Podcasts about Robert Penn Warren

In this week's episode of The Learning Curve, co-hosts Alisha Searcy and U-Arkansas Prof. Albert Cheng interview John Burt, the Paul Prosswimmer Professor of American Literature at Brandeis University. Prof. Burt offers rich insight into the life and work of one of the 20th century's greatest American writers, Robert Penn Warren. Raised in rural southwestern Kentucky, Warren was deeply shaped […]

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

This conversation starts with fictional candidate Willy Stark, a favorite subject of our guest, Steve Ealy. Steve has written on how to read the Qur'an, the Federalist Papers and constitutional interpretation, the philosophers Jurgen Habermas, Michael Oakeshott, and Eric Voegelin, and the writers C. S. Lewis, Ralph Ellison, Fyodor Deostoevsky, James Fenimore Cooper, John Steinbeck, and Robert Penn Warren. He is currently working on a book-length study of Robert Penn Warren.  In other words, he is qualified to dicsuss Donald Trump in the perspective of history.  

“All the King's Men” is a great American novel and its author Robert Penn Warren has roots in Middle Tennessee. Plus, the local news for May 5, 2025, and a conversation about last month's Biscuits and Banjos festival. Credits: This is a production of Nashville Public RadioHost/producer: Nina CardonaEditor: Miriam KramerAdditional support: Mack Linebaugh, Tony Gonzalez, Rachel Iacovone, LaTonya Turner and the staff of WPLN and WNXP

Join the #McConnellCenter as we welcome Steve Ealy as he attempts to convince us of the importance of reading All The King's Men by Robert Penn Warren! Steve Ealy is a Senior Fellow Emeritus at Liberty Fund, Inc. He has published academic articles on Robert Penn Warren, Ralph Ellison, the Qur'an, and The Federalist Papers. He received his BA in political science from Furman University, and earned an MA in government at Claremont Graduate University and his PhD in political science from the University of Georgia. We all know we need to read more and there are literally millions of books on shelves with new ones printed every day. How do we sort through all the possibilities to find the book that is just right for us now? Well, the McConnell Center is bringing authors and experts to inspire us to read impactful and entertaining books that might be on our shelves or in our e-readers, but which we haven't yet picked up. We hope you learn a lot in the following podcast and we hope you might be inspired to pick up one or more of the books we are highlighting this year at the University of Louisville's McConnell Center. Stay Connected Visit us at McConnellcenter.org Subscribe to our newsletter  Facebook: @mcconnellcenter Instagram: @ulmcenter  Twitter: @ULmCenter This podcast is a production of the McConnell Center

