Podcasts about Raymond Carver

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode 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

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/australian-and-new-zealand-studies

Randl, Lola www.deutschlandfunkkultur.de, Lesart

Randl, Lola www.deutschlandfunkkultur.de, Lesart

Randl, Lola www.deutschlandfunkkultur.de, Lesart

“We say we love each other and we do, I don't doubt it. ” In this episode I share a story that shows us how elusive love can be. Two couples spend some time trying to define it, but never do reach a conclusion. Happy Valentine's Day !

It's movie night in New York City! Join us for some roving recording as we pound the cobblestones of Manhattan and take in two films in vastly different formats: Robert Altman's Short Cuts in glorious 35mm and Sam Raimi's Send Help in sensuous 4DX.Along the way we discuss Raymond Carver's short stories, Altman's influence on hyperlink cinema, Cast Away as an archetype of 21st century filmmaking, and why Raimi is the king of disgusting CG animals.Want to join the study group? Follow TTWS on social media, tell your friends to listen, and leave a rating & review on Spotify and Apple Podcasts. These all really help the show. And join the Discord too!You can also support TTWS directly at https://ko-fi.com/tothewhiteseaFor all things TTWS visit tothewhitesea.me

In this episode, we talk about the recent death of our beloved father, Jack Craft—what we’ve experienced, what we’ve learned. We also share many tender, practical suggestions from listeners about how to manage this kind of a profound loss. Resources & links related to this episode: Raymond Carver’s last book, A New Path to the Waterfall (Amazon, Bookshop) One last reminder to sign up for The Happiness Project Revisited course I Want You to Know: My Portrait of You Obituary of John Charles Craft Elizabeth is reading: Wolf Hall by Hilary Mantel (Amazon, Bookshop) Gretchen is rereading: American Gods by Neil Gaiman (Amazon, Bookshop) Get in touch: podcast@gretchenrubin.com Visit Gretchen's website to learn more about Gretchen's best-selling books, products from The Happiness Project Collection, and the Happier app. Find the transcript for this episode on the episode details page in the Apple Podcasts app. See omnystudio.com/listener for privacy information.

La metteuse en scène et comédienne Olivia Corsini s'empare de l'univers de l'écrivain étasunien Raymond Carver dans Toutes les petites choses que j'ai pu voir. Ce nouveau spectacle, qui était joué au théâtre du Rond-Point à Paris, présente une traversée peuplée de personnages ordinaires au moment précis où leur vie vacille.  Toutes les petites choses que j'ai pu voir, au théâtre du Rond-Point, à Paris. À lire aussiThéâtre: «Au nom du ciel» de Yuval Rozman, le conflit israélo-palestinien vu d'en haut

La metteuse en scène et comédienne Olivia Corsini s'empare de l'univers de l'écrivain étasunien Raymond Carver dans Toutes les petites choses que j'ai pu voir. Ce nouveau spectacle, qui était joué au théâtre du Rond-Point à Paris, présente une traversée peuplée de personnages ordinaires au moment précis où leur vie vacille.  Toutes les petites choses que j'ai pu voir, au théâtre du Rond-Point, à Paris. À lire aussiThéâtre: «Au nom du ciel» de Yuval Rozman, le conflit israélo-palestinien vu d'en haut

In this very special episode, Selected Shorts actors Kirsten Vangsness (Criminal Minds, Dave Made a Maze), Dion Graham (The Wire,  After the First 48) and Zach Grenier (Deadwood, Fight Club) perform live versions of stories and poems by Billy Collins, T.C. Boyle, Tess Gallagher, and Raymond Carver in Port Angeles, Washington during the 2024 Carver and Gallagher Writing Festival (April 27th 2024.) This episode will launch January 15th 2026. Permissions will expire January 15, 2029 ... enjoy it while you can!

On ne compte plus les casquettes d'Abd Al Malik : rappeur, slameur, poète, écrivain metteur en scène de théâtre et cinéaste. Il revient avec un deuxième film « Furcy, né libre » où Makita Samba incarne l'esclave Furcy. En 1817, sur l'île de Bourbon où l'esclavage est toujours en vigueur, Furcy découvre, dans un coffre, caché, des documents qui pourraient faire de lui un homme libre. C'est le début d'une longue bataille judiciaire, 27 ans, pour faire reconnaître ses droits et obtenir la liberté. Abd Al-Malik, rappeur, auteur et réalisateur, était l'invité de Chantal Lorho sur RFI. ► Chronique - Les Librairies du monde Isabelle Lambert de la librairie Livre-S à Marche en Famenne nous parle de son coup de coeur littéraire : « Lequel de nous portera l'autre ? », de Violaine Lison.  ► Reportage Marjorie Bertin est allée au théâtre voir « Toutes les petites choses que j'ai pu voir », d'après les nouvelles de l'Américain Raymond Carver. La metteuse en scène Olivia Corsini a décidé d'extraire le sel dramatique de certaines de ses nouvelles, qui nous plongent, avec angoisse, dans l'Amérique des années 70.    ► Playlist du jour - Abd Al Malik feat. Youssoupha, Juste Shani, Kulturr & Pitt Baccardi - Sine qua Non - Danyel Waro - Batarsité - Abd Al Malik feat. Wallen et Matteo Falcone - Si tu savais.

On ne compte plus les casquettes d'Abd Al Malik : rappeur, slameur, poète, écrivain metteur en scène de théâtre et cinéaste. Il revient avec un deuxième film « Furcy, né libre » où Makita Samba incarne l'esclave Furcy. En 1817, sur l'île de Bourbon où l'esclavage est toujours en vigueur, Furcy découvre, dans un coffre, caché, des documents qui pourraient faire de lui un homme libre. C'est le début d'une longue bataille judiciaire, 27 ans, pour faire reconnaître ses droits et obtenir la liberté. Abd Al-Malik, rappeur, auteur et réalisateur, était l'invité de Chantal Lorho sur RFI. ► Chronique - Les Librairies du monde Isabelle Lambert de la librairie Livre-S à Marche en Famenne nous parle de son coup de coeur littéraire : « Lequel de nous portera l'autre ? », de Violaine Lison.  ► Reportage Marjorie Bertin est allée au théâtre voir « Toutes les petites choses que j'ai pu voir », d'après les nouvelles de l'Américain Raymond Carver. La metteuse en scène Olivia Corsini a décidé d'extraire le sel dramatique de certaines de ses nouvelles, qui nous plongent, avec angoisse, dans l'Amérique des années 70.    ► Playlist du jour - Abd Al Malik feat. Youssoupha, Juste Shani, Kulturr & Pitt Baccardi - Sine qua Non - Danyel Waro - Batarsité - Abd Al Malik feat. Wallen et Matteo Falcone - Si tu savais.

durée : 00:11:49 - Les Midis de Culture - par : Marie Labory - Avec "Toutes les petites choses que j'ai pu voir", Olivia Corsini adapte Raymond Carver au théâtre et capte l'instant fragile où des vies ordinaires peuvent basculer. Un spectacle sensible sur la solitude, les silences et les ratages du quotidien. - réalisation : Laurence Malonda - invités : Vincent Bouquet Journaliste et responsable d'édition du site Sceneweb ; Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O

