, and 92NY's Roundtable, and is host of the podcast Let's Talk Memoir and the Substack Let's Talk Memoir. Find her on social media @ronitplank   Website: www.ronitplank.com Substack: https://substack.com/@ronitplank Instagram: https://www.instagram.com/ronitplank/ When She Comes Back: https://ronitplank.com/when-she-comes-back/

The latest from Minitonas, How to boost transit ridership, and Poets for Seniors!

Immigrant artists have a big impact on their adopted countries, but many also leave a legacy in their countries of origin. Daisy Zamora has been a foundational force of poetry here in San Francisco… but before she left her home of Nicaragua she was an active combatant in the movement to topple the Somoza dictatorship in the early 70's.Today she is a professor of Latina/Latino Studies at San Francisco State. Here, Bay Poets host Josiah Luis Alderete reads her poem 'Another Time,' that was published in 1992.

Are you enjoying this? Are you not? Tell us what to do more of, and what you'd like to hear less of. The Reykjavík Grapevine's Iceland Roundup brings you the top news with a healthy dash of local views. In this episode, Grapevine publisher Jón Trausti Sigurðarson is joined by Grapevine's Editor-in-Chief Bart Cameron, and Grapevine friend and contributor Sindri Eldon to roundup the stories making headlines in recent weeks. On the docket this week are: Should Iceland's National Poet, Jónas Hallgrímsson, Be Dug UpJónas Hallgrímsson was a poet and writer who was born in 1807. In 1845 he died after falling down a flight of stairs in Copenhagen whilst drunk. For the past 30 years his birthday, 16 November, has been celebrated as The Day Of The Icelandic Language. In 1946 his remains were moved to Iceland and buried in a new Icelandic national burial ground in Þingvellir. Whether or not it were in fact his remains that were moved from Denmark and buried in Þingvellir remains shrouded in mystery. Not least because the main proponent for finding the remains and moving them was convinced he was in telepathic communication with Jónas, and that communication was the main source of figuring out where the remains were to be found. The ridicule surrounding that led to nobody else ever being buried on the location, and aside from the alleged remains of Jónas Hallgrímsson, another poet, Einar Benediktsson also rests in the sacral plot. Now, documentary makers want to dig up those remains and subject them to a DNA analysis to figure out whether it is in fact Jónas that was buried there, or — as was the popular joke in the 1940s — if it was in fact a Danish baker. A 4,5 Earthquake Just East Of ReykjavíkMonday 1 June saw a 4,5 earthquake with over 1100 subsequent smaller quakes happen in a place called Svínahraun, just east of Reykjavík, near the Hellisheiði geothermal power plant. The area is geologically active, so this is in a sense not an unusual development, although such a large earthquake is rare. In other geologically related news, vulcanologists, geologists and the people of Grindavík are still waiting for the next eruption to matieralise near that town and the Blue Lagoon. However, new research on that volcanic system has indicated that even though the magma chamber under the Blue Lagoon has by now built up more magma than before all of the previous eruptions, an eruption might not take place at all. In Iceland, Your Name Can Now Be SnowRegularly, the Icelandic Naming Committee decides what names our children can and can not have. This week the committee decided that children can be named “Snjór” or snow, “Molly” and “Sifjar” to name a few. The names Mikhael and Danivaan were however rejected.Rapyd Lays Off 40 People, Citing AIOne of Iceland's few payment providers, Rapyd, announced recently that they have laid off 40 people, and replaced them with AI. In the past few years Rapyd has been experiencing some business problems, so the word on the street is that perhaps the whole AI framing is just a ploy to mask actual financial difficulties, or if not, perhaps these are the first AI related mass layoffs in IcelandSupport the show------------------------------------------------------------------------------------------SHOW SUPPORTDonate to the Grapevine here:https://support.grapevine.isYou can also support the Grapevine by shopping in our online store:https://shop.grapevine.is------------------------------------------------------------------------------------------This is a Reykjavík Grapevine podcast.The Reykjavík Grapevine is a free alternative magazine in English published 18 times per year, biweekly during the spring and summer, and monthly during the autumn and winter. The magazine covers everything Iceland-related, with a special focus culture, music, food and travel. The Reykjavík Grapevine's goal is to serve as a trustworthy and reliable source of information for those living in Iceland, visiting Iceland or interested in Iceland. Thanks to our dedicated readership and excellent distribution network, the Reykjavík Grapevine is Iceland's most read English-language publication.You may not agree with what we write or publish, but at least it's not sponsored content.www.grapevine.is

The “Sights + Sounds” team met several of the young poets from the anthology during a literary festival at La Escuelita Elementary School in Oakland.

Now, a poem about becoming ourselves, with the help of our chosen family. This is San Jose Poet, Lorenz Mazon Dumuk reading his poem, “Everyday I become an Egg.”

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. 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

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Amrita Chowdhury and Ujaan Ghosh bring into English for the first time a long-inaccessible masterpiece of South Asian literature Baidehisha Bilasa: The Amorous Plays of Sita's Husband (2025). Composed in the late seventeenth century by Upendra Bhanja — the Odia prince-poet hailed as Kavi Samrat, the Emperor of Poets — the work is a Ramayana that privileges shringara, the erotic sentiment, over martial heroism. Rama-the-lover overshadows Rama-the-warrior, and his conjugal life with Sita takes center stage in a poem dense with puns, classical ragas, and chitrapadya — word-arrangements that resolve into wheels, chariots, and arrows on the page. Famously, every verse begins with the letter ba, and the text has long been considered untranslatable. With a preface by Wendy Doniger, Chowdhury and Ghosh's decade-long translation preserves the strangeness and sensuality of the original while opening it to a new readership. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

Here's Nia Pearl reading her poem ‘Bones talk out of the side of their neck. You can hear more from local poets here. 

The new season of The Windham-Campbell Prizes Podcast kicks off with Lucy Sante, recipient of a 2026 Windham-Campbell Prize for Non-fiction, talking with Prize Director Michael Kelleher about the long-out-of-print and tremendously influential An Anthology of New York Poets, edited by Ron Padgett and David Shapiro.The Windham-Campbell Prizes Podcast is a production of Literary HubHosted by Michael KelleherTheme music by Dani LencioniProduced and edited by Drew BroussardSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Melisa Febos joins Let's Talk Memoir for a conversation about romantic obsessions, celibacy as a portal to freedom, living her way into a corner and having to fight her way out, leading with scene and story and plot, taking back the sovereignty of her own mind and body, approaching oneself as a protagonist, leaving out what isn't central to the story, remembering memoir is not a transcription of a time lived, radical feminists, exercising agency and self-reclamation, living an examined life, integrating memories that were indigestible to us in the moment, the project of looking at ourselves honestly, and her most recent book, now in paperback The Dry Season: A Memoir of Pleasure in a Year Without Sex. Ronit's upcoming workshop: Writing Dynamic Memoir: From Lived Experience to Gripping Story https://www.lmcmurtrylitcenter.org/workshops/writing-dynamic-memoir-from-lived-experience-to-gripping-story   Also in this episode: -deepending friendships  -memoir-plus digressions -writing about our obsessions   Books mentioned in this episode: Will and Attention by Meghan O'Gieblyn  Canon by Paige Lewis Fat Swim by Emma Copley Eisenberg   Melissa Febos is the national bestselling author of five books, including Abandon Me, Girlhood—which won the National Book Critics Circle Award in Criticism, Body Work: The Radical Power of Personal Narrative, and, most recently, The Dry Season. Her awards and fellowships include those from the Guggenheim Foundation, LAMBDA Literary, the National Endowment for the Arts, The British Library, The Black Mountain Institute, MacDowell, the Bogliasco Foundation, The American Library in Paris, and others. Her work has appeared in The Paris Review, The New Yorker, The Sun, The New York Times Magazine, The Best American Essays, Vogue, The Best American Travel and Food Writing, and New York Review of Books. Febos is a Roy J. Carver Professor at the University of Iowa, where she teaches in the Nonfiction Writing Program. She lives in Iowa City with her wife, the poet Donika Kelly.   Connect with Melissa: Website: https://www.melissafebos.com/ Instagram: https://www.instagram.com/melissafebos Purchase book via bookshop: This is for the pre-order paperback for The Dry Season https://bookshop.org/p/books/the-dry-season-a-memoir-of-pleasure-in-a-year-without-sex-melissa-febos/f1c8367d8e351d91?ean=9780593685150&next=t - Ronit Plank bio and links:  Ronit Plank is a writer, teacher, and editor whose work has appeared in The Atlantic, Poets & Writers, River Teeth's Beautiful Things, The Rumpus, Salon, Hippocampus, The New York Times, and elsewhere, earning Best of the Net, Best Microfiction, and multiple Pushcart Prize nominations. Her memoir When She Comes Back was a Book Riot Best True Crime Book and Kirkus Reviews calls it, “An intimate, intuitive, emotionally vivid family account that finds hope in reconciliation". Ronit is also the author of the award-winning short story collection Home is a Made-Up Place, and her work has been anthologized in Selected Memories, Vol. 2: 15 Years of Hippocampus Magazine and Manna Songs: Stories of Jewish Culture and Heritage. Ronit is the Creative Nonfiction Editor at The Citron Review, teaches memoir at a host of venues including the University of Washington's Continuum Program, Antioch University, and 92NY's Roundtable, and is host of the podcast Let's Talk Memoir and the Substack Let's Talk Memoir. Find her on social media @ronitplank   Website: www.ronitplank.com Substack: https://substack.com/@ronitplank Instagram: https://www.instagram.com/ronitplank/ When She Comes Back: https://ronitplank.com/when-she-comes-back/