Episode 493 - Phyllis Gobbell - PRODIGAL, a Southern novel that echoes an ancient Biblical storyPhyllis Gobbell's writing career spans four decades. Her history of publication includes both fiction and nonfiction, with a total of five novels and over thirty stories and articles in literary journals, anthologies, and magazines. One of her first stories appeared in the anthology, HomeWorks, in 1996, a collection of writings by Tennessee authors living at that time, including Alex Haley, Robert Penn Warren, and Peter Taylor.Gobbell, a Nashville author, writes a little bit of everything. Two true-crime books, An Unfinished Canvas (Berkley, 2007; Diversion 2020) and A Season of Darkness (Berkley, 2010), are accounts of high-profile, cold-case murders in Nashville. Now Gobbell authors the Jordan Mayfair Mystery Series: Pursuit in Provence (Five Star, 2015), Secrets and Shamrocks (Five Star, 2016), and Treachery in Tuscany (Encircle, 2018), winner of Killer Nashville's Silver Falchion Award for Best Cozy Mystery.Gobbell received the Tennessee Arts Commission's Individual Artist Award in Fiction. Other writing achievements include the Leslie Garrett Fiction Prize awarded by the Knoxville Writers Guild, Tennessee Writers Alliance Short Story First Place Award, and the North Carolina Writers' Workshop First Place Award in Creative Nonfiction. She received a Pushcart nomination for her story, “Primates,” which was published in Bellevue Literary Review. She won the Creative Nonfiction First Place Award from the Knoxville Writers' Guild for her essay, “In the Car with Mother on Christmas Eve.” Twice she has received the Leslie Garrett Award for Fiction.An active participant in the writing community, Gobbell helped organize the Tennessee Writers Alliance in 1990 and served on its Board of Directors for ten years, including two terms as president and one as chair of the Board. She was also a founding member of a writers group that still meets every Tuesday night, the Nashville Writers Alliance.For twenty years, Phyllis Gobbell served on the English faculty at Nashville State Community College as Associate Professor. She taught courses in composition, creative writing, and literature. She served as editor of the literary magazine, Tetrahedra, for eight years.Gobbell earned her B.S. in Education at the University of Tennessee, Knoxville, and received her M.A. in English from Austin Peay State University, Clarksville, Tennessee, where the graduate program offered a creative thesis option. Her thesis was a collection of stories entitled Listen to Me. Most of the stories have been published in literary journals and have received awards.https://phyllisgobbell.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Luke 1:39-45In those days, Mary set out with haste and went to a Judean town in the hill-country where she entered the home of Zechariah and greeted Elizabeth. When Elizabeth heard the sound of her greeting, the child leaped in her womb. Elizabeth was filled with the Holy Spirit and exclaimed with a loud cry, “Blessed are you among women and blessed is the fruit of your womb! And why has this happened to me, that the mother of my Lord has come to me? For when I heard the sound of your greeting, the child in my womb leaped for joy! And blessed is she who believed there would be a fulfillment of what was spoken to her by the Lord.” When David Brooks talks about what it means to see others deeply and to let ourselves be more deeply seen, he leans pretty heavily into acknowledging the significance of a person's family tree, history, and culture, in order to do that. And he asks this really great question: How Do Your Ancestors Show Up in Your Life?He quotes the novelist and poet, Robert Penn Warren, who said, “You live through time, that little piece of time that is yours, but that piece of time is not only your own life, it is the summing-up of all the other lives that are simultaneous with yours. …What you are is an expression of history.”And we forget this, don't we? …about ourselves, about each other, and about the strangers we meet and see in the world? When someone upsets or angers us on any given day – by cutting us off in traffic, or acting selfish or unkind at the grocery store, by talking behind our back in the church parking lot, or by not pulling their weight on that group assignment at school – it's worth wondering what else might be going on in their life at the moment, don't you think?We've all seen that meme or heard the notion that “Everyone you meet is fighting a battle you know nothing about, so be kind. Always.” Well, I think David Brooks takes this to another, more meaningful level, when it comes to really seeing and knowing a person.We don't just land here, showing up out of nowhere – so unique, individual, special, and in control of our own respective destinies. Like it or not, we are beholden to or influenced – in some way – by those who came before us; by all of the culture, history, and baggage – good, bad, and ugly – that come along with us. All of the good stuff we'd like to claim about ourselves and be most proud of – isn't all or only of our own creation. And the hard stuff we work so hard or wish we could change about ourselves – isn't … always … either.And the same is true about our neighbor.Which is to say – what we've been trying to show throughout these Advent days – is that seeing others deeply and being deeply seen takes time, work, effort, energy, and faith. And as Christmas draws ever nearer, my hope is that we see this work as ours, because it is and was God's, in the coming of Jesus. God showed up to see us more fully, completely, deeply … And so that we might take the time and do the work to see Jesus – and each other, through him – more fully, completely, and deeply, too.What child is this? What child is this? What child is this, and this, and this, and this?And, perhaps the most human thing about Jesus, is that he had a family tree, ancestors, and a rich human history of his own. And the Gospel writers – heck the whole of the Scriptural narrative – reveals this for us.I was tempted, but decided to spare you the reading of Jesus' genealogy from the first chapter of Matthew's gospel to prove this point. But you know – or I suspect you've heard about – all of those old-school “begats” – Abraham begat Isaac, and Isaac begat Jacob, and Jacob begat Judah and so on down the line – 77 times, until you get to Jesus. The point of that litany of names, speaks to the power of ancestry, the impact of a person's family tree, and the meaning behind all that comes before us and that is poured into our identity and personhood.Well, for generations, theologians and professors, pastors and preachers have used Matthew's genealogy of Jesus for nothing more and nothing less than proving Jesus to be the fulfillment of God's plan for salvation; to establish his credibility as the Messiah; to prove his promised, prophetic pedigree, if you will, as the offspring of Abraham, Isaac, Jacob, King David, and so on.And that's not nothing. It may very well have been Matthew's point. And it serves its purpose. But there's more to it than that. It's subtle, surprising, beautiful and impossible to miss once you see it – and I think it comes to a head in this morning's meeting between Mary and Elizabeth, in Luke's Gospel.See, buried in Matthew's account of Jesus' genealogy … hidden almost among the names of all those men – the well-known patriarchs, the faithful fathers, and the powerful kings – are also listed the lesser-known names of five women: Tamar, Rahab, Ruth, Bathsheba, and Mary, the mother of Jesus, herself.And because we know that women – generally – weren't held in high regard in first-century Palestinian culture, if they were regarded at all, it is profoundly noteworthy to understand, just briefly, who these particular women were; to know their own history as part of this mix, and to acknowledge why their participation in the lineage of Jesus matters.First, there's Tamar, who saved her own life and livelihood by surreptitiously sleeping with her Father-in-Law, Judah, becoming pregnant, and thus preserving the family line that led to Jesus. Rahab was likely an owner/operator of the best little brothel in Jericho, who used her wisdom, hospitality, faith, and bravery to save some Israelite spies once, insuring a victory for God's chosen ones in battle, and securing for herself a worthy branch on the family tree of Jesus.Ruth was a Moabite – an outsider of the highest order as far as God's people were concerned at the time – but, by way of her steadfast faithfulness to her mother-in-law and some sexual self-preservation of her own, she ingratiated and grafted herself into Jesus' genealogy, too.Bathsheba, the wife of Uriah, was the – likely unwilling – sexual conquest of King David. Though it's rarely described as such, she survived a sexual assault by the most powerful man in the land people, who then had her husband killed to cover up the indiscretion, so that she could be kept, by the king, as his wife.And then there's Mary, who shows up to Elizabeth this morning with some insane news about a baby on the way.And Mary and Elizabeth, good, faithful, Hebrew women that they were – would have known every bit of this history, tradition, and genealogy. Which is why it's not hard to see or imagine how a.) Elizabeth could believe such a thing, and b.) why Mary breaks into song in the verses following what we just heard – that little ditty we call “The Magnificat.” And it's a song that sounds strikingly similar to a song Hannah, a different ancestral sister from way back in the day – was known to have sung, as well.And this song is one about a God who scatters the proud, remember; who brings down the powerful from their thrones, who lifts up the lowly, who fills the hungry with good things, who sends the rich away empty. This song, from a Hebrew woman, in the presence of another Hebrew woman, was an anthem of joy, rebellion, prophecy, and hope … that the world was about to turn, with the coming of this Jesus.And do you think that was the last time Mary ever sang those words, or expressed those desires, or proclaimed that kind of hope? I find that hard to believe. I like to think she sang that song as a lullaby to a nursing baby Jesus. I bet she taught him well about the source of those sentiments from her sisters in the faith. I imagine Mary whispered that good news to her little boy every chance she got … over breakfast, on their way home from synagogue, when he walked out the door to go play with the neighbors, and certainly on his birthday, don't you think?!And I think that's why Jesus knew how to see people more deeply. It's why I think Jesus knew how to look beneath the surface of another's suffering; to forgive the choices they made, when necessary; to love an enemy; to turn the other cheek; to treat others the way he would want to be treated; to love the God of his creation; and to love his neighbor, as himself, in every way.Jesus knew about the battles people were fighting, he had compassion for them because of it, and he came to fight those battles with love, mercy, and grace. When we learn to see him more clearly and understand the source of his compassion and love for the least and most lowly among us … we might get better at seeing them, and each other more clearly, too.And when we ask and wonder about “What Child this Is?” for whom we're waiting, we might find him, more often, already in our midst – and live differently because of it.Amen

