Podcast appearances and mentions of Susan Sontag

In this lively episode of 'Past Tens, a Top 10 Time Machine,' Dave and Milt return from their musical escapades with stories, trivia, and laughs. Milt reflects on his experience at a New Orleans jazz festival while Dave quizzes him on intriguing music trivia. The hosts discuss concert anecdotes, festival food, and historical music facts. Tune in for their lighthearted banter, deep dives into rock history, their favorite fondue recipes, a deep dive into the history of lima beans and the poetry of Susan Sontag. Topics (Jamaican slang version)* 01:25 Run-back a Wah Gwaan Last Week   02:17 Mi Own Story Dem an Likkl Joke   05:45 Big Tings a Gwaan: New Orleans Jazz Fest Highlights   24:11 Likkl Trivia Fi Warm Up Yuh Brain   30:12 Di Main Show: Top 10 Musical Secret Dem   32:04 How 'Walk This Way' Did Start   32:51 Prince an Macaroni Buck Up – Wah Laugh!   35:55 Di Beatles Dem Get Parody inna ‘Walk Hard'   39:12 Bruce Springsteen Lyrics Cause Nuff Chat   43:10 Tears for Fears Drop One Big Tune   52:14 James Brown Did Nuh Play When it Come to Perfection   54:29 Mozart a Sell More Dan Nuff New Artist   57:12 Rod Stewart Shell Dung di Place – Big Crowd!   59:51 Wrap-Up Time: Mi Final Taughts an Some Real Talk   *Why? Why not.  

"Hue Mirror" In Illness as Metaphor, Susan Sontag once wrote: “Illness is the night side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place.” Well, my guest today on the program has recently been grappling with the use of the other passport Sontag is referring to and that grappling has yielded a song cycle that no matter what kingdom you find yourself dwelling in, will be moving, inspiring and transcendent." The Chicago born singer/songwriter and multi-instrumentalist Jess Robbins was diagnosed with AS, which is more specifically known as anklosing spondylitis, an aggressive autoimmune disease that can cause debilitating chronic pain as well as spinal inflammation and the fusing of the vertebrae. It's scary stuff, but part of Robbins' emotional healing was finally getting a name to go with the symptoms she'd been having for years. The other part of that healing? Making art. Robbins fronts the band Course and their new album Hue Mirror is an effecting song-cycle about navigating the complex and uncertain terrain of chronic pain, physical vulnerability and the uncertainty of the changes AS could bring. Hue Mirror is an unflinching and meditative look at how human frailty translates into art and that translation is where the beauty of this album really lives. Dark, probing, and unflinching, Hue Mirror is a stirring song-cycle that's punctuated by shadowy rhythms, vaporous percussion and and heavenly vocals. It's moving and powerful work but you don't have to be diagnosed with an illness to relate to it--you just have to be a human being with a big beating heart. After all, we're all facing an uncertain future and Hue Mirror is a way of facing it together. IG: @coursesounds www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Stereo Embers The Podcast IG + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

Who are the most symbolic mid 20th century American Jews? In Eminent Jews, New Yorker staff writer David Denby tells the remarkable stories of Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. He explains how each embodied a new Jewish confidence after WWII, contrasting with earlier generations' restraint. Each figure pushed boundaries in their own way - Bernstein through his musical versatility, Brooks through his boundary-pushing humor about Jewish experiences, Friedan through her feminist theories, and Mailer through his provocative writing style. Five key takeaways * Post-WWII Jewish Americans displayed a newfound confidence and willingness to stand out publicly, unlike previous generations who were more cautious about drawing attention to their Jewishness.* The four figures in Denby's book (Bernstein, Brooks, Friedan, and Mailer) each embraced their Jewish identity differently, while becoming prominent in American culture in their respective fields.* Mel Brooks used humor, particularly about Jewish experiences and historical trauma, as both a defense mechanism and a way to assert Jewish presence and resilience.* Each figure pushed against the restraint of previous Jewish generations - Bernstein through his expressive conducting and openness about his complex sexuality, Friedan through her feminist activism, and Mailer through his aggressive literary style.* Rejecting the notion that a Jewish "golden age" has ended, Denby believes that despite current challenges including campus anti-Semitism, American Jews continue to thrive and excel disproportionately to their population size.David Denby is a staff writer at The New Yorker. He served as a film critic for the magazine from 1998 to 2014. His first article for The New Yorker, “Does Homer Have Legs?,” published in 1993, grew into a book, “Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World,” about reading the literary canon at Columbia University. His other subjects for the magazine have included the Scottish Enlightenment, the writers Susan Sontag and James Agee, and the movie directors Clint Eastwood and the Coen brothers. In 1991, he received a National Magazine Award for three of his articles on high-end audio. Before joining The New Yorker, he was the film critic at New York magazine for twenty years; his writing has also appeared in The Atlantic, The New York Review of Books, and The New Republic. He is the editor of “Awake in the Dark: An Anthology of Film Criticism, 1915 to the Present” and the author of “American Sucker”; “Snark”; “Do the Movies Have a Future?,” a collection that includes his film criticism from the magazine; and “Lit Up,” a study of high-school English teaching. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Arthur Japin schrijft romans en verhalen, toneelstukken en soms een filmscenario. Welke personages en verhalen inspireren hem? En hoe verweeft hij fictie en realiteit in zijn werk?Met zijn eerste roman De zwarte met het witte hart (1997) brak hij (inter)nationaal door. Sindsdien verschenen van zijn werk 43 vertalingen in meer dan 20 talen. Een schitterend gebrek (2003) won de Libris-Literatuurprijs, De overgave (2007) de NS-Publieksprijs. Geluk, een geheimtaal (november 2019) is Japins tweede deel in de prestigieuze serie privé-domein, en bevat zijn dagboeken van 2008-2018. In de zomer van 2024 verscheen zijn 13e roman Het Stravinsky-spel en sinds september draait de Engelstalige verfilming van Een schitterend gebrek in de bioscoop.In deze wekelijkse talkshow van De Balie interviewen programmamakers de makers die hen inspireren. Van cabaretiers tot schrijvers en van theatermakers tot kunstenaars.Interview door programmamaker Rokhaya Seck.De podcast wordt geïntroduceerd door programmamaker Kees Foekema.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Varför har tyckandet blivit så nedvärderat? Författaren Lyra Ekström Lindbäck går ut till försvar för åsiktens förenande funktion i samhället. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Först publicerad 2021-09-14.Fler och fler verkar tycka att tyckande och tänkande inte går ihop. I såväl politiska som estetiska diskussioner klassas tyckandet som så oseriöst att det uppfattas som en direkt motsättning till nyanserade reflektioner. Är det här en bra eller dålig diktsamling? Ska vi höja eller sänka skatterna i Sverige? Är den här låten gripande eller sentimental? Borde surrogatmödraskap tillåtas? Att komma ifrån ”det rena tyckandet”, som det ibland lite nedlåtande kallas, för att istället göra en mer sansad analys, har blivit ett ideal för både kultur- och ledarsidor. Men är det verkligen önskvärt, om ens möjligt, att göra sig av med tyckandet när det handlar om konst och politik?Kanske är tyckandet i själva verket det mest centrala. Den amerikanska filosofen Stanley Cavell kritiserar den analytiska traditionens oro för att ”estetiska (och moraliska och politiska) omdömen saknar något: argumenten som stöder dem är inte lika slutgiltiga som logiska omdömen, eller rationella på samma vis som vetenskapliga argument.” Det är de sannerligen inte, konstaterar Cavell: ”och vore de det skulle det inte finnas några sådana discipliner som konst (eller moral) och ingen sådan konst som kritiken.” Även om det går att resonera kring dem så är det rena vetandet ett omöjligt ideal när det kommer till konst och politik.I kontrast till tyckandet förespråkar man gärna tolkningen, som anses vidga, öppna och förklara. Men tolkningar kan lika gärna skymma som klargöra. Susan Sontag skriver i essän ”Mot tolkning” att ” tolkningsutsläppen idag förorenar vår sensibilitet. I en kultur vars redan klassiska dilemma är intellektets expansion på energins och sensualitetens bekostnad, så är tolkningen intellektets hämnd mot konsten.” I vägen för verkets omedelbara, sinnliga effekt på dig ställer man dess ”innebörd”, som om konsten bara vore en indirekt kunskapsförmedling. Som Sontag säger så trubbar det av och passiviserar publiken. Hur många vågar idag säga vad de tycker om en tavla innan de har läst kuratorns förklarande beskrivningar? Samtidigt drillas studenter på konstskolor i att presentera teoretiseringar av sina egna praktiker, som om det blivit otänkbart att verken kunde tala för sig själva.I Immanuel Kants Kritik av omdömeskraften, som anses ligga till grund för den moderna estetiken, utgår teorin om det sköna från det omedelbara smakomdömet. Kant beskriver smakomdömet som grundat i en subjektiv allmängiltighet. Till skillnad från mat och dryck så väntar du dig att andra borde hålla med dig när det kommer till konst och naturskönhet. Den subjektiva allmängiltigheten innebär inte någon objektiv kunskap, och det går därför aldrig att bevisa vem som har rätt i smakfrågor. Men du känner ändå att du ger uttryck för en mer allmän än privat uppfattning när du fäller estetiska omdömen. För Kant är denna förmåga en viktig indikator på att människorna lever i en gemensam värld – inte bara rationellt och materiellt, utan i själva upplevelsen av vår egen varseblivning.Som student på grundnivå hade jag svårt att förstå vad Kant menar. Hur kan omdömen om konst utgå från något annat än ett rent personligt tyckande? Det finns ju minst lika stora skillnader i musik- som i drinksmak. Kant är förstås medveten om att det sällan råder konsensus om det sköna. Smaken kommer alltid att vara stridbar. Men det är själva känslan av att alla borde hålla med oss som gör smakomdömet så centralt för honom. Här rör det sig om ett slags mellanmänskligt tyckande, ett gemensamt sinne eller en insisterande impuls till att dela samma verklighet, som utgör grunden för våra möjligheter till civiliserad samvaro.Kanske var mina svårigheter ett symptom på att vår syn på tycke och smak har ändrats dramatiskt sedan Kants tid. Hans filosofi var lika inriktad på att beskriva tänkandets begränsningar som dess möjligheter, men trehundra år efter Upplysningen kan vi inte längre acceptera en omedelbar lustkänsla som utgångspunkt för ett mer allmänt omdöme. Tyckandet har kommit att ses som något nästan uteslutande personligt och viktlöst.Paradoxalt nog beror det kanske på att vi idag uppmanas att tycka till om allt mer. Vi ska betygsätta våra taxiresor, välja vårdgivare och konstruera våra egna filterbubblor. Föreställningen om en gemensam smak är nästan död. Ibland leder det till rent bisarra tongångar i debatten: som om åsikter om vilka verk som borde inkluderas i en litterär kanon vore lika godtyckliga som om man föredrar Pepsi eller Cola. Tyckandet har sugits upp av våra konsumtionsidentiteter, en tom logik som kommit att genomsyra allt. Gillar du att spela golf? Då kanske du också skulle tycka om vinster i välfärden!Varför har tyckandet urholkats på det här viset? Enligt den politiska teoretikern Wendy Brown har en tyst nyliberal revolution ägt rum. Brown beskriver nyliberalismen som en normativ rationalitetsprincip som gradvis har tolkat om alla värden till ekonomiska. Vårt gemensamma samhälle har blivit en spelplan för investeringar och avkastningar. Jag tycker mig höra den här logiken eka i retoriken hos de svenska liberala partierna, vilket numera samtliga från Socialdemokraterna till Kristdemokraterna oblygt kallar sig. De beskriver staten som ett företag som ska förvaltas, och framställer marknadsanalys som det enda sättet att bedriva seriös politik. Du ska inte rösta utifrån dina åsikter, utan utifrån din och statens plånbok. De partier som inte opererar efter samma logik ses som ytterkantsextremister. Demokratin utmålas som ett val mellan ansvarstagande förvaltare och ideologiska fundamentalister.Tycker du att den här essän låter vänsterextrem eller kulturkonservativ? Är tonläget för svepande eller för kategoriskt? Jag har försökt tänka kring tyckandet, men inte utan att tycka något själv. Som Cavell säger skulle det knappast bli något kvar av vare sig estetiken eller politiken om man lyckades rationalisera dem fullständigt. Det betyder inte att utgångspunkten är irrationell. Snarare att den utgår från en impuls till mellanmänsklighet. Känslan av att alla borde hålla med oss är vad som ligger till grund för den passionerade kritiken och den engagerade politiken. I vårt eftertryckliga ja eller nej finns hjärtat av ideologin och smaken.Naturligtvis bör inte de nyanserade diskussionerna sluta där. Men utan det stridbara och gemenskapande tyckandet återstår bara godtyckliga personliga preferenser och analytisk logik. Vore det inte mer än så som höll oss samman kunde vi lika gärna överlåta såväl budgetläggning som recensionsuppdrag till artificiella intelligenser. Det skulle säkert vara mer informativt, lukrativt och effektivt. Men lyckligtvis är vi fortfarande för fästa vid vårt tyckande för att låta marknaden ta oss ända dit.Lyra Ekström Lindbäckförfattare och kritiker