Come Hang Loose with The Allergies. On the show this month we have new joints from Cut Capers feat. K.O.G, DJ Robert Smith & SlimKid3, and our brand new single 'All The Time' to play you. Plus, the best of our Juno and Spotify charts, a free track giveaway, some 45s for your record boxes, and a back-back mix of beats and rhymes to make you bump and boogie. Enjoy, music lovers...Tracklist...Wilson Pickett  - Mojo MammaJoe Cuba - Bang BangPsalm One - Beat The DrumClarence Carter - Funky FeverFunk of The Month: Cut Capers & K.O.G - RunningThe Allergies - All The TimeDJ Robert Smith - All My Dreams Rmx feat.Slimkid3 & K-NaturalTolliver - Funky Man (feat. Talk2Strangers & TwoLips)The Avalanches - Together Pepe Deluxe - Women In BlueAim - Underground Crown HoldersLyrics Born & The Poets of Rhythm - I Changed My Mind (Rattlesnake Mix By Stereo MC's)4 x 45s:The Allergies - Love's Supposed To beSuckaside - Better B-Ready CHEEBA'S REGGAE SOUND BOYS - Sound of the VoodooThe Allergies – This FeelingMPFREE: The Allergies – Big Bad WomanGrant Phabao & Riders Against the Storm - Go!TY - The Willing Kleeer - De Kleeer TingCat Boys ft. Asuka Ando - Gypsy WomanThe Shake Up Mix:Bobby Byrd - I Know You Got Soul (Swell's Power Surge Mix)Sam Irl - Keep Talkin'Timewarp Inc - Funky Bob Timbales (BMD remix feat. Nawias)Paul Nero - This Is SoulThe Rebirth - Evil Vibrations Boca 45 - We're Right HereBig Daddy Kane - It's a Big Daddy ThingPara - The HideawayMash & Munkee - Make A DifferenceChickin Lips - Shoe BeastFunky Destination - It's in the Music Marvin Gaye - Got To Give It Up (Nick Bike's '3000' Edit)Dr Rubberfunk - The OwnerBocaWoody - OnetwothreeLast Call: Prince Fatty - Sunshine

   (8) Josiah Osgood explains that following his death, Cato became a "Stoic saint" and a symbol of lost liberty, celebrated by poets like Virgil and Lucan. Caesar's attempt to trash his memory in the Anti-Cato failed to dim Cato's luster as a noble martyr. His reputation for reform even influenced Augustus's imperial image. Under Nero's tyranny, Cato's suicide inspired dissidents who sought dignity through defiant ends. The book concludes with the irony of the Civil War: the peace Romans craved ultimately brought a master, ending the Republic through the very rivalry that defined it.CATO SUICIDE

An entire London history in one vanished gate.

San Francisco's first Latino poet laureate, Alejandro Murguia published his poem ‘Mission Vision,' in 2013. Here is Bay Poets host Josiah Luis Alderete reciting it.

This musical podcast explores how Melbourne's vibrant South Asian community continues to nurture the spirit of poetry and performance through shayari, ghazals, music, and storytelling in Hindi and Urdu. Featuring Sidra Surmed and Abhishek Tripathi, the artists share their poetry with us with a reflection on their upcoming show 'Woh Bhooli Dastaan' where storytelling shall revive forgotten narratives and bring them back to life. Further, they discuss how art remains a powerful expression of creativity and authenticity, highlighting the enduring strength of the human voice at the heart of performance.

Peter Abrahams and Jill Erickson talk about volumes of poetry, novels that feature poetry, and biographies featuring poets.

Peter Abrahams and Jill Erickson talk about volumes of poetry, novels that feature poetry, and biographies featuring poets.