New year, new (old) Deuce! The Notes: Look, the holidays are limping into their chill, winter's grave, and they took the notes with them. This episode is a bus, man. You get on, and you don't know where you're gonna end up, but you do know it'll be somewhere different. Kinda like Forrest Gump, but with buses. We get into it, just listen. As for what sparse, gasping attempts at notes we did collect, here you go: Nelson's old cat is yelling! Raymond Carver pulls a double-reverse TS Eliot! Literary cat fiction! No skips, all bangers! Chekov's gun vs Nabokov's cat! Bus tangent! This bus is prison rules! Don't be the most edible one in the room, kids! Alpha dog 2026! The D&D of bus buddies past! Just sticking it in! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter & Instagram: @doubledeucepod Bluesky: @doubledeucepod.bsky.social Facebook: www.facebook.com/DoubleDeucePod/ Patreon: patreon.com/DoubleDeucePod Also, please subscribe/rate/review/share us! We're on Apple, Android, Libsyn, Stitcher, Google, Spotify, Amazon, Radio.com, RadioPublic, pretty much anywhere they got podcasts, you can find the Deuce! Podcast logo art by Jason Keezer! Find his art online at Keezograms! Intro & Outro featuring Rob Schulte! Check out his many podcasts! Brought to you in part by sponsorship from Courtney Shipley, Official Superfans Stefan Rider, Amber Fraley, Nate Copt, and listeners like you! Join a tier on our Patreon! Advertise with us! www.magicmind.com/doubledeuce for 20% off all purchases and subscriptions. Check out the Lawrence Times's 785 Collective at https://lawrencekstimes.com/785collective/ for a list of local LFK podcasts including this one!  

We are pleased to be joined by Professor John Leshy, author of Our Common Ground and the preeminent scholar on the history of America's public lands. Public land management is the cornerstone of forest law in the United States, and Professor Leshy's insights into its scope and evolution are invaluable in helping to piece together the fundamentals of forest law.   Forest law presents a daunting barrier of entry to the uninitiated. Forest law is composed of and delimited by a broad swath of statutes, regulations, and norms, all shaped by a diverse array of stakeholders. The implications of forest management decisions are vast and varied, ranging from the hyperlocal—with decisions concerning timber harvest and wildfire mitigation bearing directly on the continued prosperity and existence of some rural communities—to the planetary, as climate change intensifies and the health of the world's forests grows ever further imperative to slow its most devastating effects. Complicating things further, today, forest law in the United States is undergoing rapid changes at the federal level.    In beginning to explore the foundations of forest law, there is perhaps no better place to start than with a study of public lands.   Host's note: This episode's title is an homage to the brilliant—and troubled—Raymond Carver and his 1981 short story collection "What We Talk About When We Talk About Love." 

Miriam Toews joins Deborah Treisman to read and discuss “Elephant,” by Raymond Carver, which was published in The New Yorker in 1986. Toews has published ten books, including the novels “A Complicated Kindness,” which won the Governor General's Award for Fiction; “All My Puny Sorrows,” “Women Talking,” and “Fight Night”—and the memoir “A Truce That Is Not Peace.”  Learn about your ad choices: dovetail.prx.org/ad-choices

Vad pratar vi om när vi pratar om kärlek? Emma Engdahl tar Raymond Carver till hjälp när hon funderar över allt som misstas för kärlek. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Ibland bär vi små övertygelser som kroppen minns före orden. Vi går in i ett mörkt rum och handen hittar strömbrytaren, som om ljuset alltid suttit där. Ett barn somnar mot en filt, som om trådarna i sig bar trygghet. Det är inte filten som lugnar, men kroppen minns hur trygghet brukar kännas.Så går vi också in i kärlek. Som om allt redan var bestämt: som att du alltid ska förstå mig, som om jag aldrig ska lämna dig. Vi vet bättre – men låter oss svepas med. Det kan vara vackert. Och farligt.När jag försöker höra hur kärlek låter återvänder jag till köket i Raymond Carvers ”Vad vi pratar om när vi pratar om kärlek”. Fyra personer. Gin i glasen. Eftermiddagsljuset som långsamt skymmer. De prövar ordet, låter det gå runt som iskuberna i glasen – kalla, blanka, svåra att greppa. Där finns inte svaret, men friktionen som visar hur ordet glider oss ur händerna.Terri berättar om sin förre man, Ed. Han slog henne och sa: Jag älskar dig. När hon ville lämna honom drack han råttgift. Det låter som mörk komik, men i magen känns det allvarligt. Vi känner igen logiken: jag vet mycket väl – men ändå. När rädslan för förlust växer klär den sig i kärlekens språk. Det blir lättare att stå ut om vi kallar kontroll för omsorg.Vid bordet sitter också Mel, hjärtläkaren. Han talar om kärlek som något rent och andligt, större än svartsjuka. Han berättar om ett äldre par som överlever en bilolycka, gipsade från topp till tå. Det som gör mest ont, säger han, är inte smärtan – utan att de inte kan se varandras ansikten. Där skymtar något sant: kärlek som uppmärksamhet, ett ansikte för ett annat ansikte.Men när Terri berättar lutar sig Mel fram – inte för att ta emot, utan för att korrigera. ”Det där är inte kärlek,” säger han. Han vill hjälpa, men gör samtalet till ett språkprov: rätt och fel, rent och orent. Och nästan i förbigående erkänner han, efter några glas, att han ibland fantiserar om att döda sin exfru. Höga ideal. Hård ton. Ord som tappar sin kropp.Det som saknas i Carvers kök är inte intelligens, utan närvaro. Mel vill ha rätt om kärlek i stället för att vara i den. Han väljer definitionen framför ansiktet mitt emot.Kroppar kan lugna varandra. En andning som följer en annan. En hand som vilar på en skuldra. Ett ansikte som väntar in blicken. Så lär sig spädbarn trygghet. Så minns vuxna den också, fast vi glömmer att vi minns. När det där saknas börjar vi stapla argument i stället för att lyssna. Samtalet blir ett spel, inte ett möte.Kroppen lärde sig tidigt hur närhet känns. Om den första närheten bar rädsla – höjda röster, tvära kast, iskyla efter värme – lagras den blandningen som en karta: så här känns det när jag hör till. Senare söker vi samma blandning igen, inte för att vi vill ha smärta, utan för att nervsystemet känner igen sig. Knuten i magen misstas för kärlekens intensitet. Smärtan blir beviset: nu är det på riktigt. Men det är inte dumhet. Det är minnen i kroppen.Och sådana minnen kan bara läras om genom ny trygg närhet – inte genom föreläsningar. Trygg närhet låter så här: någon kommer när de säger att de ska komma. Rösten förblir mjuk även i oenighet. Konflikten hotar inte bandet. Orden följs av handling.Kärlek är inte att vinna diskussionen. Det är att orka reparera. ”Förlåt – jag tappade dig. Kan du säga igen?” Sådant är litet men tungt. Det betyder: du är viktigare än min stolthet.Att hålla rytm: en promenad utan skärm, en fråga som faktiskt besvaras, en tyst frukost som får vara tyst – därför att tystnaden är gemensam, inte ensam. När någon stannar, lyssnar, håller rytm med oss, händer något i kroppen: pulsen sjunker, axlarna släpper. Nervsystemet säger: jag kan vila här.Det är svårt att älska utan den vilan. Och lätt att kalla något kärlek som bara är kamp när den saknas.Jag prövar ordet kärlek där det måste bära: Blir jag större eller mindre bredvid dig? Får min röst finnas utan att kvävas av din? Om jag måste bli tyst för att få vara kvar – då är ordet på fel plats, hur vackert det än låter.Låt oss tända ljuset vid Carvers bord. Om någon säger ”jag älskar dig” och mitt liv krymper, om mina vänner försvinner, om jag tippar på tå för att inte väcka ett raseri – då är det inte kärlek. Det är rädsla. Kontroll. Beroende. Det är inte hårt att säga så. Det är omsorg om det levande.Och låt det gipsade olycksparets sorg stå kvar som motbild: att inte kunna se varandras ansikten. Det gör ont därför att det pekar rakt in i kärnans enkelhet: kärlek är att vara synliga för varandra. En blick som återvänder. En röst som inte lämnar. En hand som söker utan att greppa.Men kärleken behöver också glittret: kyssen på perrongen, skrattet vid diskhon, meddelandet som drar ut över natten. Bara den får ha en scen att vila på: ”Jag kommer. Jag lyssnar. Jag stannar.”Så vad blir kvar av Carvers kök? Kanske reste sig någon och tände lampan. Kanske sa någon: ”Terri, jag vill inte att du blir liten här.” ”Mel, vill du prova att fråga i stället för att förklara?” Kanske tog någon ordet ur luften och fäste det vid händerna.För kärleken avgörs inte i vad vi säger, utan i vad vi gör. Den är glaset vatten. Frågan. Pausen. Det vi väljer när ingen ser.Jag stannar i Carvers kök inte för att få facit, utan för att minnas hur skört ordet är i våra munnar. Det kan betyda våld. Det kan betyda blick. Det kan betyda glitter. Det kan betyda samförstånd. Mellan de betydelserna måste vi välja varje dag – inte genom att vinna, utan genom att göra det kärleken kräver: hälla upp, lyssna om, be om ursäkt, tända lampan, säga jag hör dig – och mena det.Emma Engdahlsociolog och författareLitteraturRaymond Carver: Vad vi pratar om när vi pratar om kärlek. Översättare: Kerstin Gustafsson. Bakhåll, 2022.