On the early morning of November 7, 1825, in Frankfort, Ky., Jereboam Beauchamp stabbed Kentucky Legislator Solomon Sharp, in an event that would become known as the Kentucky Tragedy. But did the murder really occur as Beauchamp explained in his sensational confessions? Join us today for a special discussion of one of Kentucky's most notorious murders, and a story that inspired Edgar Allen Poe and Robert Penn Warren. Dr. Matthew Schoenbachler is a professor of history at the University of North Alabama. He holds a PhD in history from the University of Kentucky and has co-authored a book and published in the Journal of the Early Republic. We are delighted to talk with him today about Murder and Madness: The Myth of the Kentucky Tragedy, which was published in 2009. Kentucky Chronicles is inspired by the work of researchers from across the world who have contributed to the scholarly journal, The Register of the Kentucky Historical Society, in publication since 1903. https://history.ky.gov/explore/catalog-research-tools/register-of-the-kentucky-historical-society Hosted by Dr. Daniel J. Burge, associate editor of The Register of the Kentucky Historical Society, and coordinator of our Research Fellows program, which brings in researchers from across the world to conduct research in the rich archival holdings of the Kentucky Historical Society. https://history.ky.gov/khs-for-me/for-researchers/research-fellowships Kentucky Chronicles is presented by the Kentucky Historical Society, with support from the Kentucky Historical Society Foundation. https://history.ky.gov/about/khs-foundation Our show is recorded and produced by Gregory Hardison, and edited by Gregory P. Meyer. Thanks to Dr. Stephanie Lang for her support and guidance. Our theme music, “Modern Documentary” was created by Mood Mode and is used courtesy of Pixabay. Other backing tracks are also used courtesy of Pixabay. To learn more about our publication of The Register of the Kentucky Historical Society, or to learn more about our Research Fellows program, please visit our website: https://history.ky.gov/ https://history.ky.gov/khs-podcasts

The panel discusses the American Poet Laureate Robert Penn Warren—the only person to win the Pulitzer prize both for Poetry and for Fiction—reading two of his poems from the November 1979 Poetry Magazine volume issued in honour of Allen Tate.Continue reading

This Sunday on Vintage Classic Radio's "Sunday Night Playhouse," we feature a captivating rebroadcast of the "NBC University Theater" radio show, also known as "University Theater of the Air." In the spotlight is the episode titled "All the King's Men," which originally aired on January 16, 1949. The episode is an adaptation of Robert Penn Warren's Pulitzer Prize-winning novel, exploring the dramatic rise and fall of Willie Stark, a charismatic but morally ambiguous politician who resembles the real-life figure Huey P. Long of Louisiana. The narrative delves into themes of power, corruption, and betrayal as Stark's idealistic start spirals into a ruthless quest for influence. The production features Wayne Morris in the role of Willie Stark, with supporting performances by Betty Lou Gerson, Edwin Jerome, Dan O'Herlihy, and John McIntire. The show captures the tense and atmospheric essence of political maneuvering and personal dilemmas, making it a compelling listen for fans of classic literary adaptations.

Warren (1905-1989) was born in Kentucky and educated at Vanderbilt University and the University of California, Berkeley. Though perhaps best known for his 1946 novel All the King's Men, he was the author of over a dozen books of poetry in addition to his prose work. He is the only writer to have won Pulitzer Prizes for both fiction (in 1947) and poetry (in 1958 and 1979). Warren's other honors include a Rhodes Scholarship, a Guggenheim Fellowship, the Presidential Medal of Freedom, a MacArthur Fellowship, and the National Medal of Arts. He taught at Southwestern College (now Rhodes College) in Memphis and co-authored several literature textbooks.-bio via Library of Congress Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

We are in an imperfect world populated with flawed people. We ourselves are flawed. We can't afford to feel or act superior. We have too much work to do, there is too much good we can do.

NB: OK, so the names I couldn't remember in the intro were as follows: LM is how we all consistently refer to Literary Matters because we are so cool. James is James Matthew Wilson, who comes up toward the end of the conversation, when I continually complain about him and Ryan and Elijah gently defend him. Armen is Armen Davoudian, who requires no defense because everybody loves him.Elisabeth is Elisabeth Clark, David's wife and Managing Editor of 32 Poems.Warren is Robert Penn Warren.See notes below for more.Finally, happy birthday, Philip Metres!My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!Some of the topics mentioned in this episode:– The YouTube footage of the big Cleveland reading/conference/shouting match: Pt. 1 & Pt. 2– In Ghostlight by Ryan Wilson– Newly Not Eternal by George David Clark– Some Problems with Autobiography by Brian Brodeur– The last issue of Literary Matters– The continuation of 32 Poems– The Sentence by Morri Creech—and my review of same– Grace Schulman– Jean Valentine– Charles Simic– Fred Chappell– Stephen Dunn– Christian Wiman– Don Share– Horace ii.10– J. D. McClatchy– Little Boats, Unsalvaged by Dave Smith– Raphael Krut-Landau– Michael Shewmaker– Ernie Suarez– Rosanna Warren– Alex Pepple– Lothrop Stoddard– The nightmarish putto from the Ligotti-esque hotel where I stayed on Brian Brodeur's recommendation.– Wiseblood Books– JMW (see Nota Bene)– Dappled Things– Katy Carl– Bernardo Aparicio Garcia– Joshua Hren– Franciscan University Press– Modern Age– Catholic Imagination Conference– Contemporary Catholic Poetry – The Contemporary Poetry Review– The Vision of the Soul by James Matthew WilsonFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