Konuğumuz Anlam de Coster ile Susan Sontag'ın Yanardağı Sevdalısı romanı üzerinden Galerist'te küratörlüğünü üstlendiği aynı adlı sergi üzerine konuşuyoruz.  

Susan Sontag escreveu no seu livro “A doença como metáfora” “A doença é o lado noturno da vida, uma cidadania mais onerosa. Todos que nascem têm dupla cidadania: no reino dos sãos e no reino dos doentes.” Quando Susan Sontag escreveu isto, em 1978, estava a falar de cancro. Mas podia estar a falar de solidão. De ressentimento. Daquela dor difusa de quem se sente por dentro fora de lugar. Porque a verdade é esta: há uma doença que não aparece nas radiografias, que não se vê ao microscópio, que não se trata como as outras. É a doença da falta de relação. E essa, está em todo o lado. Vivemos cercados de tecnologia, mas cada vez mais distantes. Nunca estivemos tão ligados — e nunca estivemos tão sós. A produtividade sobe, os gostos digitais disparam, mas o silêncio entre duas pessoas que vivem na mesma casa, escritório ou aldeia, vai crescendo. Chamamos-lhe esgotamento, chamamos-lhe ansiedade, chamamos-lhe stresse crónico — mas muitas vezes é só isto: défice relacional. Falta de cuidado. Falta de olhar. Rui Marques chamou-lhe saúde relacional. E dá-lhe corpo. E nome. E método. Não é uma metáfora. É literal. Há pessoas que adoecem porque não têm com quem falar. Há pessoas que saram porque alguém lhes sorriu no momento certo. E não é só uma intuição: é ciência. Um estudo de Harvard que há mais de 80 anos acompanha centenas de pessoas chegou à conclusão mais simples e mais desarmante de todas: o que mais contribui para uma vida feliz — e mais longa — é a qualidade das relações. Não o dinheiro. Não o estatuto social. São As relações. É fácil esquecer isto. Sobretudo num mundo que corre. Que empurra. Que valoriza o fazer mais do que o estar. Que trata as pessoas como recursos. Como números. Como peças. Mas a verdade volta sempre. E a verdade é esta: sem relação, não há saúde. As crises que vivemos — na educação, nas organizações, nas instituições públicas — são provavelmente e antes de tudo, crises relacionais. Não se resolvem somente com planos, orçamentos ou reformas estruturais. Resolvem-se na qualidade do vínculo entre as pessoas. No modo como se escutam. No modo como se respeitam. No modo como se reconhecem. Rui Marques fala de literacia relacional. Como quem diz: isto aprende-se. Treina-se. Trabalha-se. Há oficinas. Há modelos. Há maneiras de regenerar relações que foram danificadas. Porque o que nos adoece não é só o conflito — é o conflito não resolvido, mal digerido, ignorado. E isso, sim, tem impacto direto na saúde física, mental e social. Há relações que nos elevam. E há relações que nos esvaziam. E depois há o digital. Que entra na equação como uma espécie de perturbação crónica. Crianças que nunca treinaram o conflito real, que não subiram árvores nem discutiram cara a cara, e que agora são adolescentes ansiosos, hiperconectados e emocionalmente frágeis. Adultos que se refugiam a percorrer, com o dedo no écran, infinitivamente as últimas novas das redes sociais, para não ter de lidar com o desconforto do silêncio. Relações filtradas, encenadas, mediadas — mas raramente inteiras. A saúde relacional também passa por aqui: por reaprender o toque, o olhar, o tempo partilhado sem agenda. Por aceitar o silêncio sem o preencher com barulho. Por ter conversas difíceis sem medo do erro. Por construir confiança — esse oxigénio invisível que sustenta qualquer equipa, qualquer família, qualquer sociedade. E passa, claro, pelo cuidado. Cuidar não é uma palavra delicodoce. É uma palavra difícil. Cuidar exige tempo, exige atenção, exige compromisso. Não é um botão que se carrega — é um caminho que se percorre. E nesse caminho, todos falhamos. Todos tropeçamos. Todos erramos. Mas também todos temos a possibilidade de voltar. De pedir desculpa. De escutar melhor. De tentar outra vez. A saúde relacional é isto: não é sobre relações perfeitas. É sobre relações vivas. Com tensão, com conflito, com sombra — mas com vontade de permanecer.

Schmitz, Rudolf www.deutschlandfunk.de, Kultur heute

Schmitz, Rudolf www.deutschlandfunkkultur.de, Fazit

Jaspers, Kristina www.deutschlandfunkkultur.de, Studio 9

Die US-Autorin Susan Sontag war bekannt für ihre Kultur- und Gesellschaftskritik. Die Bundeskunsthalle in Bonn widmet sich jetzt ihren Überlegungen zur Fotografie. Henning Hübert war in der Ausstellung zu Gast. Von Henning Hübert.