In this episode of Sunday Sanctuary, what happens when communities are involved in times of death. Petra Bagust talks to Treza Gallogly, a death doula (think death midwife), about why making plans and involving others helps so much when preparing for death. Producer Sam talks to those involved with the community response to the death of baby Anahera in the Auckland suburb or Onehunga. Treza's website can be found here and is part of the End of Life Doula Alliance Aotearoa Sacred text: Late Fragment by Raymond Carver, read by Gabriel Byrne Music: You are the Gold by Terrible Sons Sun Rays Like Stilts by Tommy Guerero Moonlight on the River by Mac DeMarco Last Orders by Richard Hawley I Still Hear You by Adrianne Lenker and Buck Meek New Grass by Talk Talk Tesifa by Laney Tripp

People. Raymond Carver's short fiction is so good that it's essentially responsible for the American short fiction heyday in the 1980s. Listen in to why the content and the STYLE makes Carver entirely inimitable and so compelling.

With the evenings drawing in, poet Enda Wyley chose uplifting poems to read. Nourishing poems of Soul and Light and The Poetry Pharmacy Returns, ‘The Washing' by Jaan Kaplinski; ‘Rain' by Raymond Carver; ‘Romanesque Arches' by Tomas Tranströmer; ‘Although the Wind,' by Izumi Shikibu; ‘This Moment' by Eavan Boland; and ‘The Door' by Miroslav Holub.

Ever woken up to rain and felt the urge to stay in bed all day? On this episode of Words That Burn "Rain" by Raymond Carver. This is a poem that seems ideally suited to September, exploring that universal feeling of surrendering to the weather and the comfort of your own bed.Over the course of the episode I'll explore how Carver, a titan of the American short story, applies his signature "dirty realism" and sparse prose to his first love: poetry. We'll break down "Rain" stanza by stanza, examining the masterful techniques like enjambment and a staccato rhythm that turn a simple scene into a profound meditation on life.To truly understand this poem, you have to understand the man. I look back into Raymond Carver's difficult life; his blue-collar struggles, his battle with alcoholism, and the cancer diagnosis that shaped his final years. Discover how his personal tragedies fuel the poem's stunning final lines about "unforgivable mistakes" and the resolute desire to live it all again.In this episode, you will learn about:Raymond Carver's poetic style: How his minimalist approach in short stories translates to his poetry.Literary Analysis of "Rain": A line-by-line breakdown of imagery, structure, and rhythm.The Power of Immediacy: How Carver uses techniques like pronoun omission to pull you directly into the experience.Roland Barthes' "Punctum": We apply this photographic theory to understand how Carver creates moments of startling emotional impact that "puncture" the ordinary.The Link Between Carver's Life and Art: How understanding his biography is essential to interpreting his work on regret, mortality, and acceptance.00:00 Poetry Reading00:36 Introduction to Words That Burn01:47 Exploring Raymond Carver's Poetry02:59 Carver's Writing Style and Techniques03:46 The Struggles and Inspirations of Raymond Carver05:08 Analysing 'Rain' by Raymond Carver15:32 The Impact of Carver's Life on His Poetry19:25 Final Thoughts Follow the Podcast:Read the Script on SubstackFollow the Podcast On InstagramFollow the Podcast on X/TwitterFollow the Podcast on TiktokFollow the podcast on BlueskyThe Music In This Week's Episode:'Incredulity' by Scott Buckley - released under CC-BY 4.0. www.scottbuckley.com.au Hosted on Acast. See acast.com/privacy for more information.

Merriam-Webster's Word of the Day for September 7, 2025 is: behest • bih-HEST • noun Behest can refer either to an authoritative order or an urgent prompting. // The committee met again at the senator's behest. // At the behest of her friends, Marcie read the poem aloud. See the entry > Examples: “... Raymond Carver and I were selecting stories for our American Short Story Masterpieces. When Ray and I worked on our selections, we would meet in Manhattan, where I lived, or in Syracuse, New York, where he lived. ... Each morning we'd read and then meet for lunch and talk about what we'd read. After lunch we'd read some more, and at dinner we talked about the afternoon's reading. Sometimes we'd reread at the other's behest.” — Tom Jenks, LitHub.com, 2 Aug. 2024 Did you know? In Return of the Jedi, the villain Darth Vader speaks with an old-timey flair when he asks his boss, the Emperor, for instructions: “What is thy bidding, my master?” If the film's screenwriters wanted him to sound even more old-timey, however, they could have chosen to have him ask “What is thy behest?” As a word for a command or order, behest predates bidding in English by a couple centuries, dating all the way back—long, long ago, though still in this galaxy—to the 1100s. Its Old English ancestor, the noun behǣs, referred to a promise, a meaning that continued on in Middle English especially in the phrase “the land of behest” but is now obsolete. The “command” sense of behest is still in good use, typically referring to an authoritative order, whether from an emperor or some other high-ranking figure. Behest is now also used with a less forceful meaning; it can refer to an urgent prompting, as in “an anniversary showing of classic films at the behest of the franchise's fans.”