NB: OK, so the names I couldn't remember in the intro were as follows: LM is how we all consistently refer to Literary Matters because we are so cool. James is James Matthew Wilson, who comes up toward the end of the conversation, when I continually complain about him and Ryan and Elijah gently defend him. Armen is Armen Davoudian, who requires no defense because everybody loves him.Elisabeth is Elisabeth Clark, David's wife and Managing Editor of 32 Poems.Warren is Robert Penn Warren.See notes below for more.Finally, happy birthday, Philip Metres!My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!Some of the topics mentioned in this episode:– The YouTube footage of the big Cleveland reading/conference/shouting match: Pt. 1 & Pt. 2– In Ghostlight by Ryan Wilson– Newly Not Eternal by George David Clark– Some Problems with Autobiography by Brian Brodeur– The last issue of Literary Matters– The continuation of 32 Poems– The Sentence by Morri Creech—and my review of same– Grace Schulman– Jean Valentine– Charles Simic– Fred Chappell– Stephen Dunn– Christian Wiman– Don Share– Horace ii.10– J. D. McClatchy– Little Boats, Unsalvaged by Dave Smith– Raphael Krut-Landau– Michael Shewmaker– Ernie Suarez– Rosanna Warren– Alex Pepple– Lothrop Stoddard– The nightmarish putto from the Ligotti-esque hotel where I stayed on Brian Brodeur's recommendation.– Wiseblood Books– JMW (see Nota Bene)– Dappled Things– Katy Carl– Bernardo Aparicio Garcia– Joshua Hren– Franciscan University Press– Modern Age– Catholic Imagination Conference– Contemporary Catholic Poetry – The Contemporary Poetry Review– The Vision of the Soul by James Matthew WilsonFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

“So, geopolitics really is more about defining possibilities and getting ready for any possibility so that if the crazy thing happens, ah, I've thought about it before. And I know what I'm going to do when that happens, rather than I'm going to perfectly be able to identify the scenario.” - Jacob Shapiro, Cognitive Investments--This week's episode features a future regular guest of Taylor Made Macro, Jacob Shapiro, from Cognitive Investments. Jacob is a true neutral geopolitical analyst that approaches the world and the markets with humility and back-breaking labor to arrive at his conclusions. Chase and Jacob discuss current events in global elections, the importance of finding original news sources, paying attention to news that seems strange, and implementing a ranking system for the avalanche of information one needs to get through to do this work each day. This helps you with the most important takeaway of the episode: scenario planning. Thinking about what could happen helps you prepare if it does happen. --Timestamps:(00:00) – Intro(01:38) – Charity: William and Anne Monroe Shapiro Endowment(02:16) – Mexican Elections: Shienbaum is a Scientist (08:13) – Modi's Age and Charisma Have Their Limits(11:29) – South Africa's Apartheid History Overshadows the Geopolitical Potential(14:39) – Individual Leaders Can Have a Great Amount of Agency in the Right Moment, with the Right Circumstances(17:54) – Milei's Economic Changes Could be Trading Short-Term Pain for Long-Term Meaningful Change(25:23) – Mexican, Brazilian, and Saudi Arabian ETFs Are (as of recording) Mispriced. (27:16) – Between Two Pines(32:43) – Scenario Imagination and Admitting You're Wrong are too Important When Money is on the Line(36:32) – Google Translate Your Way to More Accurate, Ground-level News, and Dissect the Piece of Info that Seems Strange(44:04) – Spanx vs. High Nutritional Reading (46:07) – Jacob's Books: All the King's Men by Robert Penn Warren & Psychology of Intelligence Analysis by Richards Heuer [Jr.](47:14) – Notion Helps Organize Information(51:44) – Finding the Original is the Most Important Task (53:37) – High Level Meeting Summaries: Pay Attention to Divergence (56:10) – Don't Put on a Trade Unless You Can Get to Confidence(58:40) – Geopolitical Analysis is not a Hard Science(1:02:14) – Swim to Connect Dots(1:03:10) – Half-Holocaust Survivors / Half D.C. Socialites – Bridging the Various Classes Perspectives for Better Political Analysis(1:06:36) - Plugs--This Episode's Charity:In honor of Jacob's parents, an endowment for First Generation American citizens has been established at Oxford College of Emory University. Please donate here.Jacob and Chase raised $20 for charity this week! --Referenced in the Show:Cognitive Dissidents (Soon The Jacob Shapiro Podcast): Depreciable Line of InformationMovie:

Author and YouTuber John Green thought his breakout bestseller wouldn't be a commercial success, wrote 40,000 words for one sentence, and brought Steve to tears. SOURCE:John Green, best-selling author and YouTube creator. RESOURCES:"The Deadliest Infectious Disease Isn't a Science Problem. It's a Money Problem," by John Green (The Washington Post, 2024).“Tuition Inflation Isn't as Bad as You Think,” by Felix Salmon (Axios, 2022).“Fast Facts: Expenditures,” by the National Center for Education Statistics (2022).“Trends in College Pricing and Student Aid 2021,” by the College Board (2021).“#37 John,” by Heavyweight (2021).The Anthropocene Reviewed: Essays on a Human-Centered Planet, by John Green (2021).“Scratch ‘n' Sniff Stickers and the Indianapolis 500,” by The Anthropocene Reviewed Podcast (2019).“How Joan of Arc Conquered Mark Twain,” by Ted Gioia (America: The Jesuit Review, 2018).Turtles All the Way Down, by John Green (2017).The Fault in Our Stars, film (2014).The Fault in Our Stars, by John Green (2012).Looking for Alaska, by John Green (2005).All the King's Men, by Robert Penn Warren and Noel Polk (1946).Harvey, film (1950).vlogbrothers, YouTube channel by John and Hank Green.Crash Course, YouTube channel by John and Hank Green. EXTRAS:“Peter Singer Isn't a Saint, But He's Better Than Steve Levitt,” by People I (Mostly) Admire (2022).“Freakonomics Radio Goes Back To School,” series by Freakonomics Radio (2022).