When was the last time you sparked up a conversation with a stranger and surprised yourself with how good it felt? Behavioral scientist Nicholas Epley, author of A Little More Social, returns to the podcast to discuss with Michael why we systematically underestimate how positively strangers respond, how connection supports happiness, health, and longevity, and the key mechanisms behind our social pessimism (misjudging warmth vs. competence, overlooking reciprocity, and self-fulfilling avoidance). Nicholas shares research on how quickly people update after a conversation and how fast those gains can fade, plus practical “easy choice” experiments like asking someone to take your photo or simply asking, “Can you tell me your story?” Plus, in a special post-interview discussion, listener-turned-friend of Michael's, therapist Dr. Jennifer Kauder, joins Michael to reflect on voice vs. text, comfort-zone challenges, and why real-time connection changes everything.Listen and Learn: The surprising benefits of connecting with people you don't know, and why our minds trick us into fearing these interactions that can lengthen and enrich our livesPsychological traps that make us overly pessimistic about reaching out to others, and why we miss out on deeper, happier connections due to misplaced expectations Research on why trying to push past social awkwardness just once isn't enough, and why our brains quickly forget positive interactions Why our confidence drops right before we approach someone new, the psychology behind why starting a conversation is much easier than anticipating it, and how small mindsets can instantly dissolve social anxiety A simple, foolproof question that skips past awkward small talk, ignites genuine curiosity, and uncovers the fascinating, hidden storiesResources: A Little More Social: How Small Choices Create Unexpected Happiness, Health, and Connection https://bookshop.org/a/30734/9780593319543 Nicholas' Website: https://www.nicholasepley.com/Nicholas Epley on LinkedIn: https://www.linkedin.com/in/nicholas-epley/ Michael's Confidence Course: https://herold.coach/courseRejection Proof by Jia Jiang: https://bookshop.org/a/30734/9780804141383 About Nicholas EpleyNicholas Epley is the John Templeton Keller Distinguished Service Professor of Behavioral Science and Director of the Roman Family Center for Decision Research, at the University of Chicago Booth School of Business. He studies social cognition—how thinking people think about other thinking people—to understand why smart people so routinely misunderstand each other. He teaches an ethics and happiness course to MBA students called Designing a Good Life. His research has appeared in more than two dozen empirical journals, been featured by the New York Times, Wall Street Journal, CNN, Wired, and National Public Radio, among many others, and has been funded by the National Science Foundation and the Templeton Foundation. He has been awarded the 2008 Theoretical Innovation Award from the Society for Personality and Social Psychology, the 2011 Distinguished Scientific Award for Early Career Contribution to Psychology from the American Psychological Association, the 2015 Book Prize for the Promotion of Social and Personality Science, and the 2018 Career Trajectory Award from the Society for Experimental Social Psychology. Epley was named a “professor to watch” by the Financial Times, one of the “World's Best 40 under 40 Business School Professors” by Poets and Quants, and one of the 100 Most Influential in Business Ethics in 2015 by Ethisphere. He is the author of Mindwise: How We Understand What Others Think, Believe, Feel, and Want. His new book, A Little More Social: How Small Choices Create Unexpected Happiness, Health, and Connection, was published in May! (Our UK listeners will find the book titled Hello: The Unexpected Power of Choosing To Connect)Related Episodes422. Mindwise with Nicholas Epley454. Remain Calm. Confidence Ahead with Michael Herold313. ACT-Informed Exposure for Anxiety with Brian Pilecki and Brian Thompson393. Supercommunicators with Charles Duhigg360. The Laws of Connection with David RobsonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In celebration of the launch of season 8, Jill Christman joins Let's Talk Memoir to interview Ronit about growing up with no blueprint for making a relationship work, fending for ourselves in childhood, being driven by curiosity, writing about others with generosity and complexity, conveying to readers that we are not the only one, the use of speculation to move toward a deeper truth, the key to memoir structure, how the now-narrator reaches a hand back to help the character we were, finding a deeper empathy and understanding, opposite world, trying to look perfectly 1980s, trusting that our memories are trying to tell us something, and Ronit's memoir When She Comes Back.   Also in this episode: -Swedish Fish -The Love Boat -being prologue girls   Books mentioned in this episode: The Situation and the Story by Vivian Gornick Notes of a Native Son by James Baldwin Stop-Time by Frank Conroy This Boy's Life by Tobias Wolf To Show and to Tell by Pilllip Lopate Jill Christman bio and links: Jill Christman is the author of The Heart Folds Early: A Memoir (released March 2026 from the University of Nebraska Press). Christman's other books include If This Were Fiction: A Love Story in Essays (2023 Foreword INDIES Silver Winner), Darkroom: A Family Exposure (winner of AWP Prize for CNF), and Borrowed Babies: Apprenticing for Motherhood. Her essays have appeared in many anthologies and in magazines such as Brevity, Creative Nonfiction, Fourth Genre, Iron Horse Literary Review, Longreads, and O, The Oprah Magazine. A 2020 NEA Literature Fellow, she teaches at Ball State University and serves as editor of River Teeth: A Journal of Nonfiction Narrative and Beautiful Things (a weekly online magazine of micro nonfiction). Visit her at jillchristman.com. Connect with Jill: https://www.instagram.com/jillchristmanwriter @jillchristman.bsky.social jillchristman.com Order for yourself and all your memoir-loving friends—directly from the University of Nebraska Press or your local independent or by using any of the handy links on my website. Use code 6AS26 for 40% off on any UNP book! Ronit Plank bio and links:  Ronit Plank is a writer, teacher, and editor whose work has appeared in The Atlantic, Poets & Writers, River Teeth's Beautiful Things, The Rumpus, Salon, Hippocampus, The New York Times, and elsewhere, earning Best of the Net, Best Microfiction, and multiple Pushcart Prize nominations. Her memoir When She Comes Back was a Book Riot Best True Crime Book and Kirkus Reviews calls it, “An intimate, intuitive, emotionally vivid family account that finds hope in reconciliation". Ronit is also the author of the award-winning short story collection Home is a Made-Up Place, and her work has been anthologized in Selected Memories, Vol. 2: 15 Years of Hippocampus Magazine and Manna Songs: Stories of Jewish Culture and Heritage. Ronit is the Creative Nonfiction Editor at The Citron Review, teaches memoir at a host of venues including the University of Washington's Continuum Program, Antioch University, and 92NY's Roundtable, and is host of the podcast Let's Talk Memoir and the Substack Let's Talk Memoir. Find her on social media @ronitplank   Website: www.ronitplank.com Substack: https://substack.com/@ronitplank Instagram: https://www.instagram.com/ronitplank/ When She Comes Back: https://ronitplank.com/when-she-comes-back/

Danni Blackman is a multi-disciplined artist who's visual artist name is Decomposing Mystic. Here, she reads her poem by the same name.

Episode Topic: Poets & Art with Adela NajarroPoet Adela Najarro was in residence with Letras Latinas and the Raclin Murphy Museum Art in March 2026 for the second event of “Poets & Art: Ekphrasis at the Raclin Murphy Museum of Art,” a multi-year partnership between the Museum and the Institute for Latino Studies. Enjoy a reading of her poems and an exploration of poetry and the visual arts in conversation with one another.Featured Speakers:Adela Najarro, poetRead this episode's recap over on the University of Notre Dame's open online learning community platform, ThinkND: https://go.nd.edu/3b86d2.This podcast is a part of the ThinkND Series titled Letras Latinas.Thanks for listening! The ThinkND Podcast is brought to you by ThinkND, the University of Notre Dame's online learning community. We connect you with videos, podcasts, articles, courses, and other resources to inspire minds and spark conversations on topics that matter to you — everything from faith and politics, to science, technology, and your career.Learn more about ThinkND and register for upcoming live events at think.nd.edu.Join our LinkedIn community for updates, episode clips, and more.

Quran Chapter 26, Ash-Shu'ara (“The Poets”), emphasizes the message of divine guidance and the repeated rejection of prophets by their people. The surah recounts the stories of prophets such as Moses, Abraham, Noah, Hud, Salih, Lot, and Shu'ayb, highlighting themes of faith, perseverance, and the consequences of denying truth. It concludes by affirming the authenticity of the Quran and distinguishing true divine revelation from the words of misguided poets. This video series is a curated collection of reflections and summaries drawn from the 30 Days with the Qur'an series, where each Juz was explored over the month of Ramadan. While not a full tafsir, these concise and heartfelt talks aim to highlight key themes and insights from each Surah to inspire a deeper connection with the Qur'an. In this series, we've taken those reflections and focused them surah by surah, offering a dedicated video for each chapter of the Qur'an. The goal is to spark curiosity, build motivation, and encourage further study of the Qur'an in a manageable, engaging format. Whether you're revisiting familiar Surahs or exploring new ones, these summaries are here to help you pause, reflect, and fall in love with the Qur'an all over again. Link to donate - https://www.whitethread.org/whitethread-centre/

Oakland poet Cyrus Armajani helps us pause to consider nature, humanity, and freedom. Here he is, reading his poem, "Free."

What does it truly mean to be a “prodigy?” For the poet, professor and author of The People Can Fly Joshua Bennett, the answer is complicated. But maybe telling stories can help. In The People Can Fly, Bennett explores the lives and legacies of Black prodigies throughout history — including himself — by blending memoir, folklore and history into one book. In today's episode, Bennett joins NPR's Michel Martin to discuss how fatherhood and brotherhood expanded his notions of intelligence, and how The People Can Fly is both a reflection of the past and a hope for the future. To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedaySee pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Timothy Schraeder Rodriguez joins Let's Talk Memoir for a conversation about  going through almost a decade of conversion therapy, dismantling the dogma of pseudo science with its added layer of spiritual discipline, feeling desperate to change, yearning for a place to belong, keeping faith without losing soul, holding onto journals with the sense of using them someday, the difficulty of having to revisit traumatic experiences, weaving in dark humor, being a present-day witness to the past and honoring the more innocent, naive version of ourselves, getting sober and writing from a place of peace, making discoveries in the memoir-writing process, the importance of platform for nonfiction authors, being present and active on social media before our memoirs  come out, being a queer person of faith, loving the present day person we've become, and his new memoir Conversion Therapy Dropout: A Queer Story of Faith and Belonging.   Also in this episode: -finding a writing community -the generosity of other writers -having a therapist on speed dial Books mentioned in this episode: -Boy Erased by Garrard Conley -All Down Darkness Wide by Sean Hewitt -Bird by Bird by Ann Lamott -How to Write an AUtobiographical Novel by Alexander Chee -books by David Sedaris -books by Augusten Burroughs   Timothy Schraeder Rodriguez spent almost a decade in gay conversion therapy—all while working behind the scenes at some of the most influential Evangelical Christian megachurches. After embracing his identity as a gay Christian and stepping away from church work, he co-founded Church Clarity, an organization that helps queer people find affirming faith communities. His story and work have been featured by BBC Newshour, TIME, NBC, VICE, The Washington Post, Huffington Post, and Religion News Service. Born in the Midwest, he now calls New York City home, where he continues his work as a writer, digital strategist, and advocate for queer people of faith. His first book is Conversion Therapy Dropout: A Queer Story of Faith and Belonging. Connect with Timothy:  Website: https://www.conversiontherapydropoutbook.com Instagram: https://www.instagram.com/timothy.s.rodriguez Threads: https://www.threads.com/@timothy.s.rodriguez Tik Tok: https://www.tiktok.com/@timothy.s.rodriguez Substack: https://timothysrodriguez.substack.com   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social  

We talk over the picks on Poets&Quants's inaugural Career & Admissions Bestseller List, from ‘How to Win Friends and Influence People' to ‘What Colour is Your Parachute'. 