The Beauty and the Hell of It and Other Stories (Guernica, 2025) conjures up images of women who struggle through difficult transitions, unpleasant encounters, or ghastly boyfriends and husbands. One woman is a lesbian who sees the man who raped her a decade before, another suffers from bipolar disease, and a third is harassed by her professor. Some of them are grieving and others want vindication but few of them are living the lives they'd imagined. And then there's Liam, who is devastated by his young son's death, and who'd always loved the daughter of one of his father's wives. These are beautifully written, sensitive stories about a range of human reactions to the harsh realities of life and death. Lynda Williams is a freelance copyeditor and short fiction writer based in Calgary, Alberta. Her stories have appeared in Grain, The Humber Literary Review, and The New Quarterly, among others. Her literary influences include Raymond Carver, Pam Houston, and Lorrie Moore. Born and raised on a dairy farm in the Eastern Townships of Quebec, Lynda arrived in Calgary after a 40-hour trip on a Greyhound bus, after which she took the best shower of her life. She has called Alberta home ever since. When she's not writing, Lynda can be found experimenting with gluten-free baking and bingeing New Girl on one of many streaming services. She has been married to her partner in crime for 12 years, and they share their home (and food) with the world's most adorable mini–Australian Shepherd, Cooper. She is a recipient of the Lieutenant Governor of Alberta Emerging Artist Award. For more information about Lynda and her work, visit her website here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Beauty and the Hell of It and Other Stories (Guernica, 2025) conjures up images of women who struggle through difficult transitions, unpleasant encounters, or ghastly boyfriends and husbands. One woman is a lesbian who sees the man who raped her a decade before, another suffers from bipolar disease, and a third is harassed by her professor. Some of them are grieving and others want vindication but few of them are living the lives they'd imagined. And then there's Liam, who is devastated by his young son's death, and who'd always loved the daughter of one of his father's wives. These are beautifully written, sensitive stories about a range of human reactions to the harsh realities of life and death. Lynda Williams is a freelance copyeditor and short fiction writer based in Calgary, Alberta. Her stories have appeared in Grain, The Humber Literary Review, and The New Quarterly, among others. Her literary influences include Raymond Carver, Pam Houston, and Lorrie Moore. Born and raised on a dairy farm in the Eastern Townships of Quebec, Lynda arrived in Calgary after a 40-hour trip on a Greyhound bus, after which she took the best shower of her life. She has called Alberta home ever since. When she's not writing, Lynda can be found experimenting with gluten-free baking and bingeing New Girl on one of many streaming services. She has been married to her partner in crime for 12 years, and they share their home (and food) with the world's most adorable mini–Australian Shepherd, Cooper. She is a recipient of the Lieutenant Governor of Alberta Emerging Artist Award. For more information about Lynda and her work, visit her website here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

On the eve of a new poet laureate being announced, current-reigning laureate Chris Tse joins Mark Leishman for his reread of Raymond Carver's 1981 collection What We Talk About When We Talk About Love.

"The writer has to have patience, the perseverance to just sit there alone and grind it out. And if that's not worth doing," Leonard said, "then he doesn't want to write." Leonard wanted to write from a young age, and write he did, first producing western stories and western novels before moving toward the crime novels that made his reputation. His is the career of a working writer the likes we don't see much of anymore. About COOLER THAN COOL, Pulitzer Prize winner Dave Barry writes that "If you love Elmore Leonard-and who doesn't?-you'll love this fascinating, richly detailed account of how one of our greatest storytellers lived his life and learned his craft."Over the course of his sixty-year career, Elmore Leonard published forty-five novels that had enduring appeal to readers around the world. Revered by other writers such as Martin Amis, Margaret Atwood, Raymond Carver, and Stephen King, his books were innovative in their blending of a Hemingway-inspired noirish minimalism and masterful use of dialogue over exposition-a direct evolution spurred by his years as a screenwriter.When C. M. Kushins was fifteen he worked up his courage and wrote a fan letter to Elmore and included one of his own short stories. Elmore proofread it and wrote an encouraging letter back. Years later, Kushins finally got a short story published and Elmore sent him a congratulatory note. When he first started thinking about writing this book, Kushins went nosing around the University of South Carolina archives-and found his own letters going back to when he was fifteen. Elmore had saved all their correspondence. It was this story that helped him get the Leonard family on board with the book. Indeed, the Leonard family has fully participated, contributing original interviews, additional personal correspondence, exclusive photographs, as well as access to Leonard's unfinished final novel. The biography also includes unpublished, loose memoir excerpts. These are included here for the first time to illuminate key passages of importance throughout Leonard's life in his own words.Leonard's fiction contained many layers, and at the heart of his work were progressive themes, stemming from his years as a student of the Jesuit religious order, his personal beliefs in social justice, and his successful battle over alcoholism. He drew inspiration from greats like Raymond Chandler and Dashiell Hammett, but the true motivation and brilliance behind his crime writing was the ongoing class struggle to achieve the American Dream-often seen through the eyes of law enforcement officers and the criminals they vowed to apprehend.COOLER THAN COOL is not just a biography for fans of Leonard's fiction. His is work was also the source material for many movies including 3:10 to Yuma, Hombre, Jackie Brown, Get Shorty, Out of Sight-as well as the TV series Justified-and influenced American filmmaking, especially the western and crime genres.Definitive and revealing, COOLER THAN COOL shows Leonard emerging as one of the last writers of the "pulp fiction" era of midcentury America, to ultimately become one of the most successful storytellers of the twentieth century, whose influence continues to have far-reaching effects on both contemporary crime fiction and American filmmaking.One more thing: 2025 also marks Elmore Leonard's centennial. In September, Mariner Books will bring a never-published novella by the author, Picket Line, with an introduction by Kushins, timed to Leonard's October birthday.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

En este segundo episodio del especial sobre los años 80, Ricardo y Alejandro se adentran en la década desde su faceta más vibrante: la música, el cine, la literatura y la cultura popular.Fue la era dorada del videoclip, con Michael Jackson marcando un antes y un después, mientras Madonna, Prince y Whitney Houston definían el sonido y la estética pop de la época. En Colombia la hegemonía cultural gringa convivía, y a veces competía, con lo local: el vallenato vivía su propio auge con Diomedes Díaz y el Binomio de Oro.En el cine, E.T., Blade Runner o The Breakfast Club se convirtieron en símbolos, mientras en Colombia títulos como El embajador de la India o las comedias del Gordo Benjumea, como El taxista millonario, conectaban con el público. La literatura tuvo nombres que marcaron época, desde García Márquez y Vallejo hasta Tom Wolfe, Martin Amis, Don DeLillo, Raymond Carver, Richard Ford, Paul Auster y Stephen King.Fue también la década en que los videojuegos llegaron para quedarse, con Space Invaders, Pac-Man y las máquinas de arcade en lugares como Unicentro en Bogotá.Consigue El arte de no enloquecer aquí: https://www.librerianacional.com/el-arte-de-no-enloquecer/p?srsltid=AfmBOoosXMUOGj46ViZSS16nyw97thP2kVFEEHdkmVCjqc1Ml2A3Je75. Toma Ficcionario, el audiotaller de escritura con Ricardo Silva Romero: https://ellocutorio.com/ficcionario

di Matteo B. Bianchi | Copertina viene in vostro aiuto con tanti consigli di lettura, tra novità curiose e recuperi d'eccezione, per risolvere il dilemma che attanaglia ogni lettore e lettrice sulla soglia delle vacanze: cosa leggo quest'estate? Libri consigliati in questo episodio: IL FIUME D'ERBA di Helen Humphreys, PlaygroundBIG TIME di Jordan Prosser, Mattioli 1885FARE IL POSSIBILE di Claudio Bagnasco, TerrarossaLA VITA IMMAGINATA di Andrew Porter, FeltrinelliA DOMANDA RISPONDO di Armando Vertorano, nottetempoLA MIA VITA COME LA VOSTRA di Jan Grue, IperboreaLA MIA PERSONALE IDEA DI INFERNO di Giulio Somazzi, AccentoK-PAX di Jim Brewer, AccentoROMA CAPOVOLTA di Giò Staiano, FeltrinelliPICCOLO DIZIONARIO DELLE MALATTIE LETTERARIE di Marco Rossari, EinaudiIL GIORNO DELL'APE di Paul Murray, EinaudiL'EVENTO di Annie Ernaux, BurTUTTI I RACCONTI di Raymond Carver, Meridiano Mondadori Learn more about your ad choices. Visit megaphone.fm/adchoices