Wolfram Eilenberger begibt sich auf die Spuren von Theodor W. Adorno, Susan Sontag, Michel Foucault und Paul K. Feyerabend. Als Folge der Weltkriegskatastrophe suchen diese Selbstdenker ihren Weg in ein neues Philosophieren. Über die kommenden Jahrzehnte revolutionieren sie die Art und Weise, wie wir über unsere Gesellschaft, Kultur und Wissenschaft nachdenken. Mit Dr. Wolfram Eilenberger, Philosoph, Publizist

El periodista, escritor y editor Juan Cruz nos acompaña con su libro 'Secreto y pasión de la literatura', editado por Tusquets. En él, explora la pasión por la escritura y los misterios que rodean a grandes nombres de la literatura, como Susan Sontag, a los que ha entrevistado él mismo.Además, hablamos de ARCO, la Feria Internacional de Arte Contemporáneo que celebra su 44ª edición en Madrid. Olga Baeza nos trae a Miko Bielski, de la Sala Replika.Y terminamos con Martín Llade, que nos presenta 'Utopía', el nuevo álbum de la pianista Isabel Dombriz. Este trabajo incluye una selección de fantasías para piano, con obras de Bruckner, Smetana, Reger, Falla, Laura Vega y Mozart. Dombriz explora la libertad creativa del género, desde la Fantasía en sol mayor de Bruckner hasta la Fantasía en Re menor de Mozart, con un enfoque en la musicalidad y la expresión personal.Escuchar audio

Benjamin Moser joins Georgina Godwin to talk about his journey from growing up in Texas and writing his first book, ‘Why This World: A Biography of Clarice Lispector’, to winning a Pulitzer Prize for his biography of Susan Sontag, titled ‘Sontag: Her Life and Work’. Moser also reflects on culture, class, writing and hints at his next project, a political history of Jews who oppose Zionism.See omnystudio.com/listener for privacy information.

Nieregularny cykl Shero wraca. Razem z Angeliką Kucińską rozmawiamy o Susan Sontag - ikonie, która zmieniła status popkultury, wplatając ją z rozmachem w filozoficzną analizę.

Join us for a thought-provoking conversation with Amber Massie-Blomfield, author of Acts of Resistance: The Power of Art to Create a Better World. This conversation, recorded in store, dives into the profound role art plays in times of crisis. Amber shares stories of artists who defied oppressive regimes, like Claude Cahun's surrealist resistance in Nazi-occupied Jersey and Susan Sontag's production of Waiting for Godot during the siege of Sarajevo. We explore how art inspires activism, questions societal norms, and fosters collective resilience. From daring theatrical productions to sunflower-lined streets, Amber reveals art's transformative potential to unite and inspire. Whether you're an artist, activist, or curious thinker, this episode challenges the notion that art is “just” entertainment and posits it as a force for meaningful change.Buy Acts of Resistance: https://www.shakespeareandcompany.com/books/acts-of-resistance*Amber Massie-Blomfield's first book, Twenty Theatres to See Before You Die, was published by Penned in the Margins in May 2018, and received the Society of Authors' Michael Meyer Award. Formerly executive director of internationally renowned theatre company Complicité, she has also worked as an arts producer with companies including Camden People's Theatre, Barbican, Actors Touring Company, tiata fahodzi, and English PEN. She lives in Brixton. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Few people have done more to define the contemporary media theory landscape than Alex Quicho @amfq, an indefinable thinker and artist and intellectual force who brought Girl Theory to the front and center of The Discourse. One note, friend of the pod Morgane Billuart has also just released an interview with Alex on her excellent podcast Becoming the Product. We don't believe there's such a thing as too much AMFQ. Morgane is an upcoming guest for us too, so it's a nice trifecta!In terms of Quicho-core:Everyone is a Girl Online (September 2023) -- if you haven't read it, HARD RECCO.The Aura Points lecture (December 2024)Small Gods: Perspective on the Drone (May 2021) GIRLSTACK at BODYSTACKThe amazing girlstack substack -- because everyone is a girl and everyone is online ;)Key references and concepts from the pod include:Helena shouts out Bogna Konior whose work is absolutely at the top of the top atm. We love her lecture ANGELS IN LATENT SPACES omg.When identifying AI with/as a girl, Alex leverages concepts from K Allado-McDowell on model-as-self.Alex references Sayak Valencia's Gore Capitalism and Maggie Nelson's The Art of Cruelty on media representations of violenceWe briefly chat about Maya B. Kronik and Amy Ireland's "cute accelerationism" paradigm and their year-defining book on the topic.Alex grabs some concepts from Paul Virilio and Susan Sontag's foundational work on photography, violence and war, Edward Glissant's work on opacity and resistance, Benedict Singleton's traps and levers, Helen Hester and the Laboria Cuboniks collective's xenofeminism, Tiqqun's young girl, and (IYKYK) Luciana Parisi's absolutely singular "Abstract Sex" (the book that brough Roberto and Marek 2gether).Marek shouts out master of blur Dana Dawud's Monad series.Helena references artist Zein Majali's work "Propane" and Jennie Livingston's generation-defining "Paris is Burning."

STEVE WASSERMAN has spent half a century in the world of books, newspapers, and ideas, as an opinion editor at the LA Times, editor of the LA Times Book Review; and as an editor at several major publishers. We'll talk about that lifetime of work, how publishing and the press have changed, and about his first book, a memoir, TELL ME SOMETHING. TELL ME ANYTHING. EVEN IF IT'S A LIE - with cameos from Susan Sontag, Orson Welles, Jackie Kennedy, Robert Scheer, Gore Vidal. He's now the publisher at Heyday Books, a fifty-year old independent publisher in Berkeley. Learn more at heydaybooks.com 

The Author Events Series presents Carrie Rickey | A Complicated Passion, The Life and Work of Agnès Varda  REGISTER In conversation with Gary Kramer Born in Los Angeles, Carrie Rickey is an award-winning film critic, art critic, and film historian. She was the film critic at the Philadelphia Inquirer for twenty-five years and has also written for Artforum, Art in America, Film Comment, the New York Times, the Village Voice, and Politico. She has taught at the School of the Art Institute of Chicago and the University of Pennsylvania. She lives in Philadelphia. A Complicated Passion, The Life and Work of Agnès Varda is the first major biography of the storied French filmmaker, who was hailed by Martin Scorsese as ''one of the Gods of cinema.'' Over the course of her sixty-five-year career, the longest of any female filmmaker, Agnès Varda (1928 – 2019) wrote and directed some of the most acclaimed films of her era, from her tour de force Cléo from 5 to 7 (1962), a classic of modernist cinema, to the beloved documentary The Gleaners and I (2000) four decades later. She helped to define the French New Wave, inspired an entire generation of filmmakers, and was recognized with major awards at the Cannes, Berlin, and Venice Film Festivals, as well as an honorary Oscar at the Academy Awards. In this lively biography, former Philadelphia Inquirer film critic Carrie Rickey explores the ''complicated passions'' that informed Varda's charmed life and indelible work. Rickey traces Varda's three remarkable careers - as still photographer, as filmmaker, and as installation artist. She explains how Varda was a pioneer in blurring the lines between documentary and fiction, using the latest digital technology and carving a path for women in the movie industry. She demonstrates how Varda was years ahead of her time in addressing sexism, abortion, labor exploitation, immigrant rights, and race relations with candor and incisiveness. She makes clear Varda's impact on contemporary figures like Ava DuVernay, Greta Gerwig, Barry Jenkins, the Safdie brothers, and Martin Scorsese, who called her one of the Gods of cinema. And she delves into Varda's incredibly rich social life with figures such as Harrison Ford, Jean-Luc Godard, Jim Morrison, Susan Sontag, and Andy Warhol, and her nearly forty-year marriage to the celebrated director Jacques Demy. A Complicated Passion is the vibrant biography that Varda, regarded by many as the greatest female filmmaker of all time, has long deserved. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night The views expressed by the authors and moderators are strictly their own and do not represent the opinions of the Free Library of Philadelphia or its employees. (recorded 9/16/2024)

In this week's Books podcast, I am joined by Rachel Cooke, who edits the new book The Virago Book of Friendship. Rachel unpacks the intense, often enigmatic dynamics of female friendships in a spry and very dip-in-and-out-able anthology of writing about female friendship in an exhilaratingly wide array of forms, from high culture to low. There are many gems to cackle over, including: an incomparably tender and exact description of Hannah Arendt by Mary McCarthy; a wonderful, worm-turning character assassination of the ghastly Susan Sontag by her former disciple, Terry Castle; and the revelation that Elizabeth Bishop and Marianne Moore were boon companions for two whole years before they stopped calling each other ‘Miss Bishop' and ‘Miss Moore'.

In this week's Books podcast, I am joined by Rachel Cooke, who edits the new book The Virago Book of Friendship. Rachel unpacks the intense, often enigmatic dynamics of female friendships in a spry and very dip-in-and-out-able anthology of writing about female friendship in an exhilaratingly wide array of forms, from high culture to low. There are many gems to cackle over, including: an incomparably tender and exact description of Hannah Arendt by Mary McCarthy; a wonderful, worm-turning character assassination of the ghastly Susan Sontag by her former disciple, Terry Castle; and the revelation that Elizabeth Bishop and Marianne Moore were boon companions for two whole years before they stopped calling each other ‘Miss Bishop' and ‘Miss Moore'.