Today's poem is Liquefying by Chloe Yelena Miller. The Slowdown is your daily poetry ritual. In this episode, Maggie writes… “Poets use language the way an artist uses paint, the way sculptors use clay. It's our material. We have to use it wisely, not only as craftspeople but as humans who care about others. The way today's poem talks about vision — and vision problems — is original, and vulnerable, and full of nuance. It uses the idea of vision to speak not only into the future, but also, into the past.”This show is supported by gifts from listeners. Support The Slowdown with a donation and get access to the sponsor-free version of The Slowdown today. Slowdownshow.org/donate

Author Eugenia Johnson-Smith believes writers should focus on getting their thoughts down in a first draft and worry about grammar and style later. "Don't be too critical," she says, "because you've got to get the words on the page."Eugenia shares some of the prompts that help her and her students write without pressure or judgment. She also discusses the Kentucky Black Writers Collaborative, including her new role there. About Eugenia Johnson-SmithEugenia Johnson-Smith is the author of Positive Power: 31 Devotions to Help Unleash Your Positive Power. She is a coach, international inspirational/motivational speaker, and freelance writer. Eugenia is the owner and CEO of Positive Power, LLC., Training and Development.Her work has been published in the Kentucky Monthly Magazine, Presbyterians Today Magazine, and she is a columnist for The Lextropolis Magazine. In addition, she has stories in numerous anthologies, and she currently works at the Carnegie Center as the Kentucky Black Writers Collaborative Associate. She teaches several classes at the Carnegie Center, including Free Writing Practice.

This podcast features novelist and our 2026 Heimbold Chair Cauvery Madhavan speaking with two poets from Queens University's Seamus Heaney Centre - Niamh Twomey, and Emma Devlin. They discuss the importance of creative community, emphasizing that writing is not purely solitary but shaped by conversation, friendship, teaching, reading, and exchange.A major focus is how environmental concerns and the climate crisis enter their work naturally rather than didactically. Devlin describes fiction shaped by transformation and ecological change, while Twomey discusses her eco-feminist reimagining of Irish myth through poetry. Together, the conversation highlights writing as a powerful way to respond to change, grief, imagination, and the natural world.

After four years of Let's Talk Memoir, I wanted to take a moment to thank you for being here and share a few exciting updates about what's ahead for the podcast. In this short episode, I talk about some changes coming in Season 8, new ways to connect with the show and memoir community, and a few things I've been quietly working on behind the scenes. Thank you for listening, supporting the show, and being part of this space for writers, readers, and storytellers. I'm so excited for what's next. Ronit's in-person Fall Workshop - Writing Dynamic Memoir: From Lived Experience to Gripping Story https://www.lmcmurtrylitcenter.org/workshops/writing-dynamic-memoir-from-lived-experience-to-gripping-story – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

Dr. Craig Yorke joins Let's Talk Memoir for a conversation about the toll of centuries of bigotry, being consumed by race, growing up with psychological financial desperation, living other people's lives, rethinking what Black studies are, processing shame, shedding identities assigned to us, the use of memory for liberation, being ruthless in our writing and revision process, the steep climb toward clarifying ourselves, bringing neuroscience to life, inviting people to wake up to how our history has controlled us, delighting in surprise, and his new memoir: STEEP: A Black Neurosurgeon's Journey.   Also in this episode: -growing up with scarcity -the price of success -listening for the music in our writing   Books mentioned in this episode: The Beautiful Brain:The Drawings of Santiago Ramon Y Cajal by Larry W. Swanson On Writing Well by William Zisner Comfortable with Uncertainty by Pema Chodran The Fire Next Time by James Baldwin Art is Therapy by Alain De Botton Brown by Kevin Young How the Word is Passed by Clint Smith The poem “Four Quartets” by T.S. Elliot Dr. Craig Yorke was born in Roxbury, Massachusetts. He received a BA from Harvard College in 1970 and an MD from Harvard Medical School in 1974. His parental directive insisted he avenge centuries of bigotry with a life of infinite success. After a neurosurgical residency at the University of California at San Francisco, he and his wife Mary found their way to an unlikely destination. He practiced in Topeka, Kansas, for 25 years, wrestling with his history and the armored identity it had imposed. He and Mary raised two admirable boys, Zack who lives in Brooklyn and Chris who calls Seattle home. Dr. Yorke brews coffee for two each morning in the colonial home they've occupied for 33 years. He's a credible violinist, having played the Bruch G Minor concerto with the Boston Pops at 17, and hits tennis balls with passion. Steep is his first book.   Connect with Craig: Website: https://www.craigyorke.com/ Facebook: https://www.facebook.com/profile.php?id=61570269755209   Purchase book: https://www.amazon.com/Steep-Neurosurgeons-Journey-Craig-Yorke/dp/1953583989/ https://bookshop.org/p/books/steep-a-black-neurosurgeon-s-journey-craig-yorke/c5808fe0489a778c?ean=9781953583987&next=t&aid=107402&listref=our-authors-books – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

Monica Macansantos joins Let's Talk Memoir for a conversation about organizing her collection of essays around her father's very sudden and unexpected passing, not being sure she could write again, when common themes begin to emerge, connecting with loved ones through writing, recognizing and exploring complicated relationships with a home town and home country, feeling othered, the literary scene in the Phillipines, how writing takes a level of privilege, modeling literary citizenship, deepening our narrative journeys and allowing ourselves to go places we didn't plan, growing up in a colonized land, leaning into the discomfort of writing, giving shape to grief, taking risks, and her new essay collection Returning to My Father's Kitchen.   Ronit's in-person Fall Workshop - Writing Dynamic Memoir: From Lived Experience to Gripping Story  https://www.lmcmurtrylitcenter.org/workshops/writing-dynamic-memoir-from-lived-experience-to-gripping-story   Also in this episode: -gatekeeping in writing -thinking about what home is -when the puzzle pieces come together   Books mentioned in this episode: The Art of Revision by Peter Ho Davies The Glass Eye by Jeannie Vanasco  Memorial Drive by Natasha Tretheway The Memory Eaters by Elizabeth  The Second Tree from the Corner by E.B. White cut after 37:40-37:54 start 37:55 begin “I think I connected”   Monica Macansantos is the author of the essay collection, Returning to My Father's Kitchen (Curbstone/Northwestern University Press, 2025), and the story collection, Love and Other Rituals (Grattan Street Press, 2022). She was a 2024-25 Shearing Fellow with the Black Mountain Institute in Las Vegas, and a 2025 Marguerite & Lamar Smith Fellow with the Carson McCullers Center in Columbus, Georgia. Her work has recently appeared in Electric Lit, River Styx, Lit Hub, Bennington Review, and Poor Yorick, among others. Her honors include a James A. Michener Fellowship from the University of Texas at Austin, and residencies from Hedgebrook, the Kimmel Harding Nelson Center for the Arts, the Storyknife Writers Retreat, the I-Park Foundation, and Monson Arts.    Connect with Monica: Website: https://monicamacansantos.com Instagram: https://www.instagram.com/madamebutchay/ Bluesky: @missmacansantos.bsky.social   Purchase Book: Purchase Returning to My Father's Kitchen from Northwestern University Press: https://nupress.northwestern.edu/9780810148390/returning-to-my-fathers-kitchen/ Or from Bookshop: https://bookshop.org/p/books/returning-to-my-father-s-kitchen-essays-monica-macansantos/8c4605e505fd4de8?ean=9780810148390&next=t&next=t Or from Amazon: https://www.amazon.com/Returning-My-Fathers-Kitchen-Essays/dp/0810148390/ref=tmm_pap_swatch_0 – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social  