J. Burden, Host of The J. Burden Show, joins us to discuss how the events of 2020 exposed the liberal ruling class for the tyrants they are, how these same people, with contempt for the working class, have permitted our society to devolve into a quasi-police state replete with failing infrastructure, and how we're approaching the end of the American empire as we know it, and entering into a new, potentially depoliticized culture where we can all agree on fundamental facts.  - - -  Today's Sponsor: Beam - Get 40% off for a limited time! Use promo code KLAVAN at http://www.ShopBeam.com/Klavan #JBurden #GenZ #Politics

In this special MLK Holiday edition of WUKY's Saving Stories, Doug Boyd, director of the Louie B. Nunn Center for Oral History in the UK Libraries highlights an extraordinary interview with Dr. King from March of 1964. Hear the non-violent advocate and activist at the height of his influence in a one-on-one conversation with Kentucky author Robert Penn Warren discussing the revolutionary nature of the Civil Rights movement and where he thought it should go next.

John Orley Allen Tate (November 19, 1899 – February 9, 1979) was a poet, critic, biographer, and novelist. Born and raised in Kentucky, he earned his BA from Vanderbilt University, where he was the only undergraduate to be admitted to the Fugitives, an informal group of Southern intellectuals that included John Crowe Ransom, Donald Davidson, Merrill Moore, and Robert Penn Warren. Tate is now remembered for his association with the Fugitives and Southern Agrarians, writers who critiqued modern industrial life by invoking romanticized versions of Southern history and culture. Tate's best-known poems, including “Ode to the Confederate Dead,” confronted the relationship between an idealized past and a present he believed was deficient in both faith and tradition. Despite his commitment to developing a distinctly Southern literature, Tate's many works frequently made use of classical referents and allusions; his early writing was profoundly influenced by French symbolism and the poetry and criticism of T.S. Eliot. During the 1940s and 1950s, Tate was an important figure in American letters as editor of the Sewanee Review and for his contributions to other midcentury journals such as the Kenyon Review. As a teacher, he influenced poets including Robert Lowell, John Berryman, and Theodore Roethke, and he was friends with Hart Crane, writing the introduction to Crane's White Buildings (1926). From 1951 until his retirement in 1968, Tate was a professor of English at the University of Minnesota.In the decades that he was most active, Tate's “influence was prodigious, his circle of acquaintances immense,” noted Jones in the Dictionary of Literary Biography. James Dickey could write that Tate was more than a “Southern writer.” Dickey went on, “[Tate's] situation has certain perhaps profound implications for every man in every place and every time. And they are more than implications; they are the basic questions, the possible solutions to the question of existence. How does each of us wish to live his only life?”Allen Tate won numerous honors and awards during his lifetime, including the Bollingen Prize and a National Medal for Literature. He was the consultant in poetry at the Library of Congress and president of the National Institute of Arts and Letters.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Look at us! Living in history, what Robert Penn Warren called "the awful responsibility of Time." We're here, and we, we happy few, will sort things out before even the geniuseseseses.  That's how it is around here. 

our “suck shit, sufjan stevens” module (#1) continues as we stay in the sticky, humid louisiana weather for all the king's men by robert penn warren, our first of two pulitzer prize-winning novels in a row. we discuss the parallels you can (easily) draw between willie stark and donald trump, compare the protagonist (and their levels of inaction) of this novel (jack) to the protagonist of our last novel (binx in the moviegoer), and talk about our favorite/least favorite chapters. we talk about its status as another “great american novel,” compare it to other similar works, and lament an overall lack of characters in the story. we talk about david simon, read egg's email, and wonder whether or not anne “should” love willie. not enough jokes in this write-up, if we're being honest, but hey — what can you do. reading list for season four the moviegoer by walker percy all the king's men by robert penn warren a confederacy of dunces by john kennedy toole

Ch.1…American Literature Snap Shot Series…10th grade American Literature

Our subject for this episode is Albert Murray's South to a Very Old Place. Part memoir, part travelogue, part dialogue with a range of interlocutors, this book is remarkable for both its variety and depth. Murray travels from Harlem to New Haven and then down south to Tuskegee and Mobile and beyond. Murray chats with the likes of Robert Penn Warren and Walker Percy and meditates on the themes of home, history, place, and myth. Our guest and I discuss Murray's life and the peculiar nature of this wonderful book. We explore Murray's critique of social science and his respect for folk wisdom. Our guest is Greg Thomas. Greg is CEO of the Jazz Leadership Project, a private company that uses the principles and practices of jazz music to enhance leadership success and team excellence. Along with his wife and partner Jewel, the Jazz Leadership Project works with notable firms such as JPMorgan Chase, Verizon, TD Bank, and Google. Their leadership blog, TuneIntoLeadership.com, features both of their writings.  Greg has been a professional journalist for over 25 years. He is currently a Senior Fellow of the Institute for Cultural Evolution. As an educator, Greg recently taught a course on Cultural Intelligence, and co-facilitated a six-month class, which ended this past March, titled, “Stepping Up: Wrestling with America's Past, Reimagining Its Future, Healing Together.” As a social entrepreneur, Greg co-produced a two-day broadcast, "Combating Racism and Antisemitism Together: Shaping an Omni-American Future" in October 2021. In September 2022, he co-facilitated a one-day conference, "Resolving the Race-ism Dilemma." He also serves on the advisory boards of The Consilience Project, and FAIR, the Foundation Against Intolerance and Racism. 

An episode of literary games and  gossipAre you even gay if you can't differentiate between Debbie Harry, Deborah Digges, and Debora Greger? Are you even a writer if you don't know which poet won 4 Pulitzers?Loyalty Bookstore, a black-owned bookstore in DC, is a great place to buy books by authors we discussed today.If you need resources to cope with some mental health struggles, we recommend visiting the National Alliance on Mental Illness: https://www.nami.org/help Deborah Greger (Leo) does not have a book with the word "animals" in the title. You can read more about this incredible poet here. James's favorite Greger poem is "Head, Perhaps of an Angel" which you can read in New England Review here.Deborah Digges (Aquarius) wrote poetry and memoir. Read more about her here. Digges's second memoir, The Stardust Lounge, is a portrait of her younger son, who by the time he was 13 was involved in gangs. The book details how Digges decides to "shadow" him to try to understand him better. The book Aaron references overhearing a conversation about might have been The Stardust Lounge. You can read Digges's poem "Rough Music" here.Debbie Harry is the lead singer of the band Blondie. She's a Cancer (July 1). Slash of Guns 'n' Roses has donated his time, energy, and money to animal welfare and children's music education causes. In 2008, he donated to Barack Obama's presidential campaign.Robert Penn Warren's racism and his attempts to educate and enlighten his ignorance remain a topic of conversation. One incredible essay in the discourse is this one by Natasha Trethewey, delivered when she was U.S. Poet Laureate.