Le 27 novembre dernier sortait Les Reines du drame, d'Alexis Langlois, un ode à l'esthétique camp, à l'excès et au mauvais goût. Alors nous nous sommes interrogées : c'est quoi, le camp, et comment se représente-t-il au cinéma ?Chapitrage :Définition du camp : 02:33Mommy Dearest : 13:26Showgirls : 29:13Jawbreaker : 49:11Animation : Léon CattanParticipantes : Alicia Arpaïa, Mariana Agier, Léon CattanRéalisation, montage : Alicia Arpaïa, Mariana AgierSon : Hugo CardonaGénérique : © SorocinéMusique : © Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Köhler, Michael www.deutschlandfunk.de, Kultur heute

Lea Vélez encontró varias cajas de cintas magnetofónicas guardadas en la bodega de una casa familiar durante cuarenta años. Eran entrevistas a Cortázar, Borges, Susan Sontag, Italo Calvino, Umbral, Marguerite Duras...Su padre, Carlos Vélez , dirigió "Encuentros con las letras" en TVE.  Las cintas eran enviadas a su madre, María Luisa Martín, que las escuchaba en la cocina y escribía las notas de prensa del programa con una Olivetti. Lea era la niña que jugaba debajo de la mesa. 

It's the annual parade of Bonus Bits - things this year's guests said that I couldn't fit into their episodes, and/or weren't about language, but now is their time to shine. We've got tricorn hats, changing your dog's name, Boston cream pie, parmesan vs vomit, the placebo effect's negative sibling, the universal blank, headache poetry and bawdy riddles. And more! Thanks to, in order of appearance: Joanna Kopaczyk, Juliana Pache, Ben Zimmer, Stacey Mei Yan Fong, A.J. Jacobs, Zazie Todd and Caroline Crampton. Visit theallusionist.org/bonus2024 for the transcript of this episode, more information about the topics therein, links to all the guest and their original episodes, and all the previous years' bonus episodes. Content note: this episode contains mentions of cancer and death, and anti-fat culture - but I tell you when that section is about to start, so you can skip ahead by five and a half minutes if you need to. To help fund this independent podcast, take yourself to theallusionist.org/donate and become a member of the Allusioverse. You get regular livestreams with me reading from my ever-expanding collection of dictionaries, inside scoops into the making of this show, and watchalong parties - coming up, we've got Great Pottery Throwdown 2025, and Cold Comfort Farm (1995). And best of all, you get the company of your fellow Allusionauts in our delightful Discord community. And go to theallusionist.org/events for information about the Allusionist's big 10th birthday live show in Vancouver BC on 12 January 2025. This episode was produced by me, Helen Zaltzman, with music and production assistance from Martin Austwick of palebirdmusic.com. Find @allusionistshow on Instagram, Facebook, YouTube, Threads, Bluesky, TikTok, etc. Our ad partner is Multitude. If you want me to talk about your product or thing on the show, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by:• Rosetta Stone, language-learning programs available for 25 different languages. Allusionist listeners get 50% off lifetime memberships at rosettastone.com/allusionist. • Audio Maverick, a new 9-part documentary podcast from CUNY TV about radio maven Himan Brown. Hear about the dawn of radio and Brown's remarkable career, via archive footage and new interviews with audio mavericks, by subscribing to Audio Maverick in your podcast app.• Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Rocket Money, the personal finance app that helps find and cancel your unwanted subscriptions and monitors your spending. Go to rocketmoney.com/allusionist to save money and lower your outgoings.Support the show: http://patreon.com/allusionistSee omnystudio.com/listener for privacy information.

durée : 01:35:02 - Les Nuits de France Culture - par : Mathilde Wagman - Susan Sontag occupe une place à part aux États-Unis : à l'écart des institutions, indépendante et le plus souvent rebelle, elle a été une observatrice et une critique à la plume acérée. En 1978, invitée d'une après-midi de France Culture, elle s'y raconte dans un autoportrait radiophonique. - réalisation : Virginie Mourthé - invités : Susan Sontag essayiste, romancière et militante; Dominique Desanti; Marc Riboud

durée : 00:58:27 - Toute une vie - par : Virginie Bloch-Lainé - Autant européenne qu'américaine, Susan Sontag était une intellectuelle engagée, déterminée, dont les essais ont fait sa notoriété. Pionnière des théories queer, elle écrira toute sa vie entre tension et émancipation, en s'affranchissant des frontières entre les genres, le corps et l'intellect. - réalisation : Clotilde Pivin - invités : Dominique Bourgois Editrice, directrice des éditions Christian Bourgois; François Cusset Historien des idées, professeur de civilisation américaine à l'Université de Paris Nanterre; Pierre Assouline Ecrivain, journaliste; Isabelle Huppert Actrice française

Para Jorge Luis Borges, “Pedro Páramo es una de las mejores novelas de las literaturas de lengua hispánica, y aun de la literatura”; “es un clásico en el sentido más cabal del término”, considera Susan Sontag...