What has the church forgotten that moved and energized Abraham Moses David Paul and the great men and women of the Bible? The answer is closer than you think…

A century after Shakespeare's death, his words were in danger of being forgotten. While plays like King Lear and Othello still played to packed houses across England, audiences saw only the bowdlerized versions—censored, rewritten, and stripped of anything that could be considered distasteful. How, then, did Shakespeare's original works re-emerge? Thank the Shakespeare Ladies Club, a group of influential women who rescued his reputation(and his double entendres) from obscurity. In their book, The Shakespeare Ladies Club: The Forgotten Women Who Saved the Bawdy Bard, Christine and Jonathan Hainsworth uncover the club's unsung contributions to Shakespeare's legacy. Thanks to the Hainsworths, Westminster Abbey has now officially recognized the Shakespeare Ladies Club for their campaign to memorialize Shakespeare in Poets' Corner. But, they reveal, the club's influence goes even deeper than that. In this episode, Christine and Jonathan Hainsworth shine a light on this remarkable group of women and how they made Shakespeare the cultural icon he is today.

Jacque Gorelick joins Let's Talk Memoir for a conversation about growing up missing a mother, surviving a fractured family and worrying you're broken in unfixable ways, how her husband's medical crisis upended her life as a new mother, letting our inner selves be cared for, protecting a space where a mother should be, owning our story, gathering all the pieces for structure, weaving in backstory to strengthen the stakes, including letters and managing time in memoir, telling the truth as we know it,  taking risks, how we're never finished, and her new memoir Map of a Heart: A Memoir of Love, Loss, and Finding the Way Home. Also in this episode: -coping strategies -letting our guard down -being once mothered, motherless, and unmothered Books mentioned in this episode:  Bird by Bird by Anne Lamott The Art of Memoir by Mary Karr Fast Draft Your Memoir by Rachael Herron  Jacque's essays about family, motherhood, estrangement, education, and health have appeared or are forthcoming in The New York Times, Salon, Los Angeles Review of Books, The Kenyon Review, Pithead Chapel, X-R-A-Y, Healthy Women, The Washington Post, HuffPost and more.  After spending her fractured childhood in search of home and belonging, Jacque spent her adult life working with children and families. She has a degree in psychology and a graduate degree in education with an emphasis in early childhood development. She has always been fascinated with how family shapes and defines us, and how we ultimately choose to define it for ourselves.  A California native, Jacque has lived all over the West Coast from Santa Barbara to Alaska. Now firmly rooted in the San Francisco Bay Area, she lives beside a creek under redwood trees with her husband, two boys, and a mélange of rescues. To find out more about Jacque and her work visit her website at jacquegorelick.com.   Connect with Jacque: Website: https://www.jacquegorelick.com/ Facebook: https://www.facebook.com/jacque.gorelick/ IG @jacgorelick: https://www.instagram.com/jacgorelick/ Threads @jacgorelick: https://www.threads.com/@jacgorelick Substack: Heartmatters https://jacquegorelickheartmatters.substack.com/?utm_campaign=profile_chips Purchase book via Bookshop: https://bookshop.org/p/books/map-of-a-heart-a-memoir-of-love-loss-and-finding-the-way-home-jacque-gorelick/9daeff1a91645131?ean=9783988322265&next=t – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book.   More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social

