Podcasts about Prose

Irish writer Doireann Ní Ghríofa on turning archival fragments into living narrative, writing across the borders of genre, and giving voice to the forgotten lives of women committed to a Victorian asylum. You'll learn Why the greatest gatekeeper between a writer and the page is often the writer themselves. How a single word buried in clinical notes can become a bridge to a silenced voice. What poetry can teach prose writers about immediacy and the shock of a strong opening. The case for pointing at the gaps in the record rather than papering over them. When a fleeting curiosity is worth following, and what happens once you treat it as real. How third person can give a writer just enough distance to keep going. A sense of fidelity to the reader you imagine standing at your shoulder. How the drowsy space between sleep and waking can become an engine for ideas. The ethics of using real names, and the difference between the dead and the long dead. How the act of leaving things out turns even “fact” into a story. Resources & Links Said the Dead by Doireann Ní Ghríofa A Ghost in the Throat by Doireann Ní Ghríofa About Doireann Ní Ghríofa Doireann Ní Ghríofa is an Irish writer devoted to exploring how the past makes itself felt within the present. 'A Ghost in the Throat' finds an 18th century poet haunting a young mother, leading her through visions of blood, milk, lust, and murder. Written on the roof of a multi-storey car park in Ireland, it went on to be described as "powerful" (New York Times), "captivatingly original" (The Observer), and a "masterpiece" (Sunday Business Post). 'A Ghost in the Throat' won the James Tait Black Prize and was voted overall Book of the Year at the Irish Book Awards, while the US edition was a finalist for the National Book Critics Circle Award and a New York Times Notable Book of the Year. It was translated into 20 further languages worldwide. Doireann is also the author of seven critically-acclaimed books of poetry, each a deepening exploration of birth, death, desire, and domesticity. Awards for her writing include a Lannan Literary Fellowship (USA), the Ostana Prize (Italy), a Seamus Heaney Fellowship, and the Rooney Prize for Irish Literature, among others. Her new book, Said the Dead, distils hundreds of hours of archival research into a polyphonic portrayal of a single institution — a derelict Victorian asylum in Cork, and the women once committed within its walls. For show notes, transcripts and to attend our live podcasts visit: podcast.londonwriterssalon.com.For free writing sessions, join free Writers' Hours: writershour.com.*FOLLOW LONDON WRITERS' SALONTwitter: twitter.com/​​WritersSalonInstagram: instagram.com/londonwriterssalonFacebook: facebook.com/LondonWritersSalonIf you're enjoying this show, please rate and review this show!

Today, we're uncovering the winning innovative submission for the 2026 Award in Innovation, sponsored by Guy Carpenter. NAMIC CEO Neil Alldredge talks with Charlie Wendland, Branch's chief claims officer, about his team's initiative to transform first notice of loss process efficiency through artificial intelligence. This episode is sponsored by Holborn.Register for the Agricultural Risk Conference.Read Lindsey Stephani's "Pro Se and Trial Bar Use of AI."

Po druhé světová válce se vítězné mocnosti snažily přijít s právním konceptem mezinárodního trestního práva, který zaručí to, aby se již nikdy neopakovaly nacistické zločiny. Výraznou roli v celém procesu sehráli američtí a britští právní experti. Ovšem podstatné právní koncepty přinášeli také Sověti, kteří měli zcela jinou válečnou zkušenost s nacisty, než západní země. Nacisté proti nim vedli totiž vyhlazovací válku, která byla vedena úplně jinými prostředky a metodami, než válka na západní frontě. I proto si sovětští juristé velmi dobře uvědomovali, jak je důležité přesně vystihnout to, co bylo na nacismu zločinné. Stále častěji se začal skloňovat pojem zločinný stát v souvislosti s nacistickým režimem. Používal jej Karl Jaspers, nebo Hannah Arendtová. Ta se k němu vracela zejména v souvislosti s Eichmannovým procesem, kdy se ptala na otázku, jak vlastně odsoudit a potrestat člověka, který se podílel na zločinech proti lidskosti tím, že konal dle rozkazů a zákonů daného režimu. Pojem zločinný stát je v centru novinky amerického právního vědce Lawrence Douglase s názvem The Criminal State: War, Atrocity, and the Dream of International Justice (Zločinný stát: válka, násilí a sen o mezinárodní spravedlnosti). Jeho kniha provádí čtenáře myšlenkami o tom, co je vůbec válka, za jakých okolností může být nelegální a co je nepřijatelné válečné násilí od novověkých myslitelů až po první pokusy o ustanovení mezinárodních trestních úmluv a institucí na konci 19. století a v první polovině 20. století. S různými pokusy o kriminalizaci války však zatočila následná druhá světová válka. Norimberský proces, Tokijský tribunál, ani ustanovení Spojených národů o genocidě z roku 1948 však neučinily z poválečného světa humánnější společnost bez válek a válečných zvěrstev. Proč se sen o kriminalizaci války rozplynul? Jakým způsobem se právní experti té doby snažily zabránit opakování válečných hrůz? A proč byl Raphael Lemkin, který přišel s novou právní kategorií genocida, zklamaný z výsledného znění úmluvy o genocidě z roku 1948? Playlist:

Proč se tak málo chválíme? Neví někdo? V nové epizodě řešíme důležitost komplimentů nejenom ve vztahu. Co a jak říkat? A co jsme u EX fakt podělali? Počúvaj.

Neuspěli jste ve výběrovém řízení? Možná vás nevyřadil personalista, ale vy sami. Až třetina lidí skončí ve výběrovém řízení dříve, než by mohla. Jaké jsou 3 nejčastější chyby, kterými se kandidáti sami vyřadí z „výběrka“? V této epizodě podcastu O lidech si Barbora Boháčková povídá s Lucií Spáčilovou o tom, proč kandidáti často přicházejí o pracovní příležitosti z úplně zbytečných důvodů a jak zvýšit své šance uspět při hledání práce. OCENĚNÍ: EP Firemní podcast roku 2024 – 2. místo v kategorii Dlouhodobý přínos Podcast o lidech točíme v Performii nejen pro šéfy a personalisty, ale pro každého, kdo chce rozumět lidem i sám sobě. Klíčový seminář pro šéfy a personalisty z dílny společnosti Performia Jak vytvořit a udržet skvělý tým: https://www.performia.cz/jak-vytvorit-a-udrzet-skvely-tym Konkrétní tipy z praxe českých firem, jak budovat skvělý a úspěšný tým – každé 2 týdny do vašeho e-mailu: https://www.performia.cz/performia-tipy-z-praxe Klíčová témata: výběr zaměstnanců, jak uspět na pohovoru, výběrové řízení 

Tracy Kidder, co-author of "Good Prose: The Art of Nonfiction," reads an excerpt illustrating how things work between him and his editor, and co-author of the book, Richard Todd. The full interview from this 2013 episode of "Conversations On The Coast with Jim Foster" can be heard now wherever you get your podcasts, and here: https://www.spreaker.com/episode/kidder-good-prose-the-art-of-nonfiction--53250982.

Majitelé firem se velmi často rozhodnou prodávat ve chvíli, kdy má jejich podnik nejnižší hodnotu. Kupující přitom hodnotí hlavně budoucí potenciál, stabilitu a schopnost firmy fungovat bez zakladatele. V celé epizodě popisuji, jak takovou společnost dlouhodobě budovat a proč se tento přístup vyplatí i bez plánovaného prodeje. Více o spolupráci: https://rostecky.cz/spoluprace Kontakt: jiri@rostecky.cz LinkedIn: https://www.linkedin.com/in/rostecky/ Instagram: https://www.instagram.com/rosteckycz/ www.rostecky.cz Jiří Rostecký Veškerá doporučení, informace, data, služby, reklamy nebo jakékoliv jiné sdělení zveřejněné na našich stránkách je pouze nezávazného charakteru a nejedná se o odborné rady nebo doporučení z naší strany. Podrobnosti na odkazu https://rostecky.cz/upozorneni.

Becher´s Bar pod karlovarským grandhotelem Pupp je ikonické místo. Je epicentrem právě začínajícího filmového festivalu, kde se večer co večer paří, tancuje, pije, diskutuje a vznikají nová byznysová přátelství - a někdy i nepřátelství. Nepsané pravidlo říká, že co se stane v Becheru, zůstane v Becheru, protože v tomhle tavícím kotlíku českého top byznysu, politiky i filmu se až do pozdních nočních hodin potkávají miliardáři, CEOs, právníci, zákonodárci, umělci atd. Dostat se mezi ně? To není jen tak, na to potřebujete festivalovou kartičku s kouzelnou zkratkou BB. Kdo se k ní dostane? Jak vypadal Bartoškův kout? Komu tam barmani drží stůl? Co se tam nejčastěji pije? A jaký odkaz tu zanechal James Bond? Osmnáctý díl autorského podcastu Michaela Mareše a Pavla P. Novotného se opět dívá za kulisy českého byznysu a tentokrát zacílil na jednu z hlavních událostí sezony - Karlovarský filmový festival, který tradičně láká i přední české podnikatele a o byznysu tu jde často více než o stříbrné plátno.

Proč je největší překážkou rozvoje měst a obcí způsob, jakým se plánuje podoba území a jak by stávající situaci mohla zlepšit novela stavebního zákona? O tom diskutovali experti na debatě týdeníku Ekonom „Nový stavební zákon a územní plánování“.