The Spark is hosting its annual book-as-gifts- guide. We spoke with Catherine Lawrence, co-owner of the Midtown Scholar Bookstore in Harrisburg, Travis Kurowski, (Ph.D) an assistance professor of creative writing at York College of Pennsylvania, and Carolyn Blatchley MLIS, Executive Director of Cumberland County Library System. The Midtown Schloar Bookstore recommendation can be found here. The Cumberland County Library Systems recommendations can be found here. Travis Kurowski Recommendations list below: NONFICTION Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music By Rob Sheffield I just ordered this book because I am in love with a woman who is the biggest Taylor Swift fan I have ever met. As it happens, I have only recently realized the most obvious thing about Swift's music: It's mostly about heartbreak. Our American Shakespeare of longing and distance, of regret and revenge, Swift's oeuvre is analyzed from first album to last by best-selling Rolling Stone journalist Rob Sheffield in this new book. From the publisher: “Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music is the first book that goes deep on the musical and cultural impact of Taylor Swift. Nobody can tell the story like Rob Sheffield, the bestselling and award-winning author of Dreaming the Beatles, On Bowie, and Love Is a Mix Tape. The legendary Rolling Stone journalist is the writer who has chronicled Taylor for every step of her long career, from her early days to the Eras Tour. Sheffield gets right to the heart of Swift and her music, her lyrics, her fan connection, her raw power.” The Message By Ta-Nehisi Coates Baltimore native Ta-Nehisi Coates's new book of nonfiction takes a risk in being human. I've been following Coates since his days reporting for The Atlantic where he made national attention making a persuasive case for reparation. Since then, he's published a best-selling works of fiction and nonfiction, even written for Marvel Comics. This latest book from Coates is an analysis of how myths and stories shape cultures and nations, from Senegal to the ongoing war on Gaza. From the publisher: “In the first of the book's three intertwining essays, Coates, on his first trip to Africa, finds himself in two places at once: in Dakar, a modern city in Senegal, and in a mythic kingdom in his mind. Then he takes readers along with him to Columbia, South Carolina, where he reports on his own book's banning, but also explores the larger backlash to the nation's recent reckoning with history and the deeply rooted American mythology so visible in that city—a capital of the Confederacy with statues of segregationists looming over its public squares. Finally, in the book's longest section, Coates travels to Palestine, where he sees with devastating clarity how easily we are misled by nationalist narratives, and the tragedy that lies in the clash between the stories we tell and the reality of life on the ground.” Lovely One: A Memoir By Ketanji Brown Jackson The election was hard for everyone—every national election has been in recent memory. Memoirs from people behind the scenes in spaces shaped by such elections have always been popular, more recently they seem to be a source of sustenance. I cannot see the new memoir by Justice Ketanji Brown Jackson—the first black woman and first public defender to serve on the U.S. Supreme Court—as anything else. From the publisher: “With this unflinching account, Justice Ketanji Brown Jackson invites readers into her life and world, tracing her family's ascent from segregation to her confirmation on America's highest court within the span of one generation.” FICTION The Vegetarian By Han Kang 2024 Nobel winner for Literature, Han Kang also won the 2016 Booker Prize for her most widely read novel, The Vegetarian, a short novel I read in a gulp years ago when it was first translated from the Korean into English by Deborah Smith. The power of The Vegetarian is ineffable, which is an odd thing to say for a book—that it is beyond words—but that is the power and experience of great art.     A perfect introduction to Kang's work. From the publisher: “Before the nightmares began, Yeong-hye and her husband lived an ordinary, controlled life. But the dreams—invasive images of blood and brutality—torture her, driving Yeong-hye to purge her mind and renounce eating meat altogether. It's a small act of independence, but it interrupts her marriage and sets into motion an increasingly grotesque chain of events at home. As her husband, her brother-in-law and sister each fight to reassert their control, Yeong-hye obsessively defends the choice that's become sacred to her. Soon their attempts turn desperate, subjecting first her mind, and then her body, to ever more intrusive and perverse violations, sending Yeong-hye spiraling into a dangerous, bizarre estrangement, not only from those closest to her, but also from herself. Celebrated by critics around the world, The Vegetarian is a darkly allegorical, Kafka-esque tale of power, obsession, and one woman's struggle to break free from the violence both without and within her.” All Fours By Miranda July There has been no other book I've heard about as much this year as filmmaker and fiction writer Miranda July's latest novel All Fours, about what happens when we ignore our desires—by which I mean, ignore our very selves—and the confusing struggle it might be to ever find ourselves again. The conversations I've had about this book have been as rich and meaningful as the book itself, conversations I hold dear and have changed me forever. From the publisher: “A semi-famous artist announces her plan to drive cross-country, from LA to NY. Thirty minutes after leaving her husband and child at home, she spontaneously exits the freeway, checks into a nondescript motel, and immerses herself in an entirely different journey. Miranda July's second novel confirms the brilliance of her unique approach to fiction. With July's wry voice, perfect comic timing, unabashed curiosity about human intimacy, and palpable delight in pushing boundaries, All Fours tells the story of one woman's quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic, and domestic life of a forty-five-year-old female artist, All Fours transcends expectation while excavating our beliefs about life lived as a woman. Once again, July hijacks the familiar and turns it into something new and thrillingly, profoundly alive.” Playground By Richard Powers Richard Powers won the 2019 Pulitzer Prize for fiction for his previous novel The Overstory, arguably the single most important American novel ever published about our relationship to the environment, all told through the lens of our human relationship to trees. Powers's latest novel, Playground, is about artificial intelligence and the ocean. And I expect nothing less. From the publisher: “Four lives are drawn together in a sweeping, panoramic new novel from Richard Powers, showcasing the Pulitzer Prize–winning author of The Overstory at the height of his skills. Twelve-year-old Evie Beaulieu sinks to the bottom of a swimming pool in Montreal strapped to one of the world's first aqualungs. Ina Aroita grows up on naval bases across the Pacific with art as her only home. Two polar opposites at an elite Chicago high school bond over a three-thousand-year-old board game; Rafi Young will get lost in literature, while Todd Keane's work will lead to a startling AI breakthrough. They meet on the history-scarred island of Makatea in French Polynesia, whose deposits of phosphorus once helped to feed the world. Now the tiny atoll has been chosen for humanity's next adventure: a plan to send floating, autonomous cities out onto the open sea. But first, the island's residents must vote to greenlight the project or turn the seasteaders away. Set in the world's largest ocean, this awe-filled book explores that last wild place we have yet to colonize in a still-unfolding oceanic game, and interweaves beautiful writing, rich characterization, profound themes of technology and the environment, and a deep exploration of our shared humanity in a way only Richard Powers can. COMICS Future By Tommi Musturi I saw this book while browsing with my daughters and close friends at Lost City Books in Washington, DC—a bookstore I cannot recommend enough for its curation, display, and overall artistry in the selling of books—and it actually took my breath away. I saw it from across the room, huge and bold in color and design. Almost the shape and size of a small board game, this absolutely thrilling collection of Mutsuri's is so stunning it feels unbelievable it exists and, more than that, was somehow published. It's an atomic explosion of creativity fracturing the very medium of comics. Few art experiences in the world give such a rush. From the publisher: “A graphic, genre-mashing magnum opus from one of the most restlessly creative voices in comics. Tommi Musturi's Future traps the reader into a web of stories happening in different timespaces, providing perspectives on the possible futures of mankind through imaginary future worlds, current events, historical references, utopias, and ideals. Future is a mash-up of the familiar and the terribly alien: quotidian existence, sci-fi spectacle, utopian fantasy, AI dystopia, and other worst-case scenarios. Richly philosophical and allegorical, Musturi gives us alcoholic magicians, guerrilla art squads, mutant reality television hosts, and incel archaeologist-astronauts, among many others. Weaving between a variety of styles in illustration and narration that transform and reflect our constantly changing reality, Future is an impassioned graphic novel for our times that renews the medium of comics—a vital and multifaceted work of art.” Here By Richard McGuire Now a major motion picture starring Tom Hanks and Robin Writing, Richard McGuire's 2014 graphic novel Here is almost made small by calling it a graphic novel. It is, certainly, a work of fiction, and so technically then a graphic (comic) novel (fiction), but it's also one of the strangest and most beautiful works in the comics medium ever made. Every page of the book is a drawing of the same corner of the same room across 300 million years of history. Yes, the same space, variously drawn, across 300 million years. And seeing that space across time, stories do emerge, but only in the same way they do in the reality within which we all exist—because we construct them. Since the first pages of the book concept were published in 1989, its impact has rippled throughout the comics world, and continues to. From the publisher: “From one of the great comic innovators, the long-awaited fulfillment of a pioneering comic vision: the story of a corner of a room and of the events that have occurred in that space over the course of hundreds of thousands of years.” POETRY By Fady Joudah There are few contemporary issues as important as the well-being and fate of the Palestinian people, and few voices in American literature as important and prominent in this area as Palestinian American poet and physician Fady Joudah. The book's strange title, […], is a pictogram, a symbol evoking meaning: silence, perhaps, or erasure. The brackets for what has been omitted, the internal ellipsis for all that remains unsaid. Joudah wrote the poems in […] between October and December 2023, a time of much suffering, ceaseless since. From the publisher: “Fady Joudah's powerful sixth collection of poems opens with, ‘I am unfinished business,' articulating the ongoing pathos of the Palestinian people. A rendering of Joudah's survivance, […] speaks to Palestine's daily and historic erasure and insists on presence inside and outside the ancestral land. Responding to the unspeakable in real time, Joudah offers multiple ways of seeing the world through a Palestinian lens—a world filled with ordinary desires, no matter how grand or tragic the details may be—and asks their reader to be changed by them. The sequences are meditations on a carousel: the past returns as the future is foretold. But ‘Repetition won't guarantee wisdom,' Joudah writes, demanding that we resuscitate language ‘before [our] wisdom is an echo.' These poems of urgency and care sing powerfully through a combination of intimate clarity and great dilations of scale, sending the reader on heartrending spins through echelons of time. […] is a wonder. Joudah reminds us ‘Wonder belongs to all.'” Wrong Norma By Anne Carson I've been following Canadian poet Anne Carson's career since I picked up a copy of her wildly experimental and stunning 1998 book, Autobiography of Red—" richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is”—while living for a summer at the home of potter Jim Romberg in southern Oregon, details that may seem insignificant, but that's not how art works on us. Carson is one of the world's—the world's—most experimentally stunning poets who somehow still reaches the depth of human emotion. A classicist who has translated the Greek Tragedies for the stage, along with the most stunning book of Sappho's poetry I've ever read, Wrong Norma is a sampling of the same erudition and emotion we have for decades expected from the poet. Oh, and she's incredibly funny. I haven't read this book yet, but I will, because I agree wholeheartedly with the late Susan Sontag about Carson: “She is one of the few writers writing in English that I would read anything she wrote.” From the publisher: “Published here in a stunning edition with images created by Carson, several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like The New Yorker and The Paris Review. As Carson writes: ‘Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantánamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night. The pieces are not linked. That's why I've called them ‘wrong.'”Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

Le sourire de Mona, lisant  « J'écris pour y voir plus clair. Et, en fonction, changer mes comportements, ma perception, ma vie. » D'où proviennent les intuitions de Mona Chollet ? Comment « décantent » ses idées, comment « vagabonde » son imagination ? Quelle est sa dette envers l'écrivaine canadienne Nancy Huston ou l'essayiste française Annie Le Brun ? De quelle façon cette grande timide a-t-elle été « sauvée par internet » ? Dans ce premier épisode du premier numéro de « Bookmakers » consacré aux essais, remontons aux origines de la prodige genevoise : son premier journal autoproduit, sa passion inattendue pour « Star Wars », son ennui à l'école du journalisme de Lille, son année à « Charlie Hebdo », la création décisive du site « Périphéries » ou son arrivée au « Monde Diplo ». Avant d'évoquer ses deux premiers ouvrages : « Marchands et citoyens », sur « les usages créatifs et désintéressés » du web (L'Atalante, 2001), et « La tyrannie de la réalité », sur notre besoin physiologique de rêve (Calmann-Lévy, 2004). Des essais qui restaient à transformer, déjà ornés du sourire de Mona, lisant.  L'autrice du mois : Mona CholletNée à Genève en 1973, « obsédée par le fait de lire, de s'informer et de changer le monde », la journaliste suisse Mona Chollet est devenue pour toute une génération de féministes un modèle d'intelligence, de sensibilité et de précision. Depuis le début des années 2000, via une dizaine d'essais érudits (« Beauté fatale », « Sorcières », « Réinventer l'amour »), elle analyse remarquablement les mécanismes de domination (masculine, capitaliste, professionnelle – ou les trois à la fois), en partageant son admiration pour la poésie de Mahmoud Darwich ou la prose engagée de Susan Sontag, pour les séries « Mad Men » ou « La Fabuleuse Madame Maisel », le tout entremêlé de confidences personnelles ou tirées de son cercle d'amies. Elle vit et travaille à Paris.  Enregistrements : septembre 2024 - Réalisation : Charlie Marcelet - Mixage : Charlie Marcelet - Illustration : Sylvain Cabot - Chant, beatmaking : Élodie Milo - Musiques originales : Samuel Hirsch - Entretien, découpage : Richard Gaitet - Prise de son : Mathilde Guermonprez - Montage : Gary Salin - Lectures : Delphine Saltel - Production : ARTE Radio