How can you navigate uncertainty in a constantly changing market? Why is persistence the key to a sustainable creative career? Plus why distribution is so important, and the four ways to monetise your creative work. All this and more with Adam Leipzig. In the intro, my reflections on running an author-publisher business after a fantastic e-commerce workshop run by Blubolt, and why you will always pay for marketing with either your time or your money; AI-Assisted Artisan Author webinars; and last call for my Kickstarter Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing books still matters in a world saturated with visual media The Jeffrey Katzenberg “next” lesson and the power of fearless persistence How uncertainty and the “long middle” are essential parts of the creative process What film editing can teach writers about cutting, shaping, and refining their work The 10 Laws of Culturenomics, including why awareness is not desire and why distribution is everything How generative AI is changing filmmaking — and why creatives should be the architects, not the tools You can find Adam at AdamLeipzig.com. Transcript of Interview with Adam Leipzig Jo: Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. Welcome to the show, Adam. Adam: Thank you so much for having me, Jo. Jo: I'm excited to talk to you today. You have written several books, but you have worked on many more films. So I wondered, why do you think books still have a part to play in reaching people? What do you love about writing books that is different to your filmmaking work? Adam: You can put so much information in a book, and the beautiful thing about a book is that you can pick it up wherever you want, whenever you want, and leave it off and go back to it. It's just waiting for you and it's there. It really allows me, and other authors like me, to share information in a different way, with more details and more stories and more specificity. I love the ability to just share that information and have it always available. You don't need a device, you don't need to have a subscription. You can just go to it whenever you want. You asked me what I love about writing. Like a lot of writers, I'm not sure I love writing, but I do love having written. The thing about a book is that it's a very solitary exercise. A film is a highly collaborative exercise. No movie gets made by one person. It's made by hundreds or sometimes thousands of people. But this book is just me and a laptop and notes and a lot of thought. It's a very introverted, almost monkish existence while you're doing that, and then it has to go out into the world—and that's when it really starts to interact with people. So there's this huge difference between being alone and being always in a collaborative environment, which is what happens when I'm making a movie. Jo: Most listeners will be independent authors in some way, and a lot of us do this because we're control freaks. We like being the only people. So how is that different? You mentioned collaboration in the film industry, but is it almost freeing to do a book without having that? I mean obviously you have editors and publishers and stuff, but— Is it freeing in some creative way? Adam: It is really nice, because there is not another point of view in the room and I can just say what I feel and know that that's there. At the same time, you're right—I have had some amazing editor help and I've had some great early readers that have given me feedback on it and helped me make it so much better than it was when I finished the first draft. I knew that going in. I always test and share what I'm doing to make sure that it lands in the way that I wanted it to land, and it can be helpful for people. Jo: Getting into the book, you have a chapter on “what you do matters.” I feel like this is super hard. This is not a political show, so we're not doing politics, but there are a lot of big things going on in the world. It can be very hard as writers to think, is writing my book actually going to make a difference? So how can you encourage people? Adam: That's the hardest thing, Jo, because there is a lot going on in the world right now. Everything that's going on in the world right now exists because it's following a certain narrative. I don't believe that narratives are come up with because people look at things that are happening and say, “Oh, well let's just write what happened.” I think that we do things from micro experiences that we have with ourselves, our relationships, our families, to the macro experiences of politics and global situations. I believe that happens because there is a narrative that is being followed. So what I say to all creative people is that it's our job to craft and express the narratives that matter—and different narratives—so those narratives can be followed. One of the points that I make in the book is that poets are not overtly really dangerous people. Poets are generally lovely people, a lot of them don't talk too much. They're great to have dinner with, and they just work with words—and often not a lot of words, right? Because beautiful poetry is often concise and simple and spare. Yet there are places where poets are in jail. Because the narratives of those concise, spare, gorgeous idealistic words matter so much that those voices need to be silenced, which means those narratives are dangerous sometimes. Those narratives present an alternate world, an alternate view of reality. I think it's really our job as creative people, as entrepreneurs, as people who are essentially creating narratives out of the soul of our lives and our experience—we want to express those to the world. It's really important for us to express those to the world, especially now, especially because so much is going on. Those narratives are going to become pathways that others can look at and maybe follow. I think that's really important. It's the reason why we do our work. Jo: I absolutely agree with you around writing the narratives that we want in the world. “Be the change you want to see in the world” and all that. I also want to call out the fact that there are hundreds of thousands of books now published, and you come from the film industry, and many more people really watch films or play games than read books. I've wondered about this myself. I've written a few screenplays and sometimes it feels that wouldn't it be better to try and put our words into a visual medium? A lot of authors listening will do micro video like TikTok and all of this. So this is back to the question of— Why books? How can we change these narratives when we feel like we're drowned out by all the media? Adam: I think it's great for authors to express themselves in other media. I have a pretty active Instagram channel, and I love doing that, but it's a really different thing. I'm talking to people in two-minute bursts with very specific things. It's not the same and not the same detail as a book. If we let our understanding of the ocean of content that is always coming to us stop us from doing anything, we wouldn't do anything. That's also true about movies. There are probably 10,000 movies made every year. There are a few hundred that are released. So if every day I thought, “Oh, the movie that I'm working on is maybe not going to be released because there's only a small percent of movies that are made that are released.” Or worse than that, “Of all the movies that are made, there's 500 different shows on Netflix and Apple and Amazon and there's so many choices.” If I thought that everything I was going to do is going to be drowned out, I wouldn't do anything. I just don't believe that's true. I think it's our job to do things. Yes, there's an ocean of content out there, but what we do really matters, and it doesn't have to matter at gigantic scale. We don't know the scale that our work is going to achieve over time. One of the early films that I worked on is a film called Dead Poets Society, and that script was passed on by every studio at least three times. It's probably a film that I couldn't get made now for all kinds of reasons, because it's not a sequel and it doesn't have superheroes or visual effects. When we made that movie, we didn't know the impact it was going to have. It could have been drowned out by things, but it rose to a level that everywhere in the world I go, someone has seen that movie, including people who were not born when that movie was made. We don't know the long arc of our work and the people that it affects. Jo: I love that movie too. “Oh Captain, my Captain.” I can hear everyone saying that behind the screens. This brings us to the title, Fearless Persistence, because of course Dead Poets Society ended up being an incredible success, but not everything turns out so well. I wondered if you could talk about this persistence. How do you keep creating after something you perceived as a failure, or perhaps all the things that didn't get made? Why is persistence so important that you use it in the title? Adam: I've been super fortunate. I've worked with amazing people and on great projects. I've made 40 films at this point, and I'm making more. I've tried to make 400 films. I failed at getting them made 90% of the time, and that's okay. I just keep going. When I was working at Disney and I was an executive at Walt Disney Studios for seven years, there was one movie that we were opening and nobody had really high expectations for it. But it opened huge on a weekend and it beat the competition. We were in our Monday morning meeting and we were dancing on the tables and we were so excited. Jeffrey Katzenberg, who was running the studio at that time, came in, looked around the room, put his hands on his hips, and said, “Next.” We just had to move on. I really learned the meaning of the word “next” about four months later when we had a film that we all knew was going to be hugely successful and make a lot of money and give everyone their bonuses, and it completely bombed at the box office. It was like you gave a party and nobody showed up to eat the hors d'oeuvres. We were in the Monday morning meeting, very glum and not sure what was going to happen. Were we going to be fired? What was going to happen? And Jeffrey walked into the room and said, “Next.” Jo: Mm-hmm. Adam: And we just keep going. I think that is the great and defining quality of people who really have sustainable lives, either as creatives or business people or entrepreneurs. We're persistent. We're just like those little birds—you put their beak in water and they just keep bobbing up. We just keep going. It's not about the people who are the most talented, because I'm certainly not the most talented. I'm certainly not the smartest. I'm certainly not the most creative. There are people who are smarter and more talented and more creative than me all the time, and I get so much energy in being able to know them and work with them. But I am super persistent. I don't stop. If there's something that I really believe in, I'll just keep going. I started taking notes on this book 10 years ago. There are movies that took 12 years to get made. You just keep going. There are times, as a producer, where everybody's fallen away. There was a director attached, there was a star attached. They all left, they did other projects. The material is no longer under option. You don't even have legal rights to it anymore. You just keep blowing on the embers and then eventually maybe it gets made. That's what it's about. Jo: Do you think there's some kind of serendipity or something more that makes a book or a film? Is it timing? Is there just some chemistry? You talked earlier about testing and sharing things to see if they're going to work, but as you mentioned, some films you think are going to be amazing and they bomb. Other things are a slow burn. How do you know when to make a film if you just can't predict this stuff? Adam: You can never predict it, but I think you start with: do you really, really think about it all the time? Do you really care about it? It's not like you're in a meeting or you read a script or you hear an idea and you're super excited about it—but are you still excited about it tomorrow morning? The next day and the next? If you keep waking up every morning thinking, “Wow, that's great, I've got to get that forward,” then I think that is the first indication for me that it's going to have some staying power. I don't think I am that different from everybody else. So if it's something that consistently excites me, I feel like there's going to be at least some other people in the world that it's also going to excite. Jo: Do you think you have a voice, I guess, as a filmmaker as much as a writer? Are there things that excite you consistently that you're drawn to? Or do you think it's much wider as a filmmaker than a writer? Adam: I think it's a lot wider as a filmmaker. Part of it's also just my capacity right now as a writer. I really like the writing in Fearless Persistence and I also recorded the audiobook. I love listening to the audiobook experience. I think it's some of the best writing I've ever done. I have not yet found the capacity to write a novel or to write fiction in the way that other people can. So part of it's just my skill and capacity at this point in my writing career, where I think I'm pretty good at expressing ideas in a nonfiction setting, but I haven't developed the skill set for fiction. In movies, I make documentaries. I make fiction feature films. What attracts me is character. It's always the character, the people, the journey. Are the people really interesting? Do I want to spend two hours of my life in a cinema with them, or 10 hours of my life watching those episodes on a streaming channel? That's what always starts with me. If the character is interesting, then I'll keep going. Jo: I think the book, Fearless Persistence, has a lot of your character in it and your experience. It's not just a nonfiction book of prescriptive rules. You did bring a lot of voice into it, I think. Adam: Thank you. I try to make it be like we're sitting down and we're talking and we're having a conversation. Jo: Coming back to the book—a quote from the book: “Uncertainty isn't the enemy of creativity. It's its greatest ally.” You talk about these messy and unpredictable times. I'm what we call a discovery writer. Some people say “pantser.” It mostly is quite chaotic and unpredictable. Could you talk about this uncertainty and messy creativity? Adam: One of the things I really try to do in Fearless Persistence is give support to all of us in this messy, unpredictable—what I call “the long middle”—where stuff is happening, but you're not seeing obvious results out there. You're either in the world or in your project, and you're just in this mess. That mess is a beautiful place, and I'm trying to give support to the fact that that mess is gorgeous and it's part of the process. It's part of everybody's process. We shouldn't feel as though we are not doing our job when we're in that long, unpredictable, uncertain middle. Because out of that, we discover what we actually want. It gives us a way to refine our taste and refine our direction because we are so uncertain. Then there's this moment—and I don't know if you find this in your own writing, Jo—but there's this moment where that uncertainty changes into: there's no choices here at all. This is just what I have to do. I actually think that the greatest freedom is when there's no choices. Where the path is just there, but we've got to get through the thicket to get to that path. And there's always a thicket. Jo: There's a moment for me where the chaos becomes more certain and I'm like, okay, that's the story. I thought it might have been something else, but now that's what it is. I often have too much material as well. So I wanted to ask you about this too, because as an author with a book, editing is hard for us. Of course there are lots of words and we have to go through it all, but editing on a film—I can't even imagine how hard the editing process is. Could you talk about editing and how you cut and organise these massive projects? Adam: Yes, editing is really hard, but it's also so fun. I think being on a set is great. It's the most fun a kid could have. But being in an editing room is also the most fun a kid could have, because you have all of the pieces and there are so many ways to do it. This is where a film is actually made—in the editing room. Probably the way books are made also is in the editorial process between the writer and your own brain as the editor, or if you have someone who's helping you edit it. Editing is really interesting because it's the only craft that did not exist before filmmaking. Everything else existed, right? There were scripts, there were actors, there were costumes, there was art direction, there was production design, there was music. Editing was a craft that had to be invented for film. So it's a craft that's only about 120 years old. When we make a film, the first thing that the editor does is just put all of the scenes together in a first editor's cut, a rough assembly. It's basically every scene that was in the script as it was shot, and the editor just tries to choose the best angles. That generally comes out maybe a week or two after we wrap photography, and that first cut could be three or four hours long because it's got everything in it. Then the process is: let's take that out. Let's take that out. You don't need this. You can move this scene here and move it there before the other scene. We don't really need that shot. Or can we get to a closeup there? And you get