Lara Moreno vuelve al relato con 'Ningún amor está vivo en el recuerdo' (Lumen). Son quince historias que pasan por todas las grandes temáticas que nos preoculpan como la pareja, el machismo, la salud mental, la maternidad, le miedo, la toxicidad o la inseguridad. Además de dejarnos su nuevo libro, Lara Moreno nos donó 'Principiantes' de Raymond Carver (Anagrama) y  'Ya casi no me acuerdo' de Clara Morales (Tránsito). Nuetro bibliotecario Antonio Martínez Asensio nos vino con cinco libros, cuatro de ellos relacionados con el Día del Orgullo: 'Tengo miedo torero' de Pedro Lemebel (Las Afueras) , 'Oculto sendero' de Elena Fortún (Renacimiento), 'Maurice' E.M. Forster (Navona Editorial y 'Pedro Zerolo: vida y legado de un pionero de los derechos civiles' de Miguel A. Fernández (Libros Cúpula). El quinto fue el libro que nos contará en su programa 'un libro., una hora' :  'Paraíso inhabitado' de Ana María Matute (Destino). El empleado de la Biblioteca de Hoy por Hoy Pepe Rubio nos trajo dos novedades: 'Desaparición inquietante de una mujer de cincuenta y seis años'  de Anne Plantagenetn (Alba)   y 'Casas quemadas' de Gema Nieto (Plasson & Bartleboom). Pascual Donate, el empleado que rescata libros, salvó de las pilas de libros abandonados en la Cadena SER " un ejemplar de 'Matar a a papito: por qué no te gusta el reguetón (y a tus hijos, sí) ' de Oriol Rosell (Cúpula) . Y por último archivamos las donaciones de los oyentes:  'El día del lobo' de Antonio Soler (Espasa) y 'La tierra desnuda' de Rafael Navarro de Castro (Alfguara) 

"The writer has to have patience, the perseverance to just sit there alone and grind it out. And if that's not worth doing," Leonard said, "then he doesn't want to write." Leonard wanted to write from a young age, and write he did, first producing western stories and western novels before moving toward the crime novels that made his reputation. His is the career of a working writer the likes we don't see much of anymore. About COOLER THAN COOL, Pulitzer Prize winner Dave Barry writes that "If you love Elmore Leonard-and who doesn't?-you'll love this fascinating, richly detailed account of how one of our greatest storytellers lived his life and learned his craft."Over the course of his sixty-year career, Elmore Leonard published forty-five novels that had enduring appeal to readers around the world. Revered by other writers such as Martin Amis, Margaret Atwood, Raymond Carver, and Stephen King, his books were innovative in their blending of a Hemingway-inspired noirish minimalism and masterful use of dialogue over exposition-a direct evolution spurred by his years as a screenwriter.When C. M. Kushins was fifteen he worked up his courage and wrote a fan letter to Elmore and included one of his own short stories. Elmore proofread it and wrote an encouraging letter back. Years later, Kushins finally got a short story published and Elmore sent him a congratulatory note. When he first started thinking about writing this book, Kushins went nosing around the University of South Carolina archives-and found his own letters going back to when he was fifteen. Elmore had saved all their correspondence. It was this story that helped him get the Leonard family on board with the book. Indeed, the Leonard family has fully participated, contributing original interviews, additional personal correspondence, exclusive photographs, as well as access to Leonard's unfinished final novel. The biography also includes unpublished, loose memoir excerpts. These are included here for the first time to illuminate key passages of importance throughout Leonard's life in his own words.Leonard's fiction contained many layers, and at the heart of his work were progressive themes, stemming from his years as a student of the Jesuit religious order, his personal beliefs in social justice, and his successful battle over alcoholism. He drew inspiration from greats like Raymond Chandler and Dashiell Hammett, but the true motivation and brilliance behind his crime writing was the ongoing class struggle to achieve the American Dream-often seen through the eyes of law enforcement officers and the criminals they vowed to apprehend.COOLER THAN COOL is not just a biography for fans of Leonard's fiction. His is work was also the source material for many movies including 3:10 to Yuma, Hombre, Jackie Brown, Get Shorty, Out of Sight-as well as the TV series Justified-and influenced American filmmaking, especially the western and crime genres.Definitive and revealing, COOLER THAN COOL shows Leonard emerging as one of the last writers of the "pulp fiction" era of midcentury America, to ultimately become one of the most successful storytellers of the twentieth century, whose influence continues to have far-reaching effects on both contemporary crime fiction and American filmmaking.One more thing: 2025 also marks Elmore Leonard's centennial. In September, Mariner Books will bring a never-published novella by the author, Picket Line, with an introduction by Kushins, timed to Leonard's October birthday.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

As helicopters descend on the city it's time to cruise down to Johnie's Broiler the magical diner in Downey where Tom Waits abandons his tuna melt in SHORT CUTS (1993). What better place to enter Robert Altman's masterpiece mosaic of "untapped Los Angeles" and the Raymond Carver stories within, and what better guest to go with than the extraordinary Matthew Wilder, last seen with us at Bob's Big Boy in Burbank. Must book and movie and life always be at odds?   For double the episodes, plus regular "smoke break" mini eps and access to our upcoming live tour HIVE subscribe to the show at patreon.com/filthyarmenian   HIVE will be in LA on June 14, Austin June 17, NYC June 21, and London June 26...at some fabulous locations. DM us on patreon if you'd like to attend   X/insta @filthyarmenian 

Back from a short hiatus, Jared and Cameron discuss a range of political, economic, and creative topics, including Joe Biden's recent cancer diagnosis and the scrutiny he is facing, Trump's “Big Beautiful Bill” and Moody's US credit downgrade, gold versus Bitcoin for the remainder of 2025, whether companies such as Walmart will eat Trump's tariffs, Jared's recent writing retreat, and his upcoming DJ gig in Las Vegas. If nothing else, you should get some good book recommendations here—i.e., check out Barry Hannah, Raymond Carver, et al.