Matt and Jordan check out Julian Schnabel’s In The Hand of Dante, a rare midsummer Netflix prestige picture with a stacked cast that includes Oscar Isaac, Al Pacino, Gerard Butler, John Malkovich, Jason Momoa, and Martin Scorsese as a bearded medieval sage. Despite the talent and the reliably gorgeous cinematography, Schnabel’s film might be the worst thing Matt and Jordan have had to endure through the show’s first twelve episodes. Also on the show, some Dante-inspired streaming recommendations and streaming recs for a listener who shares little in common (movie-wise) with his spouse. And the debut of “What’s In A Name,” a new movie trivia game. (#012) Intro, In The Hand of Dante (00:00:00–00:34:55) Rec Seg: Dante-Inspired Streaming Recommendations (00:34:56–00:50:32) Listener Request Recommendations (00:50:33–01:06:44) Trivia: What’s In A Name (01:06:45–01:22:34) New to Streaming / Credits (01:22:35–01:31:14) Show Notes Now Streaming on Bazooga - A Filmspotting: SVU Archive⁠ https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠ The Starlog Podcast hosted by Jordan ⁠https://www.youtube.com/watch?v=YwWNy9zLV0k⁠ Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th):⁠ https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠ Feedback: Email us at feedback@filmspottingSVU.com Follow Matt on Blue Sky: @mattsinger.bsky.social Follow Jordan on Blue Sky: @jhoffman.bsky.social Follow the Show:⁠ https://www.instagram.com/superpulse/⁠⁠ https://www.facebook.com/FilmspottingSvu⁠ Follow the Show:⁠ https://www.instagram.com/superpulse/⁠⁠ https://www.facebook.com/FilmspottingSvu⁠See omnystudio.com/listener for privacy information.

Leigh Batnick Plessner is the chief creative officer of Catbird. Before landing at Catbird, Plessner graduated from Georgetown University with a degree in English literature and anthropology, and she worked at various DC coffee shops and as a cocktail waitress before landing a job in the children's room at renowned DC bookstore Politics and Prose. At the bookstore, she was eventually promoted to sidelines buyer, selecting everything for the store other than books. While in this position, she had the opportunity to go to various stationery shows, which prompted her to start a stationery brand of her own called Jezebel. In 2005, she met the founder of jewelry brand Catbird, Rony Vardi, at a stationery trade show. Soon after, she started working at the brand's storefront in New York. Eventually she transitioned out of running her stationery brand and into working full-time for Catbird. She grew with the company and now holds the role of chief creative officer, where she's responsible for the visual identity of the brand, including Catbird's partnerships with talent like Clairo and Phoebe Bridgers.