Une workaholic plus très anonyme Cheffe d'édition au « Monde Diplomatique » de 2007 à 2022, Mona Chollet se décrit – avec euphémisme – comme « plutôt consciencieuse ». Interrogée par « Femme Actuelle », la journaliste explique : « L'aspect robotique du salariat me convenait très bien. Tout comme cette logique rassurante de l'effort récompensé : je me savais le droit de profiter de mes week-ends. » Or, quand le succès de ses livres lui permet de se libérer de cet emploi quotidien, c'est la panique à bord, sur laquelle s'ouvre son dernier essai, « Résister à la culpabilisation » (La Découverte, 2024). Ce « bulldozer » cérébral ajoute : « J'avais oublié l'autonomie. Je m'étais habituée à ce qu'on me dise tous les matins où aller, quoi faire et jusqu'à quelle heure. Organiser soi-même ses journées provoque un grand désarroi. Je me forçais à travailler huit heures par jour et le week-end, pour ne pas me laisser aller (…) Se tuer au travail, faire totalement abstraction de son bien-être, se révèle bien vu. » Bien vu, son propos l'est aussi. Avec un premier tirage de 70 000 exemplaires, « le nouveau Mona Chollet », pour lequel elle refuse les invitations à parler en public, figure déjà parmi les dix meilleures ventes de l'automne. Son livre n'aborde pas seulement la question du sacrifice en entreprise ; parmi ce qu'elle recense comme des « empêchements d'exister », Chollet dissèque les discours misogynes, la mise en accusation des victimes de violences sexuelles, les injonctions éducatives, ou encore « le flicage des mots et des pensées » au sein des sphères militantes.Suivie par 92 000 abonné·e·s sur X, Mona Chollet définit parfois son rapport à l'écriture comme « une drogue en soi, une porte dérobée dans l'horreur de l'époque ». Pour ce troisième et dernier épisode, ouvrons celle du petit bureau – monastique – de la Mona, qui continue de rêver d'une pièce plus grande « dont la fenêtre resterait éclairée jusqu'à une heure avancée de la nuit, pour y faire naître des livres ». L'autrice du mois : Mona CholletNée à Genève en 1973, « obsédée par le fait de lire, de s'informer et de changer le monde », la journaliste suisse Mona Chollet est devenue pour toute une génération de féministes un modèle d'intelligence, de sensibilité et de précision. Depuis le début des années 2000, via une dizaine d'essais érudits (« Beauté fatale », « Sorcières », « Réinventer l'amour »), elle analyse remarquablement les mécanismes de domination (masculine, capitaliste, professionnelle – ou les trois à la fois), en partageant son admiration pour la poésie de Mahmoud Darwich ou la prose engagée de Susan Sontag, pour les séries « Mad Men » ou « La Fabuleuse Madame Maisel », le tout entremêlé de confidences personnelles ou tirées de son cercle d'amies. Elle vit et travaille à Paris. Enregistrements : septembre 2024 - Réalisation : Charlie Marcelet - Mixage : Charlie Marcelet - Illustration : Sylvain Cabot - Chant, beatmaking : Élodie Milo - Musiques originales : Samuel Hirsch - Entretien, découpage : Richard Gaitet - Prise de son : Mathilde Guermonprez - Montage : Gary Salin - Lectures : Delphine Saltel - Production : ARTE Radio

Notre sorcière bien-aimée En 2017, dans le secret nocturne de son laboratoire, Mona Chollet jette dans son chaudron mental les ingrédients de la réhabilitation d'une figure populaire : la sorcière. Publié l'année suivante aux éditions La Découverte, son ouvrage « Sorcières : la puissance invaincue des femmes » se souvient de ces dizaines de milliers de féminicides perpétrés du XVe au XVIIe siècle, en Europe, qui visèrent principalement les célibataires sans enfant. Chollet interroge en profondeur ce « coup porté à toutes les velléités d'indépendance féminine », la « haine » des cheveux blancs, la criminalisation de la contraception et de l'avortement, en s'appuyant autant sur les romans de Toni Morrison que sur le film « Liaison fatale ». Elle y affine son geste : « J'écris pour faire émerger des sujets qui n'étaient parfois même pas identifiés, en affirmant leur pertinence, leur dignité. Je suis une aimable bourgeoise bien élevée et cela m'embarrasse de me faire remarquer. Je sors du rang quand je ne peux pas faire autrement, quand mes convictions et aspirations m'y obligent. J'écris pour me donner du courage. »  Abracadabra ! Le livre devient un grimoire de référence traduit en quinze langues et vendu à 380 000 exemplaires. Son nom se mue en incantation. D'où la nécessité d'interroger ses sortilèges, la structure de ses best-sellers qu'elle situe « entre le développement personnel et la politique », son usage des citations ou sa réticence au « terrain », en naviguant des podiums de « Beauté fatale » (sur les clichés véhiculés par l'industrie de la mode et la presse féminine, sorti en 2012 et vendu à 120 000 exemplaires) jusqu'à « Réinventer l'amour » (sur les impasses et les violences des relations hétérosexuelles, sorti en 2021 et vendu à 200 000 exemplaires), en passant par son petit préféré, « Chez soi » (sur « la sagesse des casaniers », sorti en 2015 et vendu à 65 000 exemplaires). Turlututu, chapeau pointu, n'attendons plus : envolons-nous sur le balai de cette sorcière bien-aimée, qui nettoie de nombreuses pensées poussiéreuses !  L'autrice du mois : Mona CholletNée à Genève en 1973, « obsédée par le fait de lire, de s'informer et de changer le monde », la journaliste suisse Mona Chollet est devenue pour toute une génération de féministes un modèle d'intelligence, de sensibilité et de précision. Depuis le début des années 2000, via une dizaine d'essais érudits (« Beauté fatale », « Sorcières », « Réinventer l'amour »), elle analyse remarquablement les mécanismes de domination (masculine, capitaliste, professionnelle – ou les trois à la fois), en partageant son admiration pour la poésie de Mahmoud Darwich ou la prose engagée de Susan Sontag, pour les séries « Mad Men » ou « La Fabuleuse Madame Maisel », le tout entremêlé de confidences personnelles ou tirées de son cercle d'amies. Elle vit et travaille à Paris.  Enregistrements : septembre 2024 - Réalisation : Charlie Marcelet - Mixage : Charlie Marcelet - Illustration : Sylvain Cabot - Chant, beatmaking : Élodie Milo - Musiques originales : Samuel Hirsch - Entretien, découpage : Richard Gaitet - Prise de son : Mathilde Guermonprez - Montage : Gary Salin - Lectures : Delphine Saltel - Production : ARTE Radio

Our third of four Bill Lane Center for the American West podcasts featured Stanford's Alex Nemerov in conversation with Michael Krasny. The discussion began with what makes Western art distinctive and what captured Alex's imagination. Michael then explored Alex's approach to curating art exhibitions and discussed the influences of Alex's father, celebrated poet Howard Nemerov, and his aunt, iconic pioneer photographer Diane Arbus. This led to a discussion of Susan Sontag's book on photography and photography's status as fine art. The conversation then broadened to explore various themes: women artists, Jasper Johns, the universal and spiritual elements in art, solipsism, art for the marketplace versus art for art's sake, and socially purposeful versus aesthetic art. Alex shared both personal and professional perspectives on art's power—from its inward transformative and transfiguring effects to its broader meaning and potential as a world-changing agent. The interview concluded with a discussion of kindness, and Alex revealed what he considers the greatest work in American art.

In this post-print age, does the written word still hold power? During his decades-long career in publishing, Steve Wasserman has worn nearly every possible hat in the industry—editor, agent, reviewer, literary festival co-founder, publisher—serving as a midwife to the art and ideas of some of the most influential cultural juggernauts of recent decades, from Linda Ronstadt to the late Christopher Hitchens. This fall, this literary tastemaker joins us in his new role as an author to discuss the provocative people and events in his new memoir, Tell Me Something, Tell Me Anything, Even If It's a Lie. Hear Wasserman's hot takes, ranging from the frontlines of progressive politics to the higher gossip of the literati. The intellectual terrain within his orbit is as capacious as its geography—with deep-dives into the readerly culture of Los Angeles to the art of the Russian avant-garde and featuring cameos from a constellation of extraordinary cultural figures—Susan Sontag, Orson Welles, Barbra Streisand, and Gore Vidal among them. With his trademark wit, Wasserman reflects on the vitality of activism, journalism, and the world of books. As a man of letters presiding over the twilight of the Age of Print, he interrogates the hegemony of Amazon, the collapse of newspapers, and the consequences of both for our civic discourse. Learn about his life lived on the crest of major cultural turning points for both medium and message. See why, throughout all of the highlights and lowlights, Wasserman has maintained a stalwart conviction of the transformative potential of the written word. Organizer: George Hammon   A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. This program is part of our Good Lit series, underwritten by the Bernard Osher Foundation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Thanks to everyone who joined us for y "All About Aesthetics" livestream - Episode 14! We roamed far and wide in this one with new music, Susan Sontag, 70s album covers, bespoke fashion and more! Never a dull moment here. Please share this with us, leave a comment and thanks for helping us to grow forward. You are the best part of what we do! Link to the channel we featured clips from, here: https://www.youtube.com/live/EJ9droHUx5k?si=o_CwI83u8W2j5KV0 #ballet #pottery #novels #architecture #cinema #film #indiefilm #independent #arts #sculpture #movie #hollywood #painting #ballet #jazz #tap #hiphop #rocknroll #rock #salsa #bossanova #samba #africa #afrocuban #latinamerica #southamerica #dance #philosophy #criticaltheory #literarytheory #digital #analog #book #popularmusic #pop #singersongwriter #folkmusic #jazz #africanamerican #needlepoint #comic #comedy #standup #improvisation #piano #woodwinds #brass #guitarplayer --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Fewer people in the world had access to the personal moments experienced by Steve Wasserman, Heyday Books publisher, former LA Times Book Review editor and former editor at several of the nation’s most prominent book publishing houses. In his latest book, “Tell Me Something, Tell Me Anything, Even If It's a Lie,” he details his close encounters with a handful of some of the most significant people in the 20th century, including Jackie Kennedy, Susan Sontag, Christopher Hitchens, Gore Vidal, Barbra Streisand, Huey Newton and others. Wasserman describes these accounts, or portraits, as focusing on people who “inspired me to do what I could, however modestly, to live a life of passionate engagement.” From the intimate details of a lunch with Jackie O to a deathbed conversation with writer and journalist Hitchens, Wasserman features a multitude of essays that cover a range of issues from politics to literature to culture and life. One memory of Wasserman included how he “never experienced Susan Sontag as a hostage to nostalgia.” Wasserman found inspiration in that and thought “it was a great, great lesson not to become pickled in your own prejudices such that you couldn't be open to the world.” Scheer attests that these portraits are brilliant, especially when dealing with controversial figures. He tells Wasserman, “These are famous intellectuals, but you humanize them, and you involve your own criticism.”