Read by Terry Casburn Production and Sound Design by Kevin Seaman

For the British architect John Pawson, minimalism isn't just a design philosophy, but a life philosophy—with his 1996 book, Minimum, serving as a defining jumping-off point. Over the course of more than four decades, Pawson has quietly amassed a global following by distilling spaces, objects, and things down to their most essential. With projects ranging from his career-defining Calvin Klein Collection flagship store on Madison Avenue in New York City, completed in 1995, to a remote monastery complex in the Czech Republic he's been building for Cistercian monks of the Trappist order for more than 25 years; from hotels in Los Angeles, Madrid, and Tel Aviv to London's Design Museum; from private homes in Colorado, Greece, Japan, Sweden, and beyond, to a chair and cookware; from lamps and linens to doorknobs, bowls, to even a steak knife, Pawson's tightly focused yet seemingly boundless practice places him in a category all his own.On the episode—our fourth “site-specific” taping of Time Sensitive, recorded at Pawson's country home in the Cotswolds—he discusses the problems he sees with trying to turn minimalism into a movement; his deep-seated belief in restraint, both in life and in architecture; and his humble, highly refined approach to creating sacred spaces.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:[08:06] Tetsuka House (2005)[08:06] “John Pawson's Approach to Making Life Simpler”[08:06] Shiro Kuramata[08:06] Katsura Imperial Villa[08:06] North York Moors[12:41] “Minimum” (1996)[12:41] Sen no Rikyū[17:35] Calvin Klein Collections Store (1995)[17:35] Ian Schrager[17:35] Paul Goldberger[17:35] Cathay Pacific (1998)[20:59] “Elements of Style” (1959) by William Strunk Jr. and E.B. White[20:59] “Plain Space” (2010)[20:59] Raymond Carver[23:08] Bruce Chatwin[23:08] “Wabi”[23:08] Chatwin Apartment (1982)[26:26] Deyan Sudjic[28:12] Ryōan-ji[31:11] “John Pawson: Making Life Simpler” (2023)[30:16] Neuendorf House (1989)[30:16] Tilty Barn (1995)[37:19] Claudio Silvestrin[37:51] Philip Johnson[40:49] Home Farm (2019)[40:49] “Home Farm Cooking” (2021)[47:18] Bill Brandt[55:46] Hester van Royen Apartment (1981)[56:36] Casa Malaparte[56:36] Mies van der Rohe[56:36] Barcelona Pavilion[59:356] The Design Museum (2016)[59:356] Farnsworth House[59:356] “Inside the Brick House, Philip Johnson's Private Playground”[1:02:26] Pawson House (1999)[1:05:53] The Feuerle Collection (2016)[1:10:33] Abbey of Our Lady of Nový Dvůr (2004)[1:21:54] Pieter Jansz. Saenredam 

"I hate L.A. All they do is snort coke and talk." For Episode 356, David and Brandon finish off their main Hyperlink series with SHORT CUTS. Listen as the two discuss Robert Altman's adaptation of the Raymond Carver short stories, how Altman ran his sets, and why the film is one of the most ambitious films we've covered in this series. Also, don't forget to join our Patreon for more exclusive content: Opening - Timecode and Digital Cinema -  (00:00:10) Recap of the Hyperlink Genre (00:06:06) Intro to Short Cuts (00:09:43) How Short Cuts Got to Production (00:14:52) Favorite Scenes (00:28:16) On Set Life - (01:11:12) Aftermath: Release and Legacy (01:19:01) What Worked and What Didn't (01:22:01) Film Facts (01:26:37) Awards (01:26:59) Final Questions on the Movie (01:33:49) Final Genre Questions (01:39:06) Wrapping Up the Episode (01:46:35) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

Read by Jonathon Cotton Production and Sound Design by Kevin Seaman

Nuestro panel de expertos lo forman el periodista de 'El País' Ianko López, autor del artículo "¿En España ya no se grita? Por qué se habla tan bajo en series como 'Élite' o 'Querer'" en el que se hace un análisis del susurro como elemento interpretativo. También la psicóloga Silvia Álava que nos explicó por qué los jovenes tienen fobia a hablar por teléfono. El hecho de que su principal forma de comunicación sea a través de whatsapp y redes sociales hace que los expertos les empiecen a considerar una "generación muda". Y como cada miércoles Eva Cosculluela abrió su librería para recomendarnos el libro "De qué hablamos cuando hablamos de amor", de Raymond Carver.

Nuestro panel de expertos lo forman el periodista de 'El País' Ianko López, autor del artículo "¿En España ya no se grita? Por qué se habla tan bajo en series como 'Élite' o 'Querer'" en el que se hace un análisis del susurro como elemento interpretativo. También la psicóloga Silvia Álava que nos explicó por qué los jovenes tienen fobia a hablar por teléfono. El hecho de que su principal forma de comunicación sea a través de whatsapp y redes sociales hace que los expertos les empiecen a considerar una "generación muda". Y como cada miércoles Eva Cosculluela abrió su librería para recomendarnos el libro "De qué hablamos cuando hablamos de amor", de Raymond Carver.

Notes and Links to David Ebenbach's Work   David Ebenbach writes. He's been writing ever since he was a kid, when he kept his whole family awake by banging away on an enormous manual typewriter, and he's never wanted to stop.    In fact, David's now the author of ten books of fiction, poetry, and non-fiction, and his work has picked up awards along the way: the Drue Heinz Literature Prize, the Juniper Prize, the Patricia Bibby Award, and more.    Born and raised in the great city of Philadelphia, these days David does most of his writing in Washington, DC, where he lives with his family—because he uses a laptop now, he doesn't keep them awake with his typing—and where he works at Georgetown University, promoting inclusive, student-centered teaching at the Center for New Designs in Learning and Scholarship, and teaching creative writing and literature at the Center for Jewish Civilization and creativity through the Master's in Learning, Design, and Technology Program.   Buy David's Books   David Ebenbach's Website   Book Review: LitPick about Possible Happiness     At about 2:15, David talks about the cool cover design for Possible Happiness At about 3:00, David discusses a recent reading in which his students were able to hear/see his work At about 4:00, David highlights wonderful contributions from Carol Nehez, his inspirational high school teacher  At about 5:55, David details pivotal reading and writers from his adolescence  At about 7:30, Pete and David discuss connections between his book and West Philly's own Will Smith At about 8:15, David responds to Pete's questions about Philadelphia's deep writing tradition and pivotal events in 1980s Philadelphia; he cites John Wideman and Mat Johnson At about 11:00, David cites Ted Chang, Charles Yu as a few contemporary writers he enjoys At about 12:25, David explains the webs involved with his books and genre and publishing  At about 13:55, David speaks about teaching informs his writing and vice versa-featuring shouts out to Asha Thanki and Kate Brody At about 16:15, David lists some favorite texts of his classmates, including work by Jewish writers from the Global South, like Esther David and others like Nathan Englander and Robert Levy-Samuels At about 18:40, David gives out information about buying Possible Happiness and shares how he finds joy on social media-specifically Facebook At about 21:00, David responds to Pete's questions about inhabiting the persona/headspace of the teens represented in Possible Happiness At about 23:55, David gives background on Jacob, the protagonist's, mindset and book's exposition  At about 27:00, Pete and David discuss Jacob's “inertia” and how depression and how the book's common phrase of “howling like a coyote” relate  At about 28:15, David talks about the term “depression” and both capacious and maybe “limiting” At about 29:10, David and Pete discuss Jacob's mother's living with depression and  At about 30:20, David reflects on the significance of a literal collective howl in the book At about 31:55, Pete compliments David's usage of a “moment in time,” and David cites Raymond Carver's “Cathedral” and Miranda July's work as examples of authors manipulating time At about 34:40, Pete has a bone to pick over Full House's treatment in the novel! At about 35:10, The two discuss the awesome (in the truest sense of the word) pacing in Tobas Wolff's “Bullet in the Brain” At about 36:10, the machinations of the social groups at the book's high school are discussed, as well as the “quaint” ways of home phones pre-cell phones At about 37:55, Pete thanks David for dropping info on Philadelphia's metro At about 39:00, David discusses the ways in which clubs that accepted people under 21 and the culture that brought Jacob ways to release anger/angst At about 40:00, The two discuss the pop culture references from the late 80s/early 90s featured in the book  At about 41:30, Pete details information about Jacob's happy days and days dealing with depression and connections to his social life At about 42:10, The religiosity of Jacob's family and his uncle's family are discussed, and David reflects on the ways that Jacob's Judaism is represented  At about 44:15, The two discuss the real-life parallels between identity and race and class in the book At about 47:00, Jacob's trip to Chicago to meet his father and ideas of neglecting to talk about depression are discussed  At about 49:20, David responds to Pete's question about the source(s) of Jacob's resentment towards his father At about 50:30, Pete compliments the subtle and nuanced ways in which David writes about depression and teen life  At about 51:35, David cites some benefits of writing about the pre-cell phone days At about 53:00, David gives some hints about his exciting upcoming projects 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. This week, his conversation with Episode 264 guest Maggie Sheffer is up on the website. A big thanks to Rachel León and Michael Welch 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, his DIY podcast and his extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode will feature an exploration of the wonderful poetry of Khalil Gibran. I have added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    This is a passion project of Pete's, a DIY operation, and he'd love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 270 with Lamya H. Lamya is a queer Muslim writer and organizer living in New York City whose 2023 memoir HIJAB BUTCH BLUES won the Brooklyn Public Library Book Prize and a Stonewall Non-fiction Book Award, and was also a finalist for Lambda Literary and Publishing Triangle Awards. Lamya's organizing work centers around creating spaces for LGBTQ+ Muslims, fighting Islamophobia, Palestine, and prison abolition.    The episode airs on February 4.