How do you write about the most painful experiences of your life without being overwhelmed by them? How can timed writing and a braided story help you untangle your hardest stories? With Nicole Walker. In the intro, Self-Publishing Pop Up Books [Self-Publishing with ALLi]; New in KU [BookBub]; The solar sail theory of indie publishing [ProductiveIndieFictionWriter]; Bones of the Deep; Selfie Awards Shortlist 2026. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Nicole Walker is a nonfiction author, essayist, poet, and editor, as well as a creative writing teacher. Her latest book is Writing the Hard Stuff: Turning Difficult Subjects into Meaningful Prose. 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 helps us understand “the puzzles of the universe” — and when to trust that intuition The braided essay: alternating between trauma and an everyday obsession to unlock the hard stuff How two-minute timed writing lets you go deep and then safely step back Rooting pain in the body, using the senses, scene, and dialogue instead of words like “trauma” Truth in memoir, big T versus little t, and the emerging genre of speculative nonfiction What actually sells books: pairing up on book tour and getting readers back out into the world You can find Nicole and NikWalk.com. Transcript of the interview with Nicole Walker Jo: Nicole Walker is a nonfiction author, essayist, poet, and editor, as well as a creative writing teacher. Her latest book is Writing the Hard Stuff: Turning Difficult Subjects into Meaningful Prose. So welcome to the show, Nicole. Nicole: Hi, Joanna. It's so nice to be here. Jo: I've lots to talk about, but first up— Tell us a bit more about you and your journey into writing and publishing. Nicole: I was always a writer. As all writers say, I've been writing since I was five. I kept little journals and things like that, and I was on the high school literary magazine. I was an English major in college, but that was always tempered with some serious commitment to the sciences, to English literature, to German, to Spanish. I had a wide variety of interests, but there was always something that tugged at me about writing that made me feel like, this is where I feel most at home. This is the way I like to understand the puzzles of the universe. This is how I make sense of the world—through writing. So even though I got my BA in English at Reed College in Portland, Oregon, I stuck around Portland for a few years because I loved it. I worked for various non-profits, and that was great. At some point I said, “I really want to take this seriously.” So I went ahead and applied to graduate school, and ended up in the University of Utah's PhD programme, where I stayed for eight very lovely years. I always recommend to my own students: never graduate. Stay in graduate school forever, because it's such a beautiful place where people support your writing. You have professors who support it, but more importantly, you have your cohort. To this day, I have so many great friends. You make a lot of friends if you stick around for eight years. That sort of community-building is, I think, the other part of why I became a writer. Writing by myself is obviously a lonely business, and there's a lot of internal struggle that happens with that. I have found a literary community, both at the University of Utah and then growing from there, serving as president of the NonfictioNOW Conference, teaching my own graduate students, serving as the series editor for Crux, the imprint at the University of Georgia Press. I feel like my world has expanded because of my writing. So that's been a true gift. Jo: Oh, I love that. I love that you said you understand the puzzles of the universe through writing, and that this tugged at you. Could talk about that a bit more? Because a lot of listeners, I think, sometimes mistrust that feeling. They think, “Oh, maybe I shouldn't necessarily lean into that intuition.” It feels like you leaned very strongly into an intuition that this was the way. Nicole: Yes, and this book in particular, Writing the Hard Stuff, takes that to heart. I think about writing the hard stuff as writing all kinds of tricky things—things that are really hard to communicate. The book begins revolving around personal trauma. Things that happened in my childhood, as well as difficult subjects that happen to us when we're growing up. It also includes things like environmental issues and political issues: things that are really hard to talk about, that are philosophically difficult to express, that can be controversial, and that you can put people off by talking about. One of the goals of the book—one of my own philosophies—is that by looking deeply into the knotted ball of string that is a kind of trauma or a kind of difficulty, and beginning to pull those strings out, that's where you start to not only make meaning out of what happened to you, or what this particular problem is, but those strings themselves become connections. I talk about Donna Haraway's book Staying with the Trouble. It's primarily about how we can overcome our political differences regarding climate change, and one of her examples is to change the way we think about narrative. In Western thought, we often think there's a beginning, a middle, and an end, and she brings up the Navajo game that we all know as cat's cradle. So if you think of that ball of knots—your trauma, your difficult subject—you start pulling out the strings, and then you start playing with it. With cat's cradle, you make one design with your hands, and then a friend pulls it around and turns it into another design. To me, that's how reading and writing work. We share, and we build on each other's ideas, but we're always connected by those strings. So if you have this difficult subject and you're shying away from it, you're losing, I think, some of the opportunity to make connections and to make sense of what that nest of string sitting in your stomach actually is. Jo: I love that metaphor. I think it's brilliant. I've never heard it described that way, and I think it's fantastic. What's interesting is that some people don't have a mind's eye—I know several listeners who don't. So while in my mind I'm picturing the ball of string and then the cat's cradle, some people won't be able to do that, which is also fascinating in terms of how people's brains work. In terms of how you'd recommend people think about it: this ball of string that we want to turn into a design like a cat's cradle is a total mess. So where do we even start? How do we know where to start pulling on the threads? Because it might just feel like it's out of control. Nicole: Oh, I deeply appreciate both the idea that some people don't have that mind's eye, or just think differently. We all have different ways of imagining what we call our trauma, this nest of problems, this ball of string. Of course a metaphor does oversimplify in some ways. I say, “Well, you just take one of the ends of the string and start pulling.” But practically, what does that really mean to do? There are a couple of things I suggest in the book and offer at workshops. One is an exercise I call writing the braided essay. I ask the writer to sit down and think about a scene that was difficult in their life—something that had a lot of tension, that they're really still struggling with, that they don't love thinking about. I'm going to ask them to go there for just a couple of minutes. Then there's the other side of the braided essay: I ask them to think about something completely different, completely off-topic. Perhaps a walk they took in the aspen grove, or what they were making for dinner last night, or perhaps they're deeply invested in the networks of the blood in the human body—anything they're fascinated and obsessed with. I say, “Okay, I want you to write about your difficult subject for two minutes, but then I'm going to give you a break, and you're going to pop over and talk about how you spent all day weeding your garden, and yet there are still weeds.” Then I'm going to ask people to go back and talk about their difficult subject, and then go back and talk about their obsession with weeds. They write about each of these things for two minutes. What happens—which I think is a pretty compelling experiment, from my point of view and from theirs—is that they write back and forth, and they're able to take a break from the hard thing. They're also tempted to go back to it once they've had that break in their research. The other thing that happens—and, you know, every book in nonfiction has to have a colon, so of course it's called Writing the Hard Stuff: Turning Difficult Subjects into Meaningful Prose—is that by going back and forth, you'll see the connections these writers make. They make connections with word choice, with verbs, with colours and different kinds of imagery. They start to make meaning between those two ideas. What happens to the writer then—and to me, when I'm doing it—is that I now have something that is constructed. So it's not just this knot in my stomach. It's not just my interest in research. Now I've put these things together, and then I get to play. We get to the cat's cradle part of the metaphor, where I really start thinking about craft issues. Why did I happen to bring these two ideas together? What might they have in common? What does it mean that I'm telling the story of my parents' divorce and my personal trauma, and in the research part I'm talking about weeds? Well, maybe I felt in the weeds. You come up with some sort of overarching understanding of why you chose that research story, and it lets you go deeper into that personal trauma, now with some of the techniques of craft, which I think help shield you from some of the trauma and pain of that original hard story. Jo: Again, I really love that idea. Do you also think the timed writing actually helps people go deep and then withdraw a bit, which psychologically may help them write about these difficult subjects? People are like, “I need to sit down for two hours and write about this deeply traumatic thing,” which of course feels like it's going to be too hard. So perhaps that two-minute process actually releases people from that. Nicole: Oh, absolutely. What a great way to think about it. It is prohibitive to sit down and think, “Okay, I'm going to go into the worst thing that ever happened to me and sit with it for two hours.” Going back and forth, you create energy and tension. But also, nobody wants to sit with something by themselves for two hours. If you think of research as your companion—”I'm coming in there with you, buddy”—you have something to rely on, this other side of the story, and it gives you that space. The timed writing, the two minutes, two minutes, two minutes, also reminds you that you don't have to write for two hours straight any day. I have a goal where I write 500 words a day, which is mostly true, unless I'm really in the weeds. We'll use two metaphors today: we'll use string, and now we'll be using weeds. But when I'm really in the weeds teaching, or going around the country talking about books, I really do write 500 words a day. I often try not to write too much more, because sometimes it loses freshness, and it can be overwhelming. So I really appreciate you saying that having that timed writing is important, but also that having that balance of deep emotional investigation with this more cerebral, informational crutch can really help you get into the subject and go deeper. Jo: Yes, and perhaps it anchors the writing in something concrete. Because with memoir particularly—having also written one—it can be too easy to lean on big words like “pain” or “trauma,” but that's actually meaningless in a book. So why is it so important to be specific and concrete in our writing in order to convey these bigger topics? Nicole: I think we know our own trauma. We know how it feels in our bodies, and we've been living with it for a long time. So it's pretty hard to communicate it to others. Why does it matter to other people? Of course it matters to you, but how are you going to convey the breadth of that trouble with words that aren't rooted in the physical world? The nice thing about rooting things in the physical world is that every one of us has a body. We have different bodies, but we share that in common. So it's the old trope of using your senses first. What did it feel like? If you can't think of what part of your body it particularly hurts in, you have the availability of metaphor to describe how that might have felt. You have the opportunity to create scene. This is particularly difficult for memoir writers, I think, because we imagine it's the fiction folks who have to use dialogue, who have to have a setting, who have to put their bodies in a place. Thatt's one of my mantras when I teach: we need to be able to see where you are. We need to see what is physically happening, how the interactions work. Dialogue, I think, is one of the best ways to literally get your body on the page—and to get your other characters, or subjects, on the page—because to speak, you have to have a body. Once you start having dialogue, you can picture the way the speaker's face moves, the way they cross their legs. You can even picture the colour of the paint behind them, or the kind of chair they're sitting in. So dialogue is one of the first ways you can say, “All right, I must have a scene here.” I can't go on just telling people, “It was so traumatic. I suffered so much. It was terrible. I felt so much pain.” You can say that sometimes, that's totally fair, but you have to pair it with that physical, concrete imagery, so other people can begin to understand what it felt like for you in your body, so they can feel it in their body. Jo: Interesting that you bring up dialogue because one of the issues with memoir is—I've had people compare it to truth with a small “t” and truth with a big “T.” So you're telling some kind of big truth about your life. If you're writing dialogue about something that actually happened to you, in memory, it's very unlikely that it actually happened in that way, so it's not necessarily small-“t” true. So on a practical note, what are your thoughts and tips on truth. How do we tell our own story even if others don't see it that way? Nicole: This is a subject I'm deeply invested in right now. When I first started teaching creative nonfiction, it was at the height of the John D'Agata and David Shields questions. What is truth? Big T, little t? What am I obligated to do as a creative nonfiction writer? I had a great friend, Angie Truong, who came to teach one of my classes, and she said, “Nonfiction is a pretty big spectrum. You have journalism on one end, and then you have the lyric essay on the other end.” You imagine the lyric essay is full of metaphors and things like that, so you can approach truth. You're saying, “This is what it felt like. This is what it seemed like.” Check out my newest favourite thing. It's called speculative nonfiction, and I use a little bit of this in my book How to Plant a Billion Trees, which Writing the Hard Stuff is somewhat based on. I wrote them in tandem, which was a very strange and interesting and fun thing to do. But in How to Plant a Billion Trees I use this thing called speculative nonfiction, which goes even further along the spectrum, past the lyric essay, to this opportunity to use language like “perhaps,” “maybe,” “I imagined.” So I have sections in my book where I can't remember the dialogue exactly, but I know that the dialogue in some sense matters—that what might have been said will do much more to convey what was happening than my exposition over the matter. By using those turns of phrase, you're alerting your reader: “Dear reader, this definitely is not exactly what happened, but this is how I recall it.” Then you're being not only honest to the story and honest to your reader, but you're also conveying the feeling and the mood of the event—that other kind of truth that memoir is really trying to get at. It was like this for me, which is why I think this way now. It's a fledgling genre. I just read a book by Laraine Herring called A Constellation of Ghosts: A Speculative Memoir with Ravens. It's brilliant. It's an amazing book that pairs her actual colonoscopy and discovery of colon cancer with the story of her dad, who has passed already and comes back as a raven and helps her through it. So you're pulling on some of the tools of fiction, which creative nonfiction already has been doing. But it does so in this bright and, I feel, incredibly ethical way. You're alerting your reader, “My dad is not really a raven.” But you're also saying, “Oh my gosh, I sensed he was with me. I sensed every time a raven approached that I had somebody's hand on my shoulder.” That, to me, has been a lot of fun—a much more imaginative way of creating some of those scenes than doing something like, “Well, I don't remember the dialogue.” Or, even worse—and we know people have been unethical in their approach—recreating the dialogue as if they'd had a tape recorder with them when they were 17 years old. Jo: Mm. Nicole: So I offer that as an option to your listeners, as something to experiment with. Allow yourself to have that imaginative opportunity to show the reader what it might have been like. Jo: I love that. It's interesting, you talk there about the spectrum of nonfiction, which is ridiculously big, as is fiction. Obviously these are very big. But I wonder if we do get hemmed in by genre. I love the idea of a speculative memoir. I'm going to have to go read that book because I can't even imagine what that really means. I feel hemmed in by my expectations of a memoir. But then, from a business and marketing perspective—because we're all trying to sell our books— Do we risk not meeting the expectations of a reader of a genre that way? Nicole: Right. One of the good and bad things about my literary career is that I've spanned a lot of genres. My PhD is actually in poetry. Nobody expects the full truth from poetry. One of my poetry professors once said she wrote this really sad poem about her father's death, and the audience was moved, and then her real father stood up and said, “Good job, daughter.” And someone in the audience was just shocked: “You just read a poem about your dead dad, and here he is!” We have absolute expectations of genre, and expectations of truth, in everything we read. If you label it fiction, you're kind of off the hook—even though, of course, fiction uses so many elements of nonfiction: so much research, so much information, so much personal memory to create those fantastic landscapes. So when I think about how one sells one's memoir, I do think you also have to acknowledge what you expect your audience to be. With Laraine Herring's A Constellation of Ghosts, by putting “colon, a speculative memoir,” you're alerting your reader to that possibility. And because it's a pretty far-out way of thinking right now, it probably does curtail some of the sales. On the other hand, think of memoirs that are written for celebrities, and how many of them are ghostwritten—or written with other people, where the ghostwriter's not even part of the thing—but it comes across as the most legit of all memoirs, because it's a celebrity and we know them. We associate their lives with their story, and their story must therefore be true. So I think, with all levels of creative nonfiction, it's incumbent upon the writer to suggest right off the bat what kind of nonfiction they're reading. Are they reading journalism? Are they reading lyric essays? Are they reading speculative nonfiction? I think a lot, too—as an editor for a literary series for nonfiction books—about what I look for in memoir. It's something that takes the personal story and connects it into the larger conversation. Even if the larger conversation is directly about what the main subject is about, to me it's still about the crux of the matter. Why does your story make an impact on the world in this bigger way? How do you let the world inform your story? How does your past and your trauma, or your difficulties, connect to a larger world? Jo: Mm. Nicole: To me, that's something some memoirs are capable of doing. Some memoirs are truly invested only in that personal story, which I think is totally legitimate too, because I love learning how people think. I love understanding. This is just how my brain works. But in terms of sales? I don't know. Again, as the series editor and as the seller of my own books, I think you can't determine it in advance. So you should probably write what you want to write, what feels right to you, using as many craft techniques as you can hone. But the market, to me, feels very non-negotiable. You never know exactly how things are going to turn out. So I deeply believe: write the best, most well-crafted book you can, and I do think your readers will find you. Jo: We'll come back to marketing in a minute, but just returning to your own writing practice. I've got your book page up in front of me, and you've written all kinds of things: your essays, your memoirs, some fiction, and some poetry, as you mentioned. So I wondered: when you're researching something, or you've got a feeling about wanting to write, how do you choose the type of book you turn it into—or a poem, or an essay? Or do you pitch it as some kind of external work, or turn it into a workshop? How do you turn an idea into what it will eventually be? Nicole: I love that question because it's somewhat of a mystery to me, but I think I'm getting close to understanding. It really is in those first few words, that first sentence, that I think, “Okay, I know which direction this is going.” For example, the other day I woke up in the morning and thought, “All right, I'm writing this poem about how man took over for God, and that's how the planet ended up being such a mess.” So I started writing it, and it was pretty lyrical at the beginning. But then I started making full sentences, and explaining things a little bit more, and I thought, “Okay, this is not a poem. It's going to be an essay.” When I start writing fiction, I pull on something a little further, a little more distant from my experience, and then I pull it back into something more character-driven. For example, in a novel I'm writing, I begin with this whole story about McDonald's and ravens, and then I pull it back into the character. If I were to diagram the sentences between a poem, the nonfiction, and the fiction, I think I'd see fundamental differences between the three. Jo: Do you work on multiple projects at the same time, or once you commit to something, is that what you finish? Personally, I have lots of little things happening, and then a moment comes and I commit to a book, and I won't stop until I've finished that book—the rest will have to wait. It's that decision moment. How does it work for you? Nicole: My process is pretty similar to yours. I have a number of ongoing projects, percolating here and there. Some days I'll think, “All right, today feels like a fiction day.” But for the most part, you're absolutely right. There's a bunch of little things I'm writing, or things I'm dabbling in, but once there's a critical mass—which I'd say is around 20,000 words or something—I'm all in, and I've got to focus on this project. Even though I think I can do whatever multitasking, really it's important to try to maintain some sort of through-line in whatever project I'm working on. If I do that with too many projects, I lose that through-line. I also worry sometimes that the projects start to sound too similar. So say I'm writing a nonfiction collection and a novel—if I go back and forth every other day, those sentence differences I'm talking about might start to collapse, and they become too similar. Then what the heck would I be writing? I don't even know. Jo: It's interesting because you span academic publishing and, I guess, trade publishing—whatever you want to call it—where more non-academics read books. I'm just finishing up a master's myself at the moment, and writing academic stuff is completely different to writing my other books. So when you're deciding on these books, are you aiming for a specific publication market—as in, you want an academic publisher, or you want a trade publisher? How do you think about publishing in the process? Nicole: As much as I once really wanted to find some ground as a scholarly and academic writer—and I really do love to write reviews of other people's books, and Writing the Hard Stuff is a textbook that relies tremendously on so many other people's books. That is really important to me because that goes back to how one both creates and thanks one's community for creating the literary world we live in—I feel like there's a smaller audience for that sort of academic writing. But it's something we should do. As generous as you are here, for example, reaching out to other people about other people's books is probably the kindest thing you can do. So I hope to continue to take time to do that and make it part of my repertoire. It's not as fun, I'd say, as the imaginative elements of writing creative nonfiction, or fiction, or poetry. That's when I really love to groove and get into that mode of, “Oh, the words are coming. Oh, I never thought about it that way.” With academic writing, I feel I sometimes write in a slightly more stilted voice. My friend Ander Monson, who teaches at the University of Arizona, has done a really great job of writing—whether it's his personal essays or his critical essays—where he maintains the same voice. He doesn't move into that super-formal academic speak. He'll literally say things like, “You know,” or, “That's a banger of a sentence,” in the middle of an academic essay, and I really admire him for that. I feel like maybe if academic writing were more receptive to people writing in their unique voices, then maybe more people would read it. Jo: Yes. One of the pieces of feedback on one of my earlier essays in my master's year was around my sentence structure—that it would be far more appropriate in a novel than in an academic essay. I was saying to my husband, “I can't believe this, but I'm just going to have to change my style.” It's very interesting. We're almost out of time, and I also wanted to ask you: you have a recent blog post on how to try to get your forthcoming book attention in 4,231 simple steps, which made me laugh. We all find book marketing a challenge, so what have you found works best for you? I should tell the listeners—there are not 4,000 steps in your blog post. Although I think people would want them. Nicole: Exactly. I stopped at 72, but I can go on. That was sort of the pre-publishing process. There have been so many great things that have happened, but a lot of them have been driven by me. I have a publicist, but he works on a lot of other books, and I have a marketing person at Bloomsbury. They have to juggle a lot. The only person who is really, really, really committed to your book is you. So I've written companion essays. I haven't had any luck publishing them, which hasn't been true in the past, so I wonder what's going on there. I'll write something for the Huffington Post or Newsweek that's tangentially related to my book. I also might just write too much in essay voice instead of popular-magazine voice. As we were just talking about, academic voice versus novelistic voice. So that might be part of the problem too. Reaching out to people who might invite me onto podcasts has been really rewarding, and very, very kind. I think the best thing I did was to put myself on book tour and to pair myself with someone in that community. I've gone on book tour before by myself, and there have been occasions where there were two to three people in the audience, which can be really disheartening. The problem wasn't so much the bookstore's fault or my book's fault—it's just that if you go to a bookstore in a town where nobody knows you, they're not going to put a lot of effort into making the date happen, unless you're super famous. So what I did was find somebody in a community—a friend of mine—who would go with me and be part of the conversation. Even if their book was a couple of years old, we'd still go and have a conversation about each of our books. This has worked tremendously well. People will come to see their friend, and then they'll be introduced to you, and they'll ask you questions and buy your book. You create new connections and new friends thanks to that friend and that place. So that's my number one recommendation for how to get the word out in the world. I also did all the social media stuff. It doesn't work as well as it used to. It's kind of a strange time. But because of my suggestion about going to bookstores with people you know… I think we're coming out of our COVID time, where we got so used to doing everything on our computers and just staying in our electronic universe. People are hungry to get out. So one thing I want to do, and haven't done yet, is throw a big party. Go to weird places where you don't even do readings—you just offer people snacks and a glass of wine and say, “Hey, here's a book if you want to buy it.” To have these more informal gatherings that bring people together because I do think there's a hankering for people to get out into the world again. Jo: And just on that—you've got these two books coming at the same time: How to Plant a Billion Trees, which is the memoir, and Writing the Hard Stuff, the how-to book for writers. When you do these events, are you choosing one or the other depending on the audience? Or are you selling both at the same time? Because they're obviously very different. Nicole: Yes, I'm definitely selling both at the same time. Although I probably push How to Plant a Billion Trees first, because most of the people I'm pairing with are also writers of nonfiction or memoir. The other thing is, I can talk about How to Plant a Billion Trees, and if people have a really deep question about, “Well, how did you write this section?” I can say, “Well, if you refer to this book, Writing the Hard Stuff, you'll see.” So it's an easier segue. I think people aren't used to going to book events for craft books. But in the interview world—where people are reviewing books or interviewing me—Writing the Hard Stuff has definitely been the primary book I've been approached to speak about because people really do want techniques. So it depends on the context as to which book gets the spotlight, but it's been really fun to be able to talk about both in tandem. I don't know if they're competing against each other or supporting each other. That's my hope, that people think, “Oh, I read this one book, I might as well read the other one.” But that's asking a lot of people, to buy two books, so I try not to overstate that hope. Jo: They are very different, and I love the idea of doing that. Absolutely. So where can people find you and your books online? Nicole: You can find me at my Substack, which is substack.nikwalk.com—N-I-K-W-A-L-K. Or my website, which is the same: nikwalk.com. I might just start going as Nik Walk in the world, so people can find me more easily. I also really love to support Bloomsbury. They have really good deals, especially on the audiobook for How to Plant a Billion Trees, and they also have good deals if you buy both books, you get free shipping. So Bloomsbury is probably the number one place to get the books, but of course they're also available on Bookshop.org and Amazon.com, and on Amazon in the UK as well. Jo: Brilliant. Well, thanks so much for your time, Nicole. That was great. Nicole: Oh, it was so fun to talk with you, Joanna. Thank you again so much for this opportunity.The post Writing The Hard Stuff: Turning Difficult Subjects Into Meaningful Prose With Nicole Walker first appeared on The Creative Penn.