it down, down, down—just like in writing where you kill your darlings. I actually find editing the most fun I have. “Oh, I don't need that sentence.” Or, “I can take out three words here and the sentence is better.” We go through exactly the same process in film editing and squinch it all down to the most compelling and efficient way to tell the story. Jo: I'm glad you say it's fun because I also like editing. I find the editing much more creatively fulfilling because I actually can figure out the book that way. It's so funny, I think as writers, many people either love the editing or they love the first draft. It seems like you enjoy the whole process. Adam: I like the editing so much more than the first draft. I feel like I had to get through the first draft. That was my long middle, that was my uncertain period, that was my thicket. Then my editing was, “Oh, great. Let's cross this out. Let's change that word. Let's lose that paragraph.” That was fun. Jo: So let's say we now have a book or we have a film. In your book, law eight of culturenomics is that “without distribution, there is nothing.” So now we have to get this out there, and this is really difficult. Can you talk about how film distribution has changed? Can you also reflect on how it is for writers, because our distribution has changed a lot too? Adam: So, as you mentioned in the last section of the book, I've observed over the past 30 years that when a work is both aesthetically really excellent and also economically viable and sustainable for the creators, it always observes these ten principles. I call them the 10 Laws of Culturenomics. One of them is “without distribution, there is nothing,” by which I mean: unless your audience, your market, the people that you are seeking to share or serve with the work—unless they can get it, it doesn't really matter. It's like that tree falling in the forest and no one's around to hear it. I always think about my market and my distribution before I start making the movie. I was thinking about that as I was writing the book, because I really want it to be there to meet people where they are and I want them to be able to get it. Film distribution has changed a lot, especially during the pandemic. People stayed home and cinema admissions have fallen off 30% from pre-pandemic levels, so people are going out to cinemas less. That means fewer films are being distributed in cinemas for any viable period of time. Sometimes some movies will be out there for one or two days, literally, in cinemas, and then they go right to streaming. On the streaming side, there was a glut of streaming content. All the streaming channels overinvested in streaming. There were too many shows. I don't know about your Netflix queue or your Amazon queue, but it's unnavigable. There is so much stuff. Now they've cut back a lot—they're just doing a lot less. We're in a situation now where anything can get out there somehow. The question is, does your market, does your audience know about it? Do they want to invest the time to experience it? One of the other Laws of Culturenomics is that “awareness is not desire.” There's a lot of things that we're aware of that we don't want to spend our time with. Everybody was aware of Disney's new Snow White movie. Nobody wanted to go see it. Jo: I must say, I'm not the key demographic for that! Adam: But you knew about it? Jo: Was that a live action one? Adam: Yes. Jo: I don't understand those live action ones, to be honest. Maybe that's why— Adam: I think we are sequelled out. I look at the movie business and I just think what audiences really want is something new, please. Something we haven't seen before. We don't want the 95th iteration of something from the MCU. The studios, because the movies cost so much and they're so risk-averse, talk a lot about “pre-aware titles.” In other words, titles that you've heard of before, so you're going to go see the movie. It works to a certain extent, but I just think it's cinematically boring. In that world, you never could have predicted Oppenheimer. You never could have predicted Barbie. Movies that really don't have a precedent, but they did so well because they're different. I think audiences are craving something different right now. Jo: It's interesting though, isn't it? I agree on one level, but then I also watch Bridgerton and we watched the latest series as soon as it came out. I guess that is pre-aware to a point. I don't read historical romance, yet I really like the show. I think it's because of Shonda Rhimes. I watched Grey's Anatomy for about 20 years. Adam: She's great. Jo: She's amazing. So I feel like this is why it's hard, isn't it? It's hard to know. As fiction writers particularly listening, we have very specific genre audiences, and they often don't cross over into other genres. They love their genre fiction. So it is hard to balance original work that may not be easily sold and the other stuff. I guess that's why the studios do it, right, because they think they can make enough money with the next Marvel movie. Adam: Yes, but I'm curious to know what you think about this, because even within a genre, a really good genre movie or a really good genre book is not the same as all the other books or films in the genre. It's familiar in that it does what the genre says you have to do, but it's different. It's got those unique things that make us feel like super fans, that we really love it. It's familiar enough to fall within the genre—and yes, genres have rules that you've got to follow—but then there's something unique and different that's exciting. And that's why we say, “Hey Jo, you've got to read this book.” Jo: I agree with you. I love that you said “awareness is not desire.” This is another problem with our creative work, right? We have to do marketing. We can throw all this stuff out there, and yet it may or may not work. So let's talk about your book marketing. Obviously you are on this podcast, and I presume your publicists are pitching lots of podcasts, but— What are you doing to promote the book that might be different to a film release? Adam: Well, I don't have a hundred million dollars. Jo: Surprise! Adam: Right? I've got a few hundred dollars, so we're just doing it this way. As you know, once upon a time, legacy publishers actually did marketing. Legacy publishers barely do any marketing now. Every author has to do it themselves. So we have to do this ourselves. It's been the hardest thing. I think it's the hardest thing that we've all had to adopt, that we have to do this thing where there used to be a marketing department and you just hand it over to them and we could just be in our own little creative space. But no, we've got to do this also. So what am I doing? I've amped up my social media. I'm speaking. I am on podcasts like this. I'm sharing as much as I can. I'm asking circles of people who have been early readers of the book. I'm really grateful because I've had really enthusiastic response to it, both from creatives and also some business people, which was surprising to me, but really great. Someone said, “This is the best business book in the past 10 years,” which is really interesting, right? Because you read it, Jo, as an author, but she read it as someone who sits on the board of major companies. That was a pretty interesting response. I'm just asking them to be advocates and share it around. I'd just like to be those people who blow on the embers and let's see if we can make a fire. Jo: We talked about the fun bits earlier. I'm enjoying our conversation, but I know that marketing is not necessarily in the fun bucket. Are you finding bits of the marketing you enjoy? Adam: Yes, I love meeting the audience. I love meeting the people that I'm writing the book for and sharing it with. I've been fortunate enough to be asked to run a writer's workshop in Greece for the past few years. It's a retreat centre called Rosemary's House. It's on the east coast of Greece. A dozen writers. I work with writers all the time, but they're always writing a specific thing, like a screenplay or something. This was a dozen writers all writing different things, and I'd never done that before. I had an extraordinary time. The first year I went, I'd had all these notes for this book, Fearless Persistence, that I'd been compiling for some time. But there I was in the room and I was with the people that I was really intending to write the book for, and that kicked me in the butt and I wrote the book. Then the next year I was back and I finished it while we were there at the writer's retreat. So that was great, and I was with another group of writers. I'll be back there again later this year and the book will be out. So it's this fabulous continuation of really engaging with and meeting the people that I'm seeking to serve with this book. I really enjoy encouraging and mentoring and sharing the systems that are undergirding the creative process, and then the process of how do you build a sustainable life, including all these super practical things that they don't teach you in art school or writing school or film school or even business school. How do you actually build a sustainable life in this practice? I love that. I guess that's marketing, but it's also just being with the people that you're there to serve. Jo: I love that you use “serve.” I use the same word. I say, “Who do you serve?” And that can help people, because I feel like creative people are like, “We don't want to be marketers, we don't want to be salesy.” So if you reframe it as service—who are you trying to help, who are you trying to entertain—that actually helps. Coming to the business side, you mentioned systems. You are right, the book has a lot of business in it, which I love because we talk a lot about business on this show. In one section you say there are only four ways to monetise your creative work. So could you talk a bit about those different ways to monetise your creative work? Adam: Yes. This has been true for maybe 5,000 years because it's not about technology, it's just about how work is monetised. There are only four ways that any piece of work is monetised. For sale. You have a book, and you go to your favourite bookstore and you buy the book, and now you own the book. For rent. You could rent a book from your library, or in a movie context, what you're really renting is the seat for two hours to watch the movie. On subscription. People have subscriptions to Kindle Unlimited or other platforms, or people have subscriptions to a streaming service. Free. When it's ad-supported. That's like linear television where there's ads, or Amazon where there's ads and you don't pay for it. For sale, for rent, on subscription, or free—those are the only ways anything is ever transacted. When it's ad-supported, for example, some people have YouTube channels that are very successful. YouTube is free, and then YouTube is making money from the ads and the creators are getting a tiny little slice of the ad revenue. Jo: Like this podcast. I have sponsors who pay, and they're all related to the author industry. They're companies that I use and work with. I personally recommend them, and that means this podcast is free. Adam: Thank you, sponsors. Jo: Yes, thank you, sponsors! I also have patrons—people who subscribe to the show to support it as well. So I guess we don't have to be in one bucket or another. We can have our work in different buckets. Adam: Ideally, you can have your work in every single one of them. Not always, not necessarily always at exactly the same simultaneous moment, but at a certain point as the work gets out there into the world, as it's lived long enough, it probably will be in every bucket. That's great because we want our work to be as accessible to the people that we're serving in any way they want to get it. Jo: I totally agree. And your audiobook, as you mentioned, will be available in those different formats as well. Adam: Yes. Jo: I find that, especially with nonfiction audio, what I love is being able to listen to just a chapter, just a chapter in a specific part. Someone could actually listen to the 10 Laws of Culturenomics separately to some of the rest of the book. I love that. Adam: I'd never done that before. It was so powerful to record the audiobook because up until that moment, my relationship with this book was fingers typing keyboards, electrons on a screen. It was a completely silent experience. Then I was in this recording booth in Los Angeles and I started speaking the words, and I was visualising the people that I was writing it for as I was doing it. It was so powerful. Then I listened to it and I thought, wow, this is actually a really good experience. It was so powerful that I was recently in Paris because I'm working on some films that are in Europe, and I decided to create a special advanced listener edition of the audiobook, where I took the chapters and put them into individual or grouped listening units. In a recording studio in Paris, I recorded some prefaces and reflections on those listening units, which are now thematic. I'm really proud of that edition. It's not for everybody. The regular Audible audiobook is going to be out there, but this version, which is on my website, I think is a really wonderful version for someone who just wants me to walk with you as you go through the experience of the book. Jo: Are you selling that direct from your website? Adam: Yes, I'm selling it direct on the website. Jo: Brilliant, because we all do that too. You can actually make more money selling audio direct than you do from the streaming. Adam: Yes. Jo: I realise we don't have much time left, but I need to ask you this because the film industry and publishing are in this great time of change with the advent of generative AI. We've seen in the last week the actor Ben Affleck's company, InterPositive, has been acquired by Netflix. So it seems like technology is disrupting a lot. How do you think we can navigate this time? What are your feelings around this new wave of generative AI? Adam: It's a great tool. It's not a great writer. It's actually really a terrible writer. You can always tell when generative AI has written something because it has a certain very annoying style, but it's a great tool. I use it in my production. I teach at the business school at UC Berkeley. We train people on how to use it for various kinds of problems and solutions. But the important thing is that you are the architect of the machine. It's a machine. It is like a paintbrush, but it is not the hand that holds the paintbrush. So I am not concerned that AI is going to go make movies that we all care about, and I am not concerned that it's going to disrupt, in the largest sense, the employment picture. Certainly some jobs are being lost, but new jobs are being gained. It's really interesting. For example, you mentioned Ben Affleck's company, which Netflix just partnered with. It's not making new content. It's creating a better production workflow. It's taking what is shot or what is planned in the production workflow and just making it better and more efficient and implementing it and adding to it. That is a really good use of AI. All the creative power retains within the hands of the creative humans, but it's giving the humans more tools. Jo: I've been reflecting on the idea of the film director, in that people often know their names and they win awards, and yet they didn't necessarily write the script. Some do, obviously, but they didn't act in it, they didn't do all the editing, they didn't do all the different jobs, but it's their creative vision. So is that how you see us playing that part? Adam: I do. I think that's a really good analogy. And look, AI—it's good. It's going to keep getting better. It still has massive error rates, so we still have to be very careful about what we attribute to it and what powers we give it, and what facts we believe from it. Jo: So what are you excited about next? Obviously you are promoting this book, you are doing speaking things, but are you looking to your future continuing to work across film and books? What are you excited about in terms of your creative projects? Adam: The big arc of my creative life is creating ecosystems where creative people can do their best work. This book is part of that. With the movies that I make, as a producer, I try to create the ecosystems where people can do their best work. I envision, and I'm excited about, continuing to do that. Whether it is in a book or in a workshop or in a film that I'm making. I just want to keep doing that: creating these ecosystems where people can really do great work and express themselves creatively, entrepreneurially, and with a positive view of the world to come. Because that is a responsibility, coming back to the first question you asked me. Jo: Brilliant. So where can people find you and your book and everything you do online? Adam: You can find me at my website, which is AdamLeipzig.com, just like the city. Of course, the book is available wherever you buy your books, and the Kindle and the audiobook are exactly where you would expect to find them. You can also find me on Instagram at @AdamLeipzig, and you can find me on LinkedIn as Adam Leipzig. I love interacting with people, so come and find me. AdamLeipzig.com is the best place to find everything. Jo: Brilliant. Well, thanks so much for your time, Adam. That was great. Adam: Jo, thank you so much for having me. It was great talking with you.The post Navigating Uncertainty And Fearless Persistence In A Long Term Creative Career With Adam Leipzig first appeared on The Creative Penn.