I am so excited to say that my guest on the GWA Podcast is the writer, critic, and author, Merve Emre. Currently the Shapiro-Silverberg Professor of Creative Writing and Criticism at Wesleyan University – and the Director of the Shapiro Center for Creative Writing and Criticism – Emre is also the acclaimed and award-winning author of numerous books. These include Paraliterary: The Making of Bad Readers in Postwar America; The Personality Brokers (selected as one of the best books of 2018 by the New York Times, and others); The Ferrante Letters (winner of the 2021 PROSE award for literature). A holder of prizes in Literary Criticism, Emre is also a contributing writer to The New Yorker, where she has written extensively on art and literature, from Leonora Carrington to Susan Sontag. But! The reason why we are speaking to Emre today is because she is also an ardent expert on Virginia Woolf and the wider Bloomsbury Group, having authored the stunningly beautiful – and informative – The Annotated Mrs. Dalloway, a book that brings alive Woolf's life and words, and contextualises the radical and pioneering lives of those in the Bloomsbury Group in the most effervescent ways. So today on the podcast, we are going to be discussing the sisters at the centre of this movement: Vanessa Bell and Virginia Woolf, women who were born into a Victorian society in London but who broke free of all traditions, who formed languages, both artistic and literary, that paved the way of modernism and modernist thinking in the UK and beyond. We are going to be delving into their life and work: looking at how they informed each other and visualised or put into words the world from their distinct and radical perspectives. Merve's book: https://www.waterstones.com/book/the-annotated-mrs-dalloway/merve-emre/virginia-woolf/9781631496769 Charleston Trust: https://www.charleston.org.uk/?gad_source=1&gclid=Cj0KCQjw99e4BhDiARIsAISE7P857bJ_t36EZCN2JGBsJDUlVSxga42Bmq66SzIuCslkje6DXQsi94AaAmYZEALw_wcB Mrs Dalloway's Party: https://www.theguardian.com/books/2024/oct/05/discovered-a-lost-possible-inspiration-for-virginia-woolfs-mrs-dalloway -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

... ja, laten we zeggen dat Anne en Alex er echt druk mee waren en Nynke en Hanneke "totaal niet". Met de eigen Jeugdjournaal-weerfoto-challenge. Dat ze hulp bij elkaar zochten, aanpassingen deden, filosofeerden over filters, 360 graden feedbackhandboeken kochten, wildvreemden op de foto erbij trokken en inspiratie zochten bij Susan Sontag. Hielp het? HIELP HET? NEE. NEE VERDOMME. IK HEB NIET EENS ZIN OM VERDER EROVER UIT TE WEIDEN IN DE SHOWNOTES, HET ZIT MIJ, ANNE, NOG ALTIJD ERG HOOG.GROETEN JA.Anne en Alex.-----Sponsor: Philips OneBlade IntimateDe Philips OneBlade Intimate heeft een extra beschermlaag om je huid te beschermen tegen sneetjes, wondjes en huidirritatie. Deze is nu voor € 44.99 verkrijgbaar bij Bol. De hele maand oktober krijg je 10 euro korting met de code ONEBLADE10!-----Sponsor: Dienst ToeslagenDownload de app Toeslagen! Dan kun je eenvoudig checken of je gegevens nog kloppen en je inkomen aanpassen als dat nodig is. Zo voorkom je verrassingen achteraf. CHECK, PAS AAN, EN DOOR!Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Pilar García Mouton explica el uso de la palabra "camp": un anglicismo que ganó notoriedad en los años 60 gracias a Susan Sontag, pero que hoy parece haber perdido su lugar en el lenguaje cotidiano. ¿Es "camp" una palabra moribunda? Escuchamos opiniones, reflexiones históricas y curiosidades sobre su uso.Escuchar audio

Join our poetry Salon and Open Mic: https://parallax-media-network.mn.co/share/5hSLvQW7bNszFGEo?utm_source=manual About David Herz: Hello. My names are David Salzmann Herz. I was born in Boston 70 years ago when McCarthy was getting his comeuppance. I lived with my family somewhere in Massachusetts before moving to Belo Horizonte, Brazil , as part of the Department of the Interior's Punto Quatro program where my father was instrumental in mapping the geology and training a generation of Brazilian geologists. I began writing aged ten at the American school of Sao Paolo which had scorpions in the sandbox. I won a turtle for my prose. Then we lived in Chevy Chase, Maryland before moving to Athens, Ga. Where I met the poet Colman Barks and other luminaries. I moved to Chicago and studied briefly under Del Close at Second City and David Mamet who was then directing the Goodman Theater. As well as Richard McKeon at the University of Chicago who taught Susan Sontag among others. Then I returned home and drove a car from Selma, Alabama to Warminster Pennsylvania, possibly damaging the transmission while accelerating against the snow and ice. The next three years in a bankrupt New York City were richness incarnate. I worked at the Oh Ho So restaurant in SoHo and as a busboy served Harry Belafonte, one of the reasons God created humans, a glass of water. I had Alice Notley, poetess supreme, for a teacher and read my prose work at the Saint Marks in the Bowery Poetry Project. Those were wild times, buildings burning, trash uncollected, rapes a'plenty, and great generosity from compassionate lawyers, doctors and dentists for the impoverished lot we were. You could easily meet people such as John Cage, Merce Cunningham, John Giorno, Ted Berrigan, David Byrne, Patti Smith, Fred Sherry, Nam June Paik, Allen Ginsberg, Gregory Corso, Charles Bernstein, Tony Towle, Bill Berkson, Eileen Myles, Ted Greenwald, John Cale, Lydia Lunch, Alan Vega, and avoid others such as Valerie Solanas. And then just as I was about to join a rock and roll band I moved to Paris. It's been 45 years. Odd jobs subtitling movies and Sipa Photopress Agency photographs. Doing journalism for English language papers, interviewing the B- 52's, Peter Brook, Zouc, Herbert Achternbusch, Paul Lederman, Boris Bergman and then working for Bull and Alcatel two fine French corporations employing hundreds of thousands who equally vanished into the capitalist sunset. Thanks to a flutist friend in Ircam I got to meet Karlheinz Stockhausen and Pierre Boulez but I don't think they remember me. I did a translation for Sophie Calle before she became Sophie Calle. Also some work for the Royal family of Afghanistan. Back when there was one. At Paris VIII University still in the Bois de Vincennes with the whores whom we did not try to lead to culture I got to attend classes by Lyotard & Deleuze and the Miller Brothers, Lacan's son in laws? Noam Chosmky spoke. I thought to become a consultant in a moment of delusion and ended up teaching for the last 24 years: Polytechnique, SciencesPo, ENST, INT, Supelec, Ecole Centrale, ENPC, ENSTA, Paris V, ICP, ESIEE, ECE, Ecole du Louvre. Before that I was a technical translator, a field I am happy to report that has been almost entirely taken over by machines, bless their soulless bodies. I also got married and my wife and I had two children. But we hadn't really grown up much to the needless suffering of the children and so that marriage went painfully bust...Then I married again and we had a daughter. She's on the phone right now, de rigueur for all 16 year olds. I am a loving observer of the human experiment of which I am inextricably a part, how so ever much I would like to be apart. As we advance, not necessarily progress, into the numbing, memory erasing age of AI, already sinking its canines deep into our pranic jugulars, lose ourselves in our beloved electronic devices, we must look to our hands, our analog writing devices such as pencils and pens and give them a try. Along with all the rest.