Vypadá to, že česká politika se v posledních týdnech peče výhradně na jižní Moravě. Nejdříve se v Brně konaly Sudetoněmecké dny, které se staly záminkou k vyvolávání nacionalistických démonů. Minulý týden zase brněnský Ústavní soud rozhodl ve svém předběžném stanovisku o účasti prezidenta republiky na summitu NATO. No a v závěru týdne byli na strážnickém folklórním festivalu vypískáni ministr kultury a ministr zahraničí.Navenek tyhle tři politické kauzy působí jako zásadní spory o principy. Ve skutečnosti jde o nesmyslné konflikty, které jen rozbíjejí českou společnost a dávají sporům ráz fanouškovských bojů mezi Spartou a Slavií. Ve všech těchto příbězích mají hlavní podíl Motoristé v čele se svým předsedou Petrem Macinkou. Všechny „principiální“ spory šlo ve skutečnosti vyřešit dohodami hlavních aktérů a koncentrovat se přitom na skutečně podstatné otázky naší doby.Vedení Motoristů se však radikalizuje a sází na veřejné vyvolávání konfliktů, které má ten efekt, že většinu veřejnosti odpudí, ale na menšinu stoupenců působí sympaticky a neotřele, takže to pomáhá budovat tvrdé jádro příznivců. V takovém prostředí je hledání českých národních pozic stále složitější. A do toho přichází vypískání Oty Klempíře a Petra Macinky na strážnickém festivalu folklórní hudby.Otázkou je, zda jde o předzvěst toho, že se Motoristé stanou pro Andreje Babiše neúnosnou koulí na noze, kterou budou muset pro zachování své vládní pozice nějak v exekutivě odsunout.

Atlantic Staff Writer Megan Garber argued that screens and social media have changed how we relate to each other. Politics and Prose in Washington, D.C., hosted this event. Learn more about your ad choices. Visit megaphone.fm/adchoices

Atlantic Staff Writer Megan Garber argued that screens and social media have changed how we relate to each other. Politics and Prose in Washington, D.C., hosted this event. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new memoir, View from the East Wing, the former First Lady shares her experience in the White House, in her own words, during one of the most complicated periods in recent American memory—from behind the scenes stories from Camp David and Air Force One to how the Biden presidency changed the nation, and much more. In conversation with Emmy-Award winning journalist Paola Ramos, a contributor for Telemundo News and MS NOW, and co-host of the podcast "The Moment with Jorge Ramos and Paola Ramos." This program was held on June 3, 2026 in partnership with Politics and Prose. Watch on YouTube.