On our February podcast we visit the Robert Penn Warren Birthplace Museum to discuss his book "Night Rider". His book talks about the Black Patch War and the Association that was started in Robertson County TN. We record from Guthrie, Kentucky where the first meeting took place as the farmers of the dark fired tobacco rebelled against the big corporation ran by James Buchanan Duke. While in the birthplace of Warren, we talk with Mrs. Bobbie Doris on the younger years of Warren. We will be at the Historic Museum of Hopkinsville - Christian County to meet with Alissa Keller, the Director, in front of the Night Rider's display. She will talk about the rise of the Association and how some of the group gained the name Night Rider's. Come joining us for this journey.

CBS Audio Network Presents: MLK DAY 2022: A Three-hour Special hosted by Nina Turner Nina Turner, an American educator and former Ohio state senator, examines the influences that shaped Rev. King's activism as a global champion of human rights.The show will include Author and filmmaker Priyanka Kumar on how Mahatma Gandhi inspired King to pursue the path of nonviolence in his civil rights leadership; Clayborne Carson, director of the Martin Luther King, Jr., Research and Education Institute at Stanford University discus​sing King's relationship with his parents and how they how they helped to formulate Rev. King's calling; and King Biographer Richard Lischer examines the formative years that Rev. King spent at the Crozer Theological Seminary, where ​he became class president of the majority white student body . In addition, we will unearth the rare audio recordings made by celebrated author Robert Penn Warren with dozens of influential Civil Rights leaders in 1964, capturing the thoughts of King's contemporaries like Malcolm X and James Baldwin.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

CBS Audio Network Presents: MLK DAY 2022: A Three-hour Special hosted by Nina Turner Nina Turner, an American educator and former Ohio state senator, examines the influences that shaped Rev. King's activism as a global champion of human rights.The show will include Author and filmmaker Priyanka Kumar on how Mahatma Gandhi inspired King to pursue the path of nonviolence in his civil rights leadership; Clayborne Carson, director of the Martin Luther King, Jr., Research and Education Institute at Stanford University discus​sing King's relationship with his parents and how they how they helped to formulate Rev. King's calling; and King Biographer Richard Lischer examines the formative years that Rev. King spent at the Crozer Theological Seminary, where ​he became class president of the majority white student body . In addition, we will unearth the rare audio recordings made by celebrated author Robert Penn Warren with dozens of influential Civil Rights leaders in 1964, capturing the thoughts of King's contemporaries like Malcolm X and James Baldwin.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

CBS Audio Network Presents: MLK DAY 2022: A Three-hour Special hosted by Nina Turner Nina Turner, an American educator and former Ohio state senator, examines the influences that shaped Rev. King's activism as a global champion of human rights.The show will include Author and filmmaker Priyanka Kumar on how Mahatma Gandhi inspired King to pursue the path of nonviolence in his civil rights leadership; Clayborne Carson, director of the Martin Luther King, Jr., Research and Education Institute at Stanford University discus​sing King's relationship with his parents and how they how they helped to formulate Rev. King's calling; and King Biographer Richard Lischer examines the formative years that Rev. King spent at the Crozer Theological Seminary, where ​he became class president of the majority white student body . In addition, we will unearth the rare audio recordings made by celebrated author Robert Penn Warren with dozens of influential Civil Rights leaders in 1964, capturing the thoughts of King's contemporaries like Malcolm X and James Baldwin.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

  Frederick Douglas was the “prose poet of America's (and perhaps a universal) body politic. He searched for the human soul, envisioned through slavery and freedom in all their meanings. There had been no other voice quite like Douglass's.” Join me and Professor David Blight as we discuss his Pulitzer Prize winning biography, Frederick Douglass, Prophet of Freedom. The lessons Douglass taught about freedom, dignity, and justice nearly 150 years ago are as important and relevant today as they were then. Guest David W. Blight, Sterling Professor of American History at Yale University David W. Blight  is a teacher, scholar and public historian. At Yale University he is Sterling Professor of History, joining that faculty in January, 2003. As of June, 2004, he is Director, succeeding David Brion Davis, of the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition. In his capacity as director of the Gilder Lehrman Center at Yale, Blight organizes conferences, working groups, lectures, the administering of the annual Frederick Douglass Book Prize, and many public outreach programs regarding the history of slavery and its abolition. He previously taught at Amherst College for thirteen years. In 2013-14 he was the William Pitt Professor of American History at Cambridge University, UK, and in 2010-11, Blight was the Rogers Distinguished Fellow in 19th-Century American History at the Huntington Library, San Marino, CA. During the 2006-07 academic year he was a fellow at the Dorothy and Lewis B. Cullman Center for Writers and Scholars, New York Public Library. In October of 2018, Simon and Schuster published his new biography of Frederick Douglass, entitled, Frederick Douglass: Prophet of Freedom, which garnered nine book awards, including the Pulitzer Prize, the Francis Parkman Prize, the Bancroft Prize, and the Gilder Lehrman Lincoln Prize. The Douglass book has been optioned by Higher Ground Productions and Netflix for a projected feature film. Blight works in many capacities in the world of public history, including on boards of museums and historical societies, and as a member of a small team of advisors to the 9/11 Memorial and Museum team of curators. For that institution he wrote the recently published essay, “Will It Rise: September 11 in American Memory.”  In 2012, Blight was elected to the American Academy of Arts and Sciences and delivered an induction address, “The Pleasure and Pain of History.” In 2018, Blight was appointed by the Georgia Historical Society as a Vincent J. Dooley Distinguished Teaching Fellow, which recognizes national leaders in the field of history as both writers and educators whose research has enhanced or changed the way the public understands the past. Blight's newest books include annotated editions, with introductory essay, of Frederick Douglass's second autobiography, My Bondage and My Freedom (Yale Univ. Press, 2013), Robert Penn Warren's Who Speaks for the Negro, (Yale Univ. Press, 2014), and the monograph, American Oracle: The Civil War in the Civil Rights Era (Harvard University Press, published August 2011), which received the 2012 Anisfield-Wolf Award for best book in non-fiction on racism and human diversity. American Oracle is an intellectual history of Civil War memory, rooted in the work of Robert Penn Warren, Bruce Catton, Edmund Wilson, and James Baldwin.  Blight is also the author of A Slave No More: Two Men Who Escaped to Freedom, Including their Narratives of Emancipation, (Harcourt, 2007, paperback in 2009).  This book combines two newly discovered slave narratives in a volume that recovers the lives of their authors, John Washington and Wallace Turnage, as well as provides an incisive history of the story of emancipation.  In June, 2004, the New York Times ran a front page story about the discovery and significance of these two rare slave narratives.