The first major biography of the French filmmaker hailed by Martin Scorsese as “one of the Gods of cinema.”Over the course of her sixty-five-year career, the longest of any female filmmaker, Agnès Varda (1928–2019) wrote and directed some of the most acclaimed films of her era, from her tour de force Cléo from 5 to 7 (1962), a classic of modernist cinema, to the beloved documentary The Gleaners and I (2000) four decades later. She helped to define the French New Wave, inspired an entire generation of filmmakers, and was recognized with major awards at the Cannes, Berlin, and Venice Film Festivals, as well as an honorary Oscar at the Academy Awards.In this lively biography, former Philadelphia Inquirer film critic Carrie Rickey explores the “complicated passions” that informed Varda's charmed life and indelible work. Rickey traces Varda's three remarkable careers―as still photographer, as filmmaker, and as installation artist. She explains how Varda was a pioneer in blurring the lines between documentary and fiction, using the latest digital technology and carving a path for women in the movie industry. She demonstrates how Varda was years ahead of her time in addressing sexism, abortion, labor exploitation, immigrant rights, and race relations with candor and incisiveness. She makes clear Varda's impact on contemporary figures like Ava DuVernay, Greta Gerwig, Barry Jenkins, the Safdie brothers, and Martin Scorsese, who called her one of the Gods of cinema. And she delves into Varda's incredibly rich social life with figures such as Harrison Ford, Jean-Luc Godard, Jim Morrison, Susan Sontag, and Andy Warhol, and her nearly forty-year marriage to the celebrated director Jacques Demy.A Complicated Passion is the vibrant biography that Varda, regarded by many as the greatest female filmmaker of all time, has long deserved.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

This week, Jordan talks to the novelist Sigrid Nunez about her youthful preoccupation with mimicking the prose of Virginia Woolf, the step-by-step intuitive way she writes prose now, and the best way to make overnight oats.Sigrid Nunez has published nine novels, including A Feather on the Breath of God, The Last of Her Kind, The Friend, What Are You Going Through, and, most recently, The Vulnerables. Nunez is also the author of Sempre Susan: A Memoir of Susan Sontag. The Friend, a New York Times bestseller, won the 2018 National Book Award and was a finalist for the 2019 Simpson/Joyce Carol Oates Prize. In 2024, The New York Times listed The Friend among the 100 Best Books of the 21st Century. The Friend has been adapted for film by directors David Siegel and Scott McGehee (2024). What Are You Going Through has been adapted for a film directed by Pedro Almodóvar, The Room Next Door (2024). Nunez's other honors and awards include a Whiting Award, a Berlin Prize Fellowship, the Rosenthal Family Foundation Award, the Rome Prize in Literature, and a Guggenheim Fellowship. She is a member of the American Academy of Arts and Letters. Hosted on Acast. See acast.com/privacy for more information.

A Complicated Passion: The Life and Work of Agnès Varda, is the book by award- winning film critic Carrie Rickey. Rickey traces Varda's three remarkable careers—as still photographer, as filmmaker, and as installation artist. She explains how Varda was a pioneer in blurring the lines between documentary and fiction, using the latest digital technology and carving a path for women in the movie industry. She demonstrates how Varda was years ahead of her time in addressing sexism, abortion, labor exploitation, immigrant rights, and race relations with candor and incisiveness. She makes clear Varda's impact on contemporary figures like Ava DuVernay, Greta Gerwig, Barry Jenkins, the Safdie brothers, and Martin Scorsese, who called her one of the Gods of cinema. And she delves into Varda's incredibly rich social life with figures such as Harrison Ford, Jean-Luc Godard, Jim Morrison, Susan Sontag, and Andy Warhol, and her nearly forty-year marriage to the celebrated director Jacques Demy.Suchita talks to Carrie about this most important book on Agnes Varda who defined the French New Wave, inspired an entire generation of filmmakers, and was recognized with major awards at the Cannes, Berlin, and Venice Film Festivals, as well as an honorary Oscar at the Academy Awards.Digs:1) Varda and her relationships with other Artists. She got to the essence very fast. Her ability to connect with people as a photographer and storyteller was immemse.2) Transforming from still image to moving pictures to 3 dimensional spaces- almost like a 3 Act of life!!3) The approach as a filmmaker that was so distinct from her director husband Demy. Her approach was to discover deeper aspects of things.4) Varda started making movies without knowing anything about movies- without having even have watched many films- and so she found her own language, her own grammar.5) Opening up to arts, creativity and filmmaking to create a new syntax.6) Truffaut's non acceptance of Varda as a director and his reviews in Cahiers du cinema.7) A very imporant difference between the French and the American studios financing movies-8) How photography taught her to capture the decisive moment!9) 1958 when her film got into the Cannes festival was she accepted into the community of french filmmakers and new wave filmmakers?10) The long marriage to another brilliant filmmaker Demy 11) Varda's relationship with Jim Morrison and his death- and how his funeral was for less than 8 minutes!12) Varda with Warhol, Susan Sontag, Truffaut. 13) Scorses's immense admiration for Varda.Enjoy this longish episode, and check out the book that is out now !!Join our Artists insta handle the.artistspodcast  Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization.The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state.See omnystudio.com/listener for privacy information.

Listen to the rest of this premium episode by subscribing at patreon.com/knowyourenemyIn the week-and-a-half since we last offered you, our beloved subscribers, the highest quality election punditry around, a lot has happened: on the Democratic side of the ledger, "The Podcasters' Coup" succeeded and Joe Biden has stepped down as the party's presidential candidate; at least for now, the nomination appears to be Kamala Harris's to lose. Republicans, meanwhile, just wrapped up their carnivalesque Convention, where Ohio senator J.D. Vance was unveiled as Donald Trump's running mate. And, of course, looming over it all was the assassination attempt on Trump in western Pennsylvania only days before the GOP gathered in Milwaukee.Did Vance impress, and Trump charm? Did the assassination attempt change the race, or—as some credulous journalists ludicrously asserted—Trump himself? Where does the presidential race stand? Are Democrats in disarray? It doesn't seem that way, now, but does Harris have a real chance? Your hosts take up these questions and more!Read:Josh Boak, "Biden's legacy: Far-reaching Accomplishments That Didn't Translate into Political Support," Associated Press, July 22, 2024.Ruth Igielnik, "How Kamala Harris Performs Against Donald Trump in the Polls," New York Times, July 21, 2024.Tim Alberta, "This Is Exactly What the Trump Team Feared," The Atlantic, July 21, 2024.Ian Ward, "The Seven Thinkers and Groups That Have Shaped JD Vance's Unusual Worldview," Politico, July 18, 2024.Matthew Sitman, "Will Be Wild," Dissent, April 18, 2023.Susan Sontag, Against Interpretations and Other Essays(1966).Listen:The Ezra Klein Show, "The Trump Campaign's Theory of Victory" (w/ Tim Alberta), July 18, 2024

After investigating the politics of cool on the last Trip episode, the crew turn their attention to another distinctly modern sensibility: camp. Digging into Susan Sontag's formative 1964 essay on the camp aesthetic, Nadia, Keir and Jem think about how elements of the artificial, the theatrical and the sentimental come together in camp objects, from […]

Take our Listener Survey Benjamin Moser is a Pulitzer Prize-winning writer celebrated for his in-depth studies of literary and cultural figures such as Susan Sontag and Clarice Lispector. His latest book, which details a twenty-year love affair with the Dutch masters, is one of Tyler's favorite books on art criticism ever. Benjamin joined Tyler to discuss why Vermeer was almost forgotten, how Rembrandt was so productive, what auctions of the old masters reveals about current approaches to painting, why Dutch art hangs best in houses, what makes the Kunstmuseum in the Hague so special, why Dutch students won't read older books, Benjamin's favorite Dutch movie, the tensions within Dutch social tolerance, the joys of living in Utrecht, why Latin Americans make for harder interview subjects, whether Brasilia works as a city, why modernism persisted in Brazil, how to appreciate Clarice Lispector, Susan Sontag's (waning) influence, V.S. Naipaul's mentorship, Houston's intellectual culture, what he's learning next, and more. Read a full transcript enhanced with helpful links, or watch the full video. Recorded February 15th, 2024. Other ways to connect Follow us on X and Instagram Follow Tyler on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here. Photo Credit: Philippe Quaisse

While Lara traverses the German countryside, Carey enlists writer/VPR scholar Patrik Sandberg to recap the most explosive episode of season 11 yet. The two talk Patrik's run-ins with Courtney Love and Kelly Cutrone, eyebrows through history, Azealia Banks as our generation's Susan Sontag, Vanderpump conspiracy theories, meeting at a gay rave in New York, pyromania, and more. On VPR, Assistant Ann interviews with Ariana to become her new employee and Sandoval is less than thrilled. Lala plans a sober-friendly water tasting night at James and Ally's where Schwartz confronts Katie over bangin' Big Dick Max, and Ariana and Tom engage in the first of two searingly tense fights about Chicken Satay Gate in front of everyone. Scheana and Brock then plan a beach day on the West Side, where the tension hits a tea kettle high once more, and Ariana and Sandoval continue their verbal spar.Buy tickets to the SUP SUMMER 2024 TOUR!Listen to this episode ad-free AND get access to weekly bonus episodes + video episodes by joining the SUP PATREON.Be cheap as hell and get full-length videos of the pod for free by subscribing to the SUP YOUTUBE.Relive the best moments of this iconic podcast by following the SUP TIKOK. Hosted on Acast. See acast.com/privacy for more information.