Tous les soirs ou presque, « Paris » rime avec « poésie » ! Dans la capitale française, nichée dans une ruelle proche de l'Assemblée nationale, se cache une institution qui fait vibrer les amateurs de belles lettres. Depuis 1961, le Club des poètes accueille chaque soir des dizaines de personnes, venues déclamer de la poésie, mais surtout profiter d'une bulle hors du temps où la bienveillance est le maître mot. Sa façade blanche, tout juste percée de lucarnes, passe quasi inaperçue dans la paisible rue de Bourgogne, en plein cœur des quartiers cossus de la capitale française. Pourtant, tous les soirs du mardi au vendredi, depuis 1961, ce discret bâtiment abrite une institution parisienne : le Club des poètes. Derrière sa lourde porte en bois, une joyeuse bande plaisante bruyamment autour d'une part de tarte ou d'un verre de vin. L'ambiance tamisée, les poutres apparentes et les piles de livres qui soutiennent des tableaux posés contre les murs invitent à la détente et à la convivialité. D'ici quelques instants, les lumières seront éteintes, des bougies seront allumées, et la véritable attraction de la soirée commencera : ici, depuis plus de 60 ans, on déclame des poèmes.  Un lieu chargé d'histoire  « Éteignez les lumières ! » : cette voix, c'est Blaise Rosnay – Blaise, comme l'appellent tout simplement les adeptes du lieu. Ce dernier présente le club, « pour ceux qui ne le connaîtraient pas » – et ils sont nombreux ce soir. Car le Club des poètes accueille aussi bien des habitués que des curieux. Le Club des poètes, donc, a été fondé par le père du maître de cérémonie, Jean-Pierre Rosnay, lui-même poète et résistant. « ​​​​​​​Avec une bande de jeunes gens turbulents, sourit Blaise Rosnay, il a d'abord fondé une maison d'édition [Les Jeunes artistes réunis, NDLR], avant d'animer une émission de radio qui s'appelait le Club des poètes. » D'où vient la désormais célèbre expression : « Amis de la poésie, bonsoir ! »  Dans le local sis au 30 rue de Bourgogne, se sont croisés Louis Aragon et Pablo Neruda, Léopold Sédar Senghor et Raymond Queneau. « ​​​​​​​Nous, on essaie de faire vivre la flamme allumée par nos parents, pointe Blaise Rosnay, et il faut croire qu'on s'en sort pas trop mal ​​​​​​​! » Il faut croire, oui : de nos jours, les fantômes des poètes du passé croisent quotidiennement des dizaines de poètes d'aujourd'hui, étudiants, retraités ou jeunes actifs, seuls ou en groupe, venus dire – et non pas lire – des poèmes.  La règle cardinale : apprendre les poèmes par cœur Car au Club des Poètes, on dit, on déclame, on chante même, mais surtout, on ne lit pas. « ​​​​​​​C'est une règle essentielle, estime le maître des lieux. Déjà parce qu'elle fait écho à toute l'histoire de la poésie, qui a existé bien avant l'écriture et le livre. » La récitation de mémoire est aussi une forme de cadeau faite au public : « ​​​​​​​Lorsqu'on s'apprête à demander un peu de temps d'attention au public, c'est important d'avoir soi-même passé un petit moment avec le texte qu'on s'apprête à partager, et de lui avoir soi-même prêté cette attention. » Il y a une dernière raison, glisse Blaise Rosnay dans un clin d'œil : « Cela évite les poèmes de 150 pages ​​​​​​​! » Dans de telles conditions, forcément, le stress monte un peu. Pourtant, les novices sont eux aussi les bienvenus sur le tabouret qui fait face au public – ils y sont même fréquemment encouragés par Blaise Rosnay entre chaque session. « Tout le monde peut dire un poème ​​​​​​​! » exhorte-t-il. Et si jamais le poète du moment trébuche, qu'il se rassure : les habitués se feront un plaisir de lui souffler la suite.  Une bulle hors du temps Des habitués, justement, il y en a beaucoup ce soir-là. Parmi lesquels Samuel. À 28 ans, le jeune homme fréquente les lieux depuis déjà dix ans : « J'ai découvert le club quand je suis arrivé à Paris. J'avais 17 ans. J'aime la bienveillance qu'il y a ici, le fait que les gens apprennent par cœur, voir leurs yeux quand ils récitent. » Pour lui, cet endroit est une évidence : « ​​​​​​​Il n'y a pas un seul jour, pour moi, sans poésie. J'en lis souvent, j'en parle avec les gens que j'aime, je me tiens au courant des nouveautés. »  Devant un public captivé, le jeune homme s'installe face au public. Sa guitare sur les genoux, il entonne, avec beaucoup de douceur, L'Hirondelle, un poème de la poétesse et révolutionnaire Louise Michel, qu'il a mis lui-même en musique. Pendant quelques minutes, le temps est comme suspendu. « ​​​​​​​Je dis souvent aux gens qui hésitent à apprendre des poèmes par cœur qu'avoir de la poésie en tête, cela permet d'y avoir autre chose que des soucis », glisse le jeune homme. Apparemment, les écouter aussi. D'ici quelques minutes, il sera 21h30. Les lumières se rallumeront et, le temps d'une courte pause, la réalité viendra toquer à la porte. Mais pour quelques instants encore, on est en pays de poésie.  À lire aussiPrintemps des Poètes, la poésie en circulation entre scène, rap et littérature

In Crisis of the Common Good: The Fight for Meaning and Connection in a Broken America, Senator Murphy draws on history and political philosophy to expose how six different cults have paved the way to our current troubles—profit, globalism, technology, consumption, credentialism, and corruption—and offers a new politics of the common good.  in conversation with Pulitzer Prize-winning journalist Jonathan Capehart, co-host of the morning edition of "The Weekend" on MS NOW and the New York Times bestselling author of Yet Here I Am: Lessons from A Black Man's Search for Home. This program was held on May 27, 2026 in partnership with Politics and Prose. Watch on YouTube. 

On the latest episode of Now, Appalachia, Eliot interviews author Linda Gambill about her new memoir THE GEOGRAPHY OF DESIRE: A MEMOIR OF WEST AFRICA. Linda Gambill has been a therapist at a state psychiatric hospital, a Peace Corps volunteer, a nationally exhibited photographer, and an ESL teacher at the University of Tennessee in Chattanooga. Her writing has appeared in Persimmon Tree and Parhelion Literary, and is forthcoming from Allium: A Journal of Poetry and Prose. The Geography of Desire: A Memoir of West Africa is her first book. She lives in the South with her husband and their overly talkative rescue cat.

On the latest episode of Now, Appalachia, Eliot interviews author Linda Gambill about her new memoir THE GEOGRAPHY OF DESIRE: A MEMOIR OF WEST AFRICA. Linda Gambill has been a therapist at a state psychiatric hospital, a Peace Corps volunteer, a nationally exhibited photographer, and an ESL teacher at the University of Tennessee in Chattanooga. Her writing has appeared in Persimmon Tree and Parhelion Literary, and is forthcoming from Allium: A Journal of Poetry and Prose. The Geography of Desire: A Memoir of West Africa is her first book. She lives in the South with her husband and their overly talkative rescue cat.

Walt Whitman's outrage at American politics and politicians was surpassed only by his passionate faith in democracy's future. Both his anger and his hope fire his visionary prose writings on democracy, gathered for the first time in a new Library of America paperback edited by acclaimed political commentator and literary critic David Bromwich. Join Bromwich, Mark Edmundson (author of Song of Ourselves: Walt Whitman and the Fight for Democracy) and Karen Karbiener (The Modern Scholar: Walt Whitman and the Birth of Modern American Poetry) for an exploration of our essential poet of democracy and his prophetic vision for the country that speaks directly to our present moment. 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

Walt Whitman's outrage at American politics and politicians was surpassed only by his passionate faith in democracy's future. Both his anger and his hope fire his visionary prose writings on democracy, gathered for the first time in a new Library of America paperback edited by acclaimed political commentator and literary critic David Bromwich. Join Bromwich, Mark Edmundson (author of Song of Ourselves: Walt Whitman and the Fight for Democracy) and Karen Karbiener (The Modern Scholar: Walt Whitman and the Birth of Modern American Poetry) for an exploration of our essential poet of democracy and his prophetic vision for the country that speaks directly to our present moment. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Walt Whitman's outrage at American politics and politicians was surpassed only by his passionate faith in democracy's future. Both his anger and his hope fire his visionary prose writings on democracy, gathered for the first time in a new Library of America paperback edited by acclaimed political commentator and literary critic David Bromwich. Join Bromwich, Mark Edmundson (author of Song of Ourselves: Walt Whitman and the Fight for Democracy) and Karen Karbiener (The Modern Scholar: Walt Whitman and the Birth of Modern American Poetry) for an exploration of our essential poet of democracy and his prophetic vision for the country that speaks directly to our present moment. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Walt Whitman's outrage at American politics and politicians was surpassed only by his passionate faith in democracy's future. Both his anger and his hope fire his visionary prose writings on democracy, gathered for the first time in a new Library of America paperback edited by acclaimed political commentator and literary critic David Bromwich. Join Bromwich, Mark Edmundson (author of Song of Ourselves: Walt Whitman and the Fight for Democracy) and Karen Karbiener (The Modern Scholar: Walt Whitman and the Birth of Modern American Poetry) for an exploration of our essential poet of democracy and his prophetic vision for the country that speaks directly to our present moment. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cynthia Schumacher is well into her 90's and is still writing and publishing books at a solid pace. After retiring as a teacher of 33 years, and then serving as an education advocate, she took to penning three children's books and seven collections of stirring poetry. Now, at age 97, she has released her first book of short stories, Prose Pizza.“I try to shed light on the hidden, amazing layers that exist under ordinary people's public lives,” says Schumacher. “These slices of life vary in tone and style, but come together as a coherent, nourishing whole.”Prose Pizza is a collection of nine short stories, exploring themes like hidden desires, identity, and social expectations through ordinary lives, with a style described as charming and insightful. The book uses the metaphor of pizza to represent the many "slices" or perspectives on life, marriage, and individual behavior, offering readers a variety of short, thoughtful pieces. Story themes include: private desires, social expectations, aging, identity, marriage, and the extraordinary within the ordinary. These stories, originally written 60 years ago, represent the slices of life.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The Second Sunday after Pentecost ORISON: Now cheer our hearts this eventide – Nathan Jensen (b. 1968)  PSALM 33:1-12 – Peter R. Hallock (1924-2014)  HYMN: O God of Bethel (Tune: Dundee) – mel. from The CL Psalmes of David, 1615; harm. The Psalmes of David in Prose and Meeter, 1635 [H40 497]  NUNC DIMITTIS – Plainsong, Tone VII; harm. Thomas Morley (1557-1602)  ANTHEM: In pace – John Sheppard (c. 1515-1558)  Jeremy Matheis, director • Scott Fikse, reader • Joel Bevington, cantor 