  Frederick Douglas was the “prose poet of America's (and perhaps a universal) body politic. He searched for the human soul, envisioned through slavery and freedom in all their meanings. There had been no other voice quite like Douglass's.” Join me and Professor David Blight as we discuss his Pulitzer Prize winning biography, Frederick Douglass, Prophet of Freedom. The lessons Douglass taught about freedom, dignity, and justice nearly 150 years ago are as important and relevant today as they were then. Guest David W. Blight, Sterling Professor of American History at Yale University David W. Blight  is a teacher, scholar and public historian. At Yale University he is Sterling Professor of History, joining that faculty in January, 2003. As of June, 2004, he is Director, succeeding David Brion Davis, of the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition. In his capacity as director of the Gilder Lehrman Center at Yale, Blight organizes conferences, working groups, lectures, the administering of the annual Frederick Douglass Book Prize, and many public outreach programs regarding the history of slavery and its abolition. He previously taught at Amherst College for thirteen years. In 2013-14 he was the William Pitt Professor of American History at Cambridge University, UK, and in 2010-11, Blight was the Rogers Distinguished Fellow in 19th-Century American History at the Huntington Library, San Marino, CA. During the 2006-07 academic year he was a fellow at the Dorothy and Lewis B. Cullman Center for Writers and Scholars, New York Public Library. In October of 2018, Simon and Schuster published his new biography of Frederick Douglass, entitled, Frederick Douglass: Prophet of Freedom, which garnered nine book awards, including the Pulitzer Prize, the Francis Parkman Prize, the Bancroft Prize, and the Gilder Lehrman Lincoln Prize. The Douglass book has been optioned by Higher Ground Productions and Netflix for a projected feature film. Blight works in many capacities in the world of public history, including on boards of museums and historical societies, and as a member of a small team of advisors to the 9/11 Memorial and Museum team of curators. For that institution he wrote the recently published essay, “Will It Rise: September 11 in American Memory.”  In 2012, Blight was elected to the American Academy of Arts and Sciences and delivered an induction address, “The Pleasure and Pain of History.” In 2018, Blight was appointed by the Georgia Historical Society as a Vincent J. Dooley Distinguished Teaching Fellow, which recognizes national leaders in the field of history as both writers and educators whose research has enhanced or changed the way the public understands the past. Blight's newest books include annotated editions, with introductory essay, of Frederick Douglass's second autobiography, My Bondage and My Freedom (Yale Univ. Press, 2013), Robert Penn Warren's Who Speaks for the Negro, (Yale Univ. Press, 2014), and the monograph, American Oracle: The Civil War in the Civil Rights Era (Harvard University Press, published August 2011), which received the 2012 Anisfield-Wolf Award for best book in non-fiction on racism and human diversity. American Oracle is an intellectual history of Civil War memory, rooted in the work of Robert Penn Warren, Bruce Catton, Edmund Wilson, and James Baldwin.  Blight is also the author of A Slave No More: Two Men Who Escaped to Freedom, Including their Narratives of Emancipation, (Harcourt, 2007, paperback in 2009).  This book combines two newly discovered slave narratives in a volume that recovers the lives of their authors, John Washington and Wallace Turnage, as well as provides an incisive history of the story of emancipation.  In June, 2004, the New York Times ran a front page story about the discovery and significance of these two rare slave narratives.  A Slave No More garnered three book prizes, including the Connecticut Book Award for non-fictio...

Robert Penn Warren is primarily known as the author of the great American novel All the King's Men, but he's also a well-respected poet, and was the USA's first Poet Laureate. He grew up in Guthrie, KY, and then crossed the state line to go to high school in Clarksville, TN. In 1921, he began his studies at Vanderbilt University and joined a group of poets who called themselves the Fugitives. He went on to publish over 40 books, and he is the only writer to win the Pulitzer Prize for both fiction and poetry. Links: https://poets.org/poem/vision-0 (Read "Vision" and other poems by Robert Penn Warren at Poets.org) https://www.poetryfoundation.org/poets/robert-penn-warren (Biography and poems at the Poetry Foundation) https://www.loc.gov/rr/program/bib/warren/ (Online Resources (Library of Congress Web Guide))