To mark Earth Day, we asked you to tell us about your favorite places on the planet. You took us to the woods near Traverse City, Michigan, to a lake in Oklahoma, to Long Island Harbor where you spent your summers as a kid.  Basking in a sea breeze and admiring a sunset are basic human pleasures. But how do you take these moments and turn them into meaning? How do you pin those feelings down with words?  Joining Host Flora Lichtman are two poets who make that attempt for their livelihood: Jane Hirshfield, founder of Poets for Science, and Kimberly Blaeser, founding director of Indigenous Nations Poets and former Wisconsin poet laureate. Guests:  Kimberly Blaeser is a poet, founding director of Indigenous Nations Poets, and former Wisconsin Poet Laureate. Jane Hirshfield is a poet, essayist, and translator. She is the author of “Ledger” (Knopf, 2020) and nine other books of poetry. She's based in San Francisco, California. Transcripts for each episode are available within 1-3 days at sciencefriday.com. Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.

Today on The Literary Life podcast, Angelina Stanford and Thomas Banks share an introduction to the Neo-Classical Poets, including Alexander Pope, and their poetry. First off, they establish a definition of the Neo-classical period both in terms of time and of culture. In addition, Angelina points out some ways in which the coming of the Enlightenment throws off ideals of the Medievals in favor of those of the Greeks and Romans. Another topic they highlight is the popularity of the satire in this period, as well as the prevelance of the printed word. After this general introduction to the period, Thomas shares a biographical sketch of Alexander Pope. Join us back again here next week when we will discuss Pope's mock epic poem, "The Rape of the Lock." You can check out all the latest offerings of mini-classes and webinars, including Jenn Roger's webinar on C. S. Lewis' The Pilgrim's Regress, at HouseofHumaneLetters.com. For the full show notes for this episode, please visit our podcast website at https://theliterary.life/325.