He was the man who turned sparse, muscular prose into a blueprint for the 20th century. But before the Nobel Prize, the big-game hunting, and the larger-than-life legend, there was just a young man writing in the cafés of Paris.In this episode of History Ignited, we strip away the myth to find the man behind the typewriter. We explore how Ernest Hemingway's experiences in the Great War and the Lost Generation shaped his relentless pursuit of "the true sentence." From the sun-drenched rings of Spanish bullfights to the quiet complexities of his most iconic short stories, we trace the literary evolution of one of America's most polarizing figures. Tune in as we examine the man who didn't just write about life—he lived it to its breaking point.Send us Fan MailAbout History Ignited: History Ignited is the award-winning kids and family history podcast inspired by Billy Joel's We Didn't Start the Fire. Each short episode explores the real stories behind the people, events, inventions, and cultural moments that shaped the world from the 1950s through the 1980s. Winner of the 2025 Webby People's Voice Award for Best Kids & Family Podcast.

I obviously love video games and one thing that I wish there was more of a focus on in the online gaming discourse is what other benefits we get from gaming besides the social aspects and hand dexterity etc. In this episode I got to chat with friend of the show Nadia Oxford about her recently released book "From Pixels to Prose: What Video Games Taught Me About Storytelling" from Retro Game Books, which dives into an element of what I mentioned prior, video games teaching us about media in ways we may not expect. I had a lot of fun chatting with Nadia about her book, about what videos have taught her about storytelling and writing and about who she hopes this book will appeal to. Please go check out her book, its funny, insightful and a wonderful read all around. Buy Nadia's book HERE Follow Nadia on Bluesky HERE Check out Axe of the Blood God on Patreon HERE Shout-out Song: ABCDE 12345 (Password Screen) Artist: ABSRDST Album: Boss Beats https://gamechops.com/boss-beats/ End Song: Time Stopper (Flash Man) Artist: ABSRDST Album: Boss Beats https://gamechops.com/boss-beats/ Get Still Loading Podcast merch! https://www.teepublic.com/user/still-loading-podcast Check out the Bit by Bit Foundation! https://www.bitbybitfoundation.org/ Support the Podcast! https://www.patreon.com/stillloadingpod

"Maybe your first images are some bulked up organism, or whatever. Then there's that kind of like sinewy strength that you see in like middleweight fighters. Roberto Duran comes to mind as the epiphany, like a super powerful, sinewy guy, right? And so I think that's what we're talking about too, is just those different forms of power, economy is really seductive to me now," says Maccabee Montandon, whose piece on his brother Asher is featured as a "revived" Atavist story.The factory is running behind here at CNF Pod HQ, but we've got the first of two Atavist pods coming this month. It's Maccabee Montandon being featured for The Atavist's “revived” series. This story, originally published by Gawker in 2013, details the story of Mac's brother Asher, who was murdered in Los Angeles in the 1990s.Mac is a journalist, writer, filmmaker, all around creative person and in this episode we talk about: Obsessions and the best forms to tell stories Being creatively impulsive Word economy and sinewy strength How the proximity to tragedy often activates people Writing through grief And his strength as a writer (he's fast)Visit magazine.atavist.com to read "A Hollywood Ending."

Hlasujte pro Ptám se já v anketě Podcast roku.--Stát chystá zestátnění společnosti ČEZ. Oddělí a prodá část, která se věnuje distribuci a prodeji elektřiny. Ze získaných peněz vyplatí minoritní akcionáře. To vše kvůli plánované stavbě nových jaderných bloků. Je to správná cesta? Hostem Ptám se já byl bývalý generální ředitel ČEZ, někdejší vládní zmocněnec pro jadernou energetiku Jaroslav Míl.Rozdělování ČEZ na výrobní, distribuční a obchodní část začátkem týdne schválila valná hromada největší tuzemské energetické skupiny. Nová vlastnická struktura umožní, aby stát převzal kontrolu nad dominantní částí výroby elektřiny v Česku, zatímco pro prodej, distribuci energií, obchodování a energetické služby vytvoří novou společnost, v níž si ČEZ ponechá většinový podíl.Zestátnění společnosti je jedním z deklarovaných cílů současné vlády, která ho odůvodňuje potřebou uvolnit firmě ruce k investicím. Od převzetí části ČEZ si slibuje především větší kontrolu nad financováním nových jaderných zdrojů a nad cenami energií.Premiér Andrej Babiš (ANO) dříve uvedl, že jeho kabinet chce celý proces plného ovládnutí ČEZ stihnout nejpozději do konce stávajícího volebního období v roce 2029.„Lidé zapomínají. Já bych některým připomněl, že v 90. letech tady proběhla kampaň: ‚Drobní akcionáři, plačte!‘. A oni zaplakali, teda aspoň někteří. Ale to, co se 1. června stalo, je reminiscence s tím, že tedy: ‚Daňoví poplatníci, plačte!‘. To je velmi špatný krok, ekonomicky zcela nesmyslný,“ kritizoval rozhodnutí ohledně budoucnosti společnosti ČEZ její bývalý generální ředitel Jaroslav Míl v Ptám se já. „Hlavní důvod, proč z toho bývalá vláda vycouvala, bylo to, že to bylo tak do očí bijící ekonomické poškození budoucích generací, že nakonec i oni, jakkoli tomu byli na začátku velmi nakloněni, z toho radši vycouvali,“ dodal. Kdo na největší finanční operaci státu za desítky let vydělá nejvíc? A jak probíhá příprava stavby nových jaderných bloků?--Podcast Ptám se já. Rozhovory s lidmi, kteří mají vliv, odpovědnost, informace.Sledujte na Seznam Zprávách, poslouchejte na Podcasty.cz a ve všech podcastových aplikacích.Archiv všech dílů najdete tady. Své postřehy, připomínky nebo tipy nám pište prostřednictvím sociálních sítí pod hashtagem #ptamseja nebo na e-mail: audio@sz.cz.

Leah, Kate, and Melissa recap another busy week in legal news, covering the continued fallout from the Voting Rights Act case, Louisiana v. Callais, the ongoing saga of the DOJ's insurrectionist slush fund, wild twists with the Broadview Six, more ballroom drama, the curious case of the Georgia judge who had loud sex in her chambers and then lied about it, and more. They also cover SCOTUS opinions involving compassionate release for prisoners and compelled arbitration before Leah speaks with University of Michigan law professor Barbara McQuade about her book, The Fix: Saving America from the Corruption of a Mob-Style Government.Favorite things: Kate: Trump's Illegal $250 Bill: A Micro-History of Autocracy, Ruth Ben-Ghiat (Lucid); How Callais broke the Voting Rights Act and weaponized the equal protection clause, Issa Kohler-Hausmann & Kevin Z. Yang (SCOTUSblog); Beg For Me (JADE Remix), Lilly Allen; Harmeet Dhillon Is Not Wasting Any Time, Quinta Jurecic (The Atlantic); Brown's Advancing Impact on Maternal and Reproductive Health Lab Leah: Ronny Chieng's Harvard speech; Hit the Wall, Gracie Abrams; Midnight Sun, Zara Larsson Melissa: Strangers, Belle Burden; her event at Politics and Prose at The Wharf on 6/3/26; Liar's Kingdom: How to Stop Trump's Deceit and Save America, Andrew Weissmann Get tickets for STRICT SCRUTINY LIVE – The Bad Decisions Tour 2026! 6/20/26 – New York City Learn more: http://crooked.com/eventsBuy Melissa's bestselling book, The U.S. Constitution: A Comprehensive and Annotated Guide for the Modern ReaderPreorder a signed paperback of Leah's book, Lawless, here.Follow us on Instagram, Threads, and Bluesky

Hello Rebels and welcome to fireside chat number forty-four between Rachael Herron and I.  To find out more about Rachael, you can listen to her show “How Do You Write” or visit her website. * If you like dark humor, learning through examples and want to create perfect prose, then you'll love my guide to crafting sensational sentences. Read The Anatomy of Prose today and start creating kick-ass stories.

Saeed Jones traces his poetic roots through his sense of place and placemaking, identity, education, and his experiences writing in multiple genres. Considering how freeing the poetic form can be, Jones talks about the fictional element and the many personas embedded in his poems. Because we grew up in the south, he also reflects on the prominence of the south in his work and how “the south” is its own character (a persona!) and his attempt to correct the Southern canon.

Celý díl najdete na: https://herohero.co/dobrovskysidloPoslechněte si nový díl podcastu Dobrovský& Šídlo o fotbalovém zákulisí se sportovním novinářem Luďkem MádlemHlasujte v anketě Podcast roku do 14.6. Děkujeme za váš hlas!