Some of the topics mentioned in this episode:– The poem vaccine– Together in a Sudden Strangeness: America's Poets Respond to the Pandemic – Sortes Vergilianae– Poems are spells/Poetry is not magic– Margarita Engle's essay "The Care and Feeding of Poetry"– Snail sonnets are fine– Natural child poetry geniuses– Insulting tanka masters– Katherine Dunn's short story "The Resident Poet"– Kristen Roupenian's short story "Cat Person"– Millenial jerks vs. Boomer jerks– Naked poets in a thunderstorm– Bad sex with bad poets– The poetry lifestyle– Randall Jarrell– Plato's dialogue "Ion"– Cleanth Brooks and Robert Penn Warren's textbook Understanding Poetry – Walt Whitman's poem "O Captain! My Captain!"– "What is the author trying to say?" is a stupid question– Mainstream poetry is free verse poetry– Archibald MacLeish's poem "Ars Poetica"– Gjertrud Schnackenberg's poem "Halloween"– Philip Larkin's poem "An April Sunday"– Front yard cemeteries– A few real gods– End rhymes aren't intrinsically evilPlease rate, review, and subscribe!Send questions, comments, and suggestions to sleerickets@gmail.com. Or just go to matthewbuckleysmith.com and direct your hate mail straight to my personal inbox.Music by ETRNLArt by Daniel Alexander Smith

Market [2:45] - Why did you decide to build an automation solution for crypto trading? Why that asset class? [4:47] - What is the current state of crypto trading? [8:12] - What is the maturity of crypto trading today? [11:37] -What is the geographical landscape for crypto trading? On Coinrule [13:32] - Who is this platform for and what problem does it solve for them? [20:16] - Are you worried about the exchanges building the functionality you have? [22:24] - How do you make money? What fees does an investor incur? [24:02] - Can you comment on the state of legislation in regulating these virtual currencies? On Scaling [27:18] - Why did you decide to raise money through a crowdfunding platform? [29:38] - How did you get your first 16000 users? [32:59] - Biggest mistakes and advice for other entrepreneurs  If you like the show, please leave a review on Apple or any other platform you listen too,LinksCoinruleBooksTraction by Gabriel Weinburg and Justin MaresOpen: An Autobiography by Andre AgassiAll the King's Men by Robert Penn Warren

This is one of my favorite quotes about the importance of history. --- Send in a voice message: https://anchor.fm/historyhighlights/message

To support our work and listen to additional content, see here: https://patreon.com/yourshelf and follow us on social media @_yourshelf_. In our latest, fifth episode of The YourShelf Podcast, Everything Is Both, our chief curator Juliano Zaffino (Jay) sits down with author Rebecca Dinerstein Knight to discuss books, Norway, screenplays, Jenny Slate, and Rebecca's second novel, Hex. For full show notes, see here: https://podcast.yourshelf.uk/episodes/5. Thanks for listening.  LinksPatreonInstagramTwitterPodcastYourShelfEpisode NotesJay asks Rebecca about her bookshelves, the books that made her, and which authors she'd invite to a dinner party. (from 1:35)Rebecca begins the discussion with her first novel, The Sunlit Night, and the process involved in writing the screenplay for the film adaptation due out later in 2020. Rebecca and Jay discuss Rebecca's wide-ranging writing career, the impetus behind her latest novel Hex, creative friendships, obsession, the sophomore slump, and the doubleness of everything. (from 10:24)Finally, Rebecca hints at what her next projects are going to look like. (from 48:21)Jay recommends signing up to our Patreon for access to exclusive content, including a short bonus episode with more content from the interview, where Jay and Rebecca play a game of "Celebs Read Nice Tweets", and Rebecca answers some extra questions from Jay.Jay wraps up with all the books that were discussed in the episode and a few other books he recommends. Some of the books and authors we discussed in our latest episode include Kafka, Mark Strand, Louise Glück, Wallace Stevens, Frank O'Hara, Nicole Sealey, Noah Warren; All The King's Men by Robert Penn Warren, To The Lighthouse by Virginia Woolf, Independent People by Halldór Laxness, Changing by Liv Ullmann; Dante, George Eliot, Gustave Flaubert; Little Weirds by Jenny Slate, Anne of Green Gables by LM Montgomery, The Moomins by Tove Jansson, the short stories of Grace Paley, The Edwardians by Vita Sackville-West, Sweet Days of Discipline by Fleur Jaeggy, Pond by Claire-Louise Bennett; Michael Chabon, Walter Pater; Parakeet by Marie-Helene Bertino, A Burning by Megha Majumdar, and Riding With The Ghost by Justin Taylor. If you're looking for even more recommendations, especially in the age of social distancing, Jay has you covered. Recently, he's read and enjoyed Olivia Laing's Funny Weather, Seán Hewitt's Tongues of Fire, Martha Sprackland's Citadel, Sam Riviere's After Fame, and Deborah Levy's memoirs Things I Don't Want to Know and The Cost of Living.Also, Jay reminds that you can order a copy of his book of poems, the debut publication of The YourShelf Press, on yourshelf.uk/press.Rebecca Dinerstein Knight closes with a reading of the stunning 'Pharmakon' chapter in her new second novel Hex. (from 58:49)Buy, read and review Hex online now, available from most bookstores! Rebecca's first novel The Sunlit Night is also available for purchase, and her debut poetry collection Lofoten is available digitally.Thanks for listening and tune in again soon for Episode Six!

This week, Maggie and Ian are back to award winners, dissecting the clusterfck that is All the King's Men. It's a textbook how not to do a book adaptation with editing that makes you say "just why?". Have our hosts found a new least favorite Best Picture winner? Listen to find out!

The novelist Benjamin Markovits, the literary historian Lara Feigel and the broadcaster and essayist Kevin Jackson join Matthew Sweet and an audience at Southbank Centre, London to explore some of the key books published in 1946 – a year in which Penguin Classics launched in the UK with a version of the Odyssey, Herman Hesse won the Nobel Prize for Literature, popular fiction included crime stories by Agatha Christie, Edmund Crispin and John Dickson Carr and children were reading Tove Jansson's Moomin series, the first of Enid Blyton's Malory Towers and the second Thomas the Tank Engine book.Their particular choices include Back, a novel by Henry Green, All the King's Men by Robert Penn Warren, Jill by Philip Larkin and The Moving Toyshop by Edmund CrispinRecorded in front of an audience at Southbank as part of Sound Frontiers: Celebrating seven decades of pioneering music and culture from Radio 3 and the Third Programme. Producer: Zahid Warley.