How can you learn to love uncertainty? Is it better to cultivate acceptance or strive for change? And, after 223 episodes, what is the meaning of life?  SOURCES:Jessica Alquist, professor of psychology at Texas Tech University.Roy Baumeister, professor of psychology at The University of Queensland.Raymond Carver, 20th-century American short story writer and poet.Stephen Colbert, comedian and late-night TV host.Matt Damon, actor and film producer.Viktor Frankl, 20th-century Austrian neurologist, psychiatrist, philosopher.Steve Heine, professor of psychology at University of British Columbia.Charles Krauthammer, journalist.Reinhold Niebuhr, 20th-century American theologian.Keanu Reeves, actor.Elisabeth Sifton, author, editor, and book publisher. RESOURCES:Start Making Sense: How Existential Psychology Can Help Us Build Meaningful Lives in Absurd Times, by Steve Heine (2025)."Learning to Love Uncertainty," by Jessica L. Alquist and Roy F. Baumeister (Current Directions in Psychological Science, 2024)."Confused or Curious? Openness/Intellect Predicts More Positive Interest-Confusion Relations," by Kirill Fayn, Paul J. Silvia, Egon Dejonckheere, Stijn Verdonck, and Peter Kuppens (Journal of Personality and Social Psychology, 2019)."A Note to Readers," by Charles Krauthammer (The Washington Post, 2018)."Interest — The Curious Emotion," by Paul J. Silvia (Current Directions in Psychological Science, 2008).The Serenity Prayer: Faith and Politics in Times of Peace and War, by Elisabeth Sifton (2003)."Late Fragment," by Raymond Carver (A New Path to the Waterfall, 1989).Man's Search for Meaning, by Viktor Frankl (1946). EXTRAS:"What Makes an Idea Interesting?" by No Stupid Questions (2024)."Should You Get Out of Your Comfort Zone?" by No Stupid Questions (2024)."Do You Need Closure?" by No Stupid Questions (2024)."Secret o' Life," by James Taylor (JT, 1977).

Host Meg Wolitzerpresents works that reflect on the loss of love, creatively imagined by a quartet of thoughtful writers.  In “The Space,” by Christopher Boucher, a lost love is replaced by—her absence.  The reader is Rob Yang.  In Wendi Kaufman's “Helen on Eighty-Sixth Street,” the loss is the backstory, as a lively ‘tween, voiced by Donna Lynne Champlin, finds ways to deflect the emotional fallout from her father's absence.  Sharon Olds' wrenching poem, “Last Look,” read by Jane Kaczmarek, is our palette clearer before we close with a Raymond Carver classic, “Why Don't You Dance?”The couple idly roving a lawn sale don't realize they are walking through the detritus of lost relationship.The reader is Corey Stoll.

Jay McInerney: CristalJay discusses cocaine and a proposition from Truman Capote (spoiler alert: he escaped), his pioneering use of the 2nd-person in BRIGHT LIGHTS, BIG CITY, his best moment ever with a glass of wine, the perfect 3-course meal with wine pairing, what Raymond Carver taught him about writing, getting fired from The New Yorker, squatting in George Plimpton's house, waking up in December 2023 with his home covered in his own blood and remembering nothing.