In this episode, I sit down with Dave Seitter to talk about his book, Quiet Plans, Exciting Results. We discuss the importance of planning ahead, especially when it comes to business continuity, succession, and long-term legacy. Dave shares practical wisdom from decades of experience helping business owners think through the decisions that often get delayed, avoided, or left unspoken. This conversation is a reminder that strong planning is not just about protecting a business. It is about protecting people, relationships, value, and the future you have worked hard to build. The book is available on Amazon. Learn more at www.davidseitter.com.

CELÝ DÍL NAJDETE NA https://herohero.co/studion A V RÁMCI KLUBOVÉHO PŘEDPLATNÉHO DENÍKU N https://denikn.cz/podcast-studio-n/ Na vrcholu žebříčku je takzvaný Chad. Muž se světlou pletí, ostrými rysy, štíhlou, ale svalnatou postavou a očima lovce. „Looxmaxxing je na vrcholu. Není to jen internetový trend, měli bychom nad tím uvažovat i jako nad širší subkulturou, která má vlastní kořeny a historii,“ říká ve Studiu N novinářka Karolína Klinková, která se ponořila do fenoménu maximálního vylepšení mužského vzhledu. „Looxmaxeři mají matematiku toho, jak má vzhled vypadat, pracují například i s úhly ve tváři. Konkrétní pojetí vychází z hypermaskulinních představ o tom, co je to být krásný,“ říká v podcastu Klinková. „Vychází to z poučky incelů, že 80 % žen na seznamovacím trhu si vybírá nejlepších 20 % mužů. A reakcí lookmaxxerů je, že musíš maximalizovat svůj vzhled, aby ses objevil na vrcholu žebříčku,“ vysvětluje novinářka. Jsou veškeré úspěchy a neúspěchy v dnešním světě předurčené vzhledem? Co všechno jsou looksmaxxeři ochotni pro krásu obětovat? Co současný trend říká o politice a postpolitice? A proč jde nakonec looksmaxxerům více o uznání jiných mužů než o zájem žen? Podívejte se na celý rozhovor. Celé díly Studia N najdete na platformě Herohero, na webu Deníku N jsou přístupné předplatitelům a předplatitelkám Klubu N. Bezplatné části zveřejňujeme v podcastových aplikacích Spotify, Apple Podcasts, Podbean či na YouTube. Sledovat nás můžete také na Instagramu.

Send us Fan MailWhat does “home” mean to you? This is a word with multiple definitions and Kai Marshall Green explores many of them in his memoir, A Body Made Home: They Black Trans Love. And that is what this episode of Dem Bois Podcast is all about. Today I sit down with our Production Assistant, Joël Simeu, and we discuss the themes of identity, home, mental health, and the transformative power of writing. We also reflect on our personal experiences and the significance of the book's structure, emphasizing the importance of breaks and self-care in the reading process. We talk:08:49 - The power of writing and memory15:12 - The structure and style of the memoir21:02 - The importance of breaks in reading33:15 - Reflections on mental health and identity46:47 - The power of vulnerability in healing01:00:05 - The impact of storytelling and visibilityEpisode References:A Body Made Home by Kai Marshal GreenEp. 69 - What if Everyone Leads with Love? with Joël SimeuEp. 77 - Dem Bois Highlight Series Part 5; with Joël SimeuEp. 102 - Navigating Gender Expressions and Expectations with Kai Marshall GreenPhenomenal Woman by Maya AngelouHeavy by Kiese LaymonRead more about Shawn in his bio below:Shawn Aaron (he/him) is a Black queer trans man, nonprofit leader, and host of Dem Bois Podcast. He is the Founder + Executive Director of Dem Bois Inc., an organization dedicated to affirming and supporting trans men of color through access to gender-affirming care, health equity, and visibility. Drawing from his lived experience with homelessness, Shawn's mission is rooted in community care and systemic change. Whether through storytelling or advocacy, his work amplifies the voices of those too often unheard. His signature belief: Visibility = Possibility™IG - demboisincIG - shawnaaron81Read more about Joël in his bio below:Joël Simeu Juegouo is a poet, musician, and griot from Cameroon. His writing is featured in HarperCollins' Here to Stay: Poetry and Prose from the Undocumented Diaspora. And he was selected as 2026 Undocupoet Fellow. Joël has served as manager for Outpost Foundation's writing residency program and assesses submissions for the program's fellowship candidates. He also works towards amplifying the voices of transmasculine folks of color, as Production Assistant to Dem Bois, Inc. Simeu earned his M.A. in Literatures in English from Cornell University, where he teaches writing seminars. His doctoral dissertation contends with poetics of Black transmasculine cultural epistemology.These days find him craving that which is tender and slow. Each day, he strives to become a menace to his enemies and prays for the liberation of all oppressed people. Each day he gives his gorgeous calico, all of his love. Today, and always, he invites you to stay rooted in your breath.IG - jojosim27Celebrate 10 years of Dem Bois Inc.!2026 marks ten years of Dem Bois Inc. To honor this milestone, we invite you to join our 10 for 10 campaign by giving $10 a month to help sustain the care, leadership, and visibility that trans men of color deserve.Your support helps build a future rooted in care, visibility, and possibility.Donate today!Donate today to support Transmasc Gender Affirming Grants and Community Wellness Packages for Trans Men of Color!The  Visibility = Possibility™️ Merch is here! - Not just merch, but a movement! Dem Bois Community Voices Facebook Group is a safe, moderated sanctuary where trans men of color can connect authentically, discuss podcast episodes, share powerful experiences, and build support networks. Dem Bois YouTube Channel! - @demboisinc - Exclusive content you won't find anywhere else!

Chelsea and Prose & Glow's Julia Washington deep dive into “This Is Me: A Reckoning,” the memoir from “Heroes” and “Nashville” star Hayden Panettiere. Together, they unpack Hayden's rise from child star with a momager (of course) to tabloid fixture while dealing with addiction, postpartum depression, and the crushing weight of being a young woman in the 2000s. Plus: her age-gap relationships with Milo Ventimiglia and Wladimir Klitschko, and why this memoir feels deeply haunting. A content warning: This episode contains discussions of sensitive topics, including substance use, domestic violence, and sexual abuse. Take care while listening and find helpful resources here. Contact us or send us your voice notes: hello@glamoroustrash.com Follow Chelsea: Instagram @chelseadevantez Join the cookie community: Become a member of the Patreon Thank you to our sponsors: Quince  - Go to quince.com/glamorous for free shipping on your order and 365-day returns.  Thrive Causemetics - Get 20% off your first order at thrivecausemetics.com/glamorous  Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Show Notes: Dringo! Card Yesteryear Book Club Link RHOBH alum Diana Jenkins denies she's the friend who put teenage Hayden Panettiere into bed with 'very famous' man (Entertainment Weekly) Where to find our guest: Julia Washington Glamorous Trash Candle Link Julia's Book Club (Patreon) Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mění se klima odjakživa, nebo je teď situace opravdu jiná? Jaký vliv má skutečně CO2, činnost Slunce či střídání dob ledových? Proč je koncept „osobní uhlíkové stopy" geniální marketingový tah ropných společností? Nemůže nás náhodou zachránit před klimatickou krizí umělá inteligence tím, že pomůže vyvinout lepší technologie? Anebo naopak AI vše ještě zhoršuje? Hostem dalšího dílu Deep Talks byl doktor Daniel Kortus. Daniel má doktorát z VŠCHT a je komunikátorem vědy okolo klimatické změny. Založil úspěšný profil Klimatomluva, který sleduje přes 100 tisíc lidí a který se věnuje vyvracení mýtů a lží v podání Turka, Macinky & spol. Odkazy: -

Estas son las noticias de la semana del 18 al 24 de mayo de 2026

On this episode of the The Madd Hatta Show Podcast, we sit down with Billy Sorrells for a powerful conversation about purpose, mentorship, and building impact beyond entertainment. Billy opens up about his journey from aviation dreams to comedy and acting, the influence of family and community, and why having the right counsel matters in an industry that can change overnight. He also shares the mission behind his Pro Se litigant app, his deep connection to Houston, and how humor, heart, and service can work together to create lasting change.

In this episode of It Just Takes One, we celebrate Tracy Markley, winner of the 2025 Scriptor Publishing Group From Pen to Prose Book Award in Non-Fiction: Fitness for her book, The Stroke of an Artist. Tracy shares the story behind her work with Gary, a stroke survivor, and how that experience became the foundation for her first book. The conversation highlights the power of sharing meaningful work, the impact one story can have on readers, and Tracy's continued mission to educate, encourage, and support others through fitness, stroke recovery, and the written word. The Stroke of an Artist, and Tracy's other books are all available on Amazon. You can find them on her bookshelf here.  Website: www.tracymarkley.com Social Media: @TracyLMarkley IG: @motivate_healthyfit

Hans Christian Anderson hoped to find a household straight out of a Charles Dickens novel when he visited the Dickens family at their country home in the summer of 1857. Instead, he found a marriage in shambles, a band of miserable and neglected children and a host who was desperately hoping Anderson would leave — the sooner, the better.But Anderson didn't leave. He lingered, for five awkward and painful weeks, while the Dickens family disintegrated around him. Francine Prose takes this historic moment and fictionalizes it in her new novel, “Five Weeks in the Country.” Told from multiple perspectives, the book details the very public dissolution of the Dickens family and the very modern question of what to do when good art is produced by a terrible person. On this week's Big Books and Bold Ideas, Prose and host Kerri Miller tackle it all — including why Prose likes reality TV, how she grapples with being a fan of Dickens work without liking Dickens the person, and what it means to write risky, even after you've written 23 novels.Guest:Francine Prose author of many books, including “Household Saints” and “Lovers at the Chameleon Club, Paris 1932.” Her new novel is “Five Weeks in the Country.” Subscribe to the Thread newsletter for the latest book and author news and must-read recommendations.Subscribe to Big Books and Bold Ideas with Kerri Miller on Apple Podcasts, Google Podcasts, RSS or anywhere you get your podcasts.