He's an elder statesman in the worlds of journalism, policy and economics in India -- and he takes the long view. Niranjan Rajadhyaksha joins Amit Varma in episode 388 of The Seen and the Unseen to talk about his life and learnings. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Niranjan Rajadhyaksha on Twitter, Mint and Artha Global. 2. The Rise of India -- NIranjan Rajadhyaksha. 3. Niranjan Rajadhyaksha interviewed in Marathi by Think Bank: Part 1. Part 2. 4. MV Rajadhyaksha and Vijaya Rajadhyaksha. 5. The Times of India obituary of MV Rajadhyaksha. 6. Adventures of a Bystander -- Peter F Drucker. 7. The Theory of Moral Sentiments -- Adam Smith's book that contains the concept of the impartial spectator. 8. The Impartial Spectator columns by Niranjan Rajadhyaksha and Shruti Rajagopalan. 9. Ratatouille -- Brad Bird. 10. The Overton Window. 11. John Maynard Keynes on Alfred Marshall. 12. The Rooted Cosmopolitanism of Sugata Srinivasaraju — Episode 277 of The Seen and the Unseen. 13. The Rise and Fall of the Bilingual Intellectual -- Ramachandra Guha. 14. Understanding India Through Its Languages — Episode 232 of The Seen and the Unseen (w Peggy Mohan). 15. Wanderers, Kings, Merchants: The Story of India through Its Languages — Peggy Mohan. 16. The Heckman Equation -- a website based on James Heckman's work. 17. Select episodes of The Seen and the Unseen with Suyash Rai (1, 2) and Rahul Verma (1, 2). 18. Stri Purush Tulana by Tarabai Shinde on Amazon and Wikipedia. 19. Kalyanche Nishwas by Vibhavari Shirurkar (Malati Bedekar) on Amazon and Wikipedia. 20. Makers of Modern India -- Ramachandra Guha. 21. Simone de Beauvoir (Wikipedia, Britannica, Amazon) and Germaine Greer (Wikipedia, Britannica, Amazon). 22. Gopal Ganesh Agarkar's essay on education for girls. 23. The omnibus volume of BR Nanda's biographies of Gokhale, Gandhi and Nehru. 24. The Adda at the End of the Universe — Episode 309 of The Seen and the Unseen (w Vikram Sathaye and Roshan Abbas). 25. This Be The Verse — Philip Larkin. 26. Rohit Lamba Will Never Be Bezubaan -- Episode 378 of The Seen and the Unseen. 27. Volga Se Ganga (Hindi) (English) -- Rahul Sankritayan. 28. In Service of the Republic — Vijay Kelkar & Ajay Shah. 29. Turning Over the Pebbles: A Life in Cricket and in the Mind -- Mike Brearley. 30. Slow Horses (book one of Slough House) -- Mick Herron. 31. Postwar: A History of Europe Since 1945 -- Tony Judt. 32. On Warne -- Gideon Haigh. 33. The Essential Keynes -- John Maynard Keynes. 34. The Age of Uncertainty — John Kenneth Galbraith. 35. Asian Drama -- Gunnar Myrdal. 36. Aneesh Pradhan on Spotify, Amazon, Instagram, Twitter and his own website. 37. Malini Goyal is the Curious One — Episode 377 of The Seen and the Unseen. 38. The UNIX Episode -- Episode 32 of Everything is Everything. 39. The O-Ring Theory of Economic Development -- Michael Kremer. 40. Why Abhijit Banerjee Had to Go Abroad to Achieve Glory -- Amit Varma. 41. Why Talent Comes in Clusters -- Episode 8 of Everything is Everything. 42. The Dark Knight Rises -- Christopher Nolan. 43. Thinking it Through -- The archives of Amit Varma's column for Mint. 44. Remembering Mr. Shawn's New Yorker -- Ved Mehta. 45. Videhi -- Vijaya Rajadhyaksha. 46. Select pieces on the relationship between Raymond Carver and Gordon Lish: 1, 2, 3, 4. 47. Capitalism, Socialism, and Democracy -- Joseph Schumpeter. 48. Maharashtra Politics Unscrambled — Episode 151 of The Seen and the Unseen (w Sujata Anandan). 49. Complaint Resolution Systems: Experimental Evidence from Rural India -- Chinmaya Kumar and MR Sharan. 50. Parkinson's Law — C Northcote Parkinson. 51. The Importance of the 1991 Reforms — Episode 237 of The Seen and the Unseen (w Shruti Rajagopalan and Ajay Shah). 52. The Life and Times of Montek Singh Ahluwalia — Episode 285 of The Seen and the Unseen. 53. The Forgotten Greatness of PV Narasimha Rao — Episode 283 of The Seen and the Unseen (w Vinay Sitapati). 54. The Life and Times of KP Krishnan — Episode 355 of The Seen and the Unseen. 55. Lant Pritchett Is on Team Prosperity — Episode 379 of The Seen and the Unseen. 56. The Reformers — Episode 28 of Everything is Everything. 57. The Tragedy of Our Farm Bills — Episode 211 of The Seen and the Unseen (w Ajay Shah). 58. Public Choice Theory Explains SO MUCH -- Episode 33 of Everything is Everything. 59. The Logic of Collective Action — Mancur Olson. 60. Ashutosh Salil and the Challenge of Change — Episode 312 of The Seen and the Unseen. 61. Rational Ignorance. 62. The State of Our Farmers — Ep 86 of The Seen and the Unseen (w Gunvant Patil, in Hindi). 63. India's Agriculture Crisis — Ep 140 of The Seen and the Unseen (w Barun Mitra & Kumar Anand). 64. The Indian State Is the Greatest Enemy of the Indian Farmer — Amit Varma. 65. The Worldly Philosophers --  Robert Heilbroner. 66. The Clash of Economic Ideas — Lawrence H White. 67. Capital-Labor Substitution and Economic Efficiency -- Kenneth Arrow, Hollis Chenery, Bagicha Singh Minhas and Robert Solow. 68. Room 666 -- Wim Wenders. 69. Laapataa Ladies -- Kiran Rao. 70. The Brave New Future of Electricity -- Episode 40 of Everything is Everything. 71. What I, as a development economist, have been actively “for” — Lant Pritchett. 72. National Development Delivers: And How! And How? — Lant Pritchett. 73. Economic growth is enough and only economic growth is enough — Lant Pritchett with Addison Lewis. 74. Smoke and Ashes -- Amitav Ghosh. 75. Sata Uttarachi Kahani -- GP Pradhan. 76. Gopal Ganesh Agarkar and Bal Gangadhar Tilak. 77. Collections of VD Savarkar's Marathi essays: 1, 2. 78. Savarkar and the Making of Hindutva -- Janaki Bakhle. 79. Savarkar Te BJP -- SH Deshpande. 80. Sarvakarancha Buddhiwad Ani Hindutvawad -- Sheshrao More. 81. Swatantryaveer Savarkar Ek Rahasya -- DN Gokhale. 82. Shodh Savarkarancha -- YD Phadke. 83. The Taking of Pelham 123 -- Tony Scott. 84. Sriram Raghavan (IMDb) (Wikipedia) and Vijay Anand (IMDb) (Wikipedia). 85. Manorama Six Feet Under -- Navdeep Singh. 86. Agatha Christie and Frederick Forsyth on Amazon. 87. Salil Chowdhury and RD Burman on Spotify. 88. Haikyu -- Haruichi Furudate. 89. Pramit Bhattacharya Believes in Just One Ism — Episode 256 of The Seen and the Unseen. 90. Yes Minister and Yes Prime Minister — Jonathan Lynn and Antony Jay. 91. Dilip José Abreu: an elegant and creative economist — Rohit Lamba. Niranjan would like to inform listeners that Spontaneous Order would be translated to Marathi as उत्सफूर्त व्यवस्था. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Amit's newsletter is active again. Subscribe right away to The India Uncut Newsletter! It's free! Amit Varma and Ajay Shah have launched a new video podcast. Check out Everything is Everything on YouTube. Check out Amit's online course, The Art of Clear Writing. Episode art: ‘The Impartial Spectator' by Simahina.

Sam Harris speaks with George Saunders about his creative process. They discuss George's involvement with Buddhism, the importance of kindness, psychedelics, writing as a practice, the work of Raymond Carver, the problem of social media, our current political moment, the role of fame in American culture, Wendell Berry, fiction as way of exploring good and evil, The Death of Ivan Ilyich, missed opportunities in ordinary life, what it means to be a more loving person, his article “The Incredible Buddha Boy,” the prison of reputation, Tolstoy, and other topics. If the Making Sense podcast logo in your player is BLACK, you can SUBSCRIBE to gain access to all full-length episodes at samharris.org/subscribe. Learning how to train your mind is the single greatest investment you can make in life. That's why Sam Harris created the Waking Up app. From rational mindfulness practice to lessons on some of life's most important topics, join Sam as he demystifies the practice of meditation and explores the theory behind it.

This is a free preview of a paid episode. To hear more, visit chrisryan.substack.comA “director's cut” of one of my most popular posts on Substack: What We Fall in When We Fall in Love. The Raymond Carver story I mention is in this collection. Music (paid version): “Trampoline,” by Joe Henry.