Physician and anthropologist Khameer Kidia argues that Western mental health care treats the symptoms instead of the causes of mental illness. Politics & Prose in Washington, D.C., hosts this event. Learn more about your ad choices. Visit megaphone.fm/adchoices

Physician and anthropologist Khameer Kidia argues that Western mental health care treats the symptoms instead of the causes of mental illness. Politics & Prose in Washington, D.C., hosts this event. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of True Crime News The Sidebar Podcast: Eric Faddis joins host Joshua Ritter to break down the biggest cases making headlines across the nation. They discuss Hisham Abugharbieh's arrest in the slayings of FSU doctoral students Zamil Limon and Nahida Bristy, quadruple homicide suspect Austin Drummond asking to represent himself ahead of his death penalty eligible trial, and former police officer Matthew Farwell seeking bail as prosecutors claim he's a danger to the community. Tweet your questions for future episodes to Joshua Ritter using the hashtag #TCNSidebar. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

What is the process when a person wishes to represent themselves in court? How common is it? Is it true that a person who represents themselves "has a fool for a client?" Today in our "Ask a Judge" series, attorney and magistrate Amy Lin Meyerson and "small town lawyer" Ray Williams give tips for those who have no choice but to address the court on their own behalf. Here is the American Bar Association's virtual legal advice clinic (staffed by human legal minds, not AI!): https://abafreelegalanswers.org/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Rockwell, el ingeniero detrás del Apple Vision Pro y actual responsable de la reconstrucción total de Siri, estaría planteándose dejar Apple o pasar a un rol meramente asesor a partir del próximo año, según un informe de Bloomberg recogido por MacRumors y otros medios especializados. Este posible movimiento llega en plena reestructuración de la estrategia de inteligencia artificial de Apple bajo el mando de Craig Federighi, después de años de retrasos y tropiezos con Siri frente a rivales como Google Assistant y ChatGPT. --------------------------------------------------------------------------------------- Quién es realmente Rockwell, cómo pasó de liderar el Vision Products Group que dio vida al Vision Pro a asumir el mando del “nuevo Siri”, y por qué no termina de encajar en el nuevo organigrama donde ahora reporta directamente a Federighi. También profundizamos en la tensión interna que está generando el uso de modelos externos como Gemini de Google, el impacto que podría tener su marcha en iOS 27 y en el futuro de la IA dentro de Apple, y qué significa todo esto para los usuarios que llevan años esperando una Siri a la altura en español y en el resto de plataformas. #Apple, #VisionPro, #Siri, #NuevaSiri, #AppleAI, #CraigFederighi, #MikeRockwell, #iOS27, #AppleNews, #TecnologiaApple --------------------------------------------------------------------------------------- Enlaces// * https://www.macrumors.com/2026/04/22/vision-pro-creator-considered-leaving-apple/ * https://youtu.be/er7v-GJj_V0?si=jcW5VuB_6zg8h_ms --------------------------------------------------------------------------------------- https://seoxan.es/crear_pedido_hosting Codigo Cupon "APPLE" --------------------------------------------------------------------------------------- PATROCINADO POR SEOXAN Optimización SEO profesional para tu negocio https://seoxan.es https://uptime.urtix.es --------------------------------------------------------------------------------------- PARTICIPA EN DIRECTO Deja tu opinión en los comentario --------------------------------------------------------------------------------------- ¿TE GUSTÓ EL EPISODIO? ✨ Dale LIKE SUSCRÍBETE y activa la campanita para no perderte nada COMENTA COMPARTE con tus amigos Applelianos --------------------------------------------------------------------------------------- SÍGUENOS EN TODAS NUESTRAS PLATAFORMAS: YouTube: https://www.youtube.com/@Applelianos Telegram: https://t.me/+Jm8IE4n3xtI2Zjdk X (Twitter): https://x.com/ApplelianosPod Facebook: https://www.facebook.com/applelianos Apple Podcasts: https://apple.co/39QoPbO ---------------------------------------------------------------------------------------

Notes and Links to Sarah Aziza's Work     Sarah Aziza (she/هي ) is a Palestinian American writer, translator, and artist with roots in ‘Ibdis and Deir al-Balah, Gaza. She is the author of The Hollow Half. Winner of the Palestine Book Awards, The Hollow Half is a genre-bending work of memoir, lyricism, and oral history exploring the intertwined legacies of diaspora, colonialism, and the American dream. It is available wherever books are sold.    Sarah's award-winning journalism, poetry, essays, and experimental nonfiction have appeared in The New Yorker, The Paris Review, Best American Essays, The Baffler, Harper's Magazine, Mizna, The Washington Post, The Guardian, and The Nation, among other publications. The recipient of fellowships from Fulbright, MacDowell, the Asian American Writers Workshop, Tin House Writers' Workshop, and numerous grants from the Pulitzer Center for Crisis Reporting, she has lived and worked in Saudi Arabia, Algeria, Jordan, South Africa, Palestine, and the United States.  Buy The Hollow Half   Sarah Aziza's Website   Review of The Hollow Half from Kirkus Reviews   Sarah on Democracy Now Discussing Her Memoir     At about 2:30, Sarah talks about her language and reading life growing up At about 5:10, Sarah expands upon readings that inspired and challenged her At about 13:00, Pete and Sarah discuss ideas of writing as “political,” inspired by Marwan Makhoul, and Sarah cites a gripping poem by Noor Hindi At about 15:20,  At about 17:30, Sarah responds to Pete asking about the book's title and ideas of generational trauma and Sarah's Americanness  At about 20:30, Sarah talks about his father “pouring his hope” into her and sheltered and open pain  At about 22:20, Pete uses a Hasan Minhaj routine and Sarah expands on ideas of first generation and immigrant parents' relationships  At about 23:20, Sarah reflects on ideas of love's multiple meanings and connects these myriad ideas to much of the book and calls the book “an offering…in a time of suffering” At about 28:00, The two discuss the vagaries of Arabic and translation and its challenges and beauty  At about 33:20, Pete recounts the book's opening, and Sarah expands on her grandmother's life and struggles and joys and how Sarah is connected to her grandmother-”Sittoo” At about 37:25, The two meditate on the “small victories” of Sarah's grandmother  At about 39:05, Sarah explains how she sees her recovery/”recovered” and her present and past with anorexia At about 41:45, Sarah responds to Pete asking about an emblematic scene from the memoir where an IpHone asks to verify her identity  At about 43:05, Sarah discusses the idea of “better than what?” especially as a child At about 45:15, Sarah talks about her family's connections to ‘Ibdis, Gaza, and the fact that so much stolen and ethnically-cleansed land in Palestine is open/unused At about 48:15, Sarah talks about her time recovering from prolonged anorexia  At about 50:45, Pete notes the specific and universal in the book, as he and Sarah discuss the impulse to bury oneself in work At about 53:10, Sarah expands on reasoning for writing the book and in particular “put[ting] into place” her family history and finding a place to publish a story like hers that she feels is rarely published At about 55:20, Sarah talks about her grandmother's time living with Sarah and her family At about 57:30, Sarah responds to Pete's questions about the anorexia ward and how she saw and sees the employees there At about 1:00:45, Sarah talks about the ways in which photos opened up ideas and research and thoughts of her grandmother and her history  At about 1:03:20, Pete talks about ideas of misogyny that is specific to non-white women  At about 1:03:50, Sarah reflects on and outlines two pivotal and damaging experiences in which white neighbors showed surprise and revulsion At about 1:06:45, The two discuss Sarah's parents and their foundation and Foundation  At about 1:08:45, Sarah responds to Pete's questions about research for the book At about 1:11:00, Sarah expands on connections between the personal and the geopolitical in her work and research At about 1:11:30, Sarah recounts the story of some early involvement with pro-Palestine efforts and emotional and physical assaults At about 1:13:00, Sarah talks about being in Middle East and ideas of “humanizing” and “a political awakening” in the US and Middle East At about 1:17:10, Sarah talks about connections between resistance and love At about 1:20:25, Pete cites Ernest Hemingway in citing Sarah's family connections to Gaza At about 1:22:00, Sarah talks about the idea of “yes” and a meaningful part of the book and interpretations of being “half…” Palestinian, etc. At about 1:27:10, Sarah talks about parallels between her partner's love for her and her choice to love Palestine on a daily basis At about 1:28:00, Pete asks Sarah about ways forward, and how we get people to not “look away,” and she talks about inspiration       You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, is up now at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode deals with short, powerful poems and prose that pack a punch-take that, alliteration! The episode features meaningful and resonant work from Robert Hershon, Mosab Abu Toha, Ernest Hemingway, Sara Abou Rashed, Khaled Juma, Andrea Cohen, and Marwan Makhoul.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 340 with Donna Minkowitz, a writer of fantasy, memoir, and journalism lauded by Lilith Magazine for her “fierce imagination and compelling prose.” Her first book, Ferocious Romance, won a Lambda Literary Award for Best Book On Religion/Spirituality. She is also the author of the novel DONNAVILLE, published in 2024.    She and Pete will be revisiting her memoir Growing Up Golem, a finalist for both a Lambda Literary Award and Judy Grahn Nonfiction Award.     The episode airs on May 5.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.    You can also donate at chuffed.org, World Central Kitchen, and so many more, and/or you can contact writer friend Ursula Villarreal-Moura directly or through Pete, as she has direct links with friends in Gaza.