Podcast appearances and mentions of Sylvia Plath

durée : 00:18:46 - Lectures du soir - Le mois de mars 1957 nous immerge dans la création littéraire, the work in progress...Et une histoire de fish and chips... !

durée : 00:19:37 - Lectures du soir - Février 1956, Sylvia Plath a vingt-trois ans. "Ce que je crains, c'est la mort de l'imagination", note-t-elle. Et puis c'est la rencontre avec son futur mari Ted Hughes : "Alors le pire est arrivé, ce grand type sombre avec un air d'Europe centrale."

Philip Larkin was terrified of death from an early age; Thomas Hardy contemplated what the neighbours would say after he had gone; and Sylvia Plath imagined her own death in vivid and controversial ways. The genre of self-elegy, in which poets have reflected on their own passing, is a small but eloquent one in the history of English poetry. In this episode, Seamus and Mark consider some of its most striking examples, including Chidiock Tichborne's laconic lament on the night of his execution in 1586, Jonathan Swift's breezy anticipation of his posthumous reception, and the more comfortless efforts of 20th-century poets confronting godless extinction.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrldIn other podcast apps: https://lrb.me/closereadingsldRead more in the LRB:Jacqueline Rose on Plath:⁠https://www.lrb.co.uk/the-paper/v24/n16/jacqueline-rose/this-is-not-a-biography⁠David Runciman on Larkin and his father:⁠https://www.lrb.co.uk/the-paper/v43/n03/david-runciman/a-funny-feeling⁠John Bayley on Larkin⁠https://www.lrb.co.uk/the-paper/v05/n08/john-bayley/the-last-romantic⁠Matthew Bevis on Hardy:⁠https://www.lrb.co.uk/the-paper/v46/n19/matthew-bevis/i-prefer-my-mare Hosted on Acast. See acast.com/privacy for more information.

durée : 00:19:44 - Lectures du soir - 1950. Sylvia Plath a dix-sept ans. Il est question de bonheur : "Peut-être ne serai-je jamais heureuse !", de littérature, d'une visite chez le dentiste, d'amour et de mort.

Notes and Links to Vanessa Saunders' Work       Vanessa Saunders is a writer living in New Orleans. She teaches as a Professor of Practice at Loyola University New Orleans. She was the editor-in-chief of Helium Journal from 2013 to 2016. Her writing has appeared in Writer's Digest, Writer's Chronicle, Seneca Review, Sycamore Review, Los Angeles Review,  Nat. Brut, Entropy, PANK, Passages North, Stockholm Review of Literature and other journals.​​ She is at work on a novel of magical realism about whiteness and a book-length prose poem about the ethics of authorship.  Buy The Flat Woman   Vanessa's Website At about 1:45, Vanessa recommends places to buy her book, including Baldwin Books At about 2:55, Vanessa responds to Pete's question about her expectations for the Pub Day and beyond versus the realities At about 5:20, the two discuss Kafka's Metamorphosis and his parables and connections to Vanessa's The Flat Woman, as well as absurdities and allegory At about 9:30, Vanessa gives background on her early reading and writing, including her grandfather's and Sylvia Plath's influences, and Anne Carson's influence on The Flat Woman At about 13:30, Vanessa explains the unique British library system At about 15:25, Vanessa responds to Pete's questions about At about 16:35, Vanessa mentions Kelly Link, Sarah Rose Etter, Aimee Bender, and Hadriana in my Dreams as contemporary writers and writing that inspires him At about 18:20, Pete and Vanessa shout out the generosity and greatness of Aimee Bender, and Vanessa talks about meetings with inspiring writers At about 19:20, Pete shouts out Antonya Nelson's “In the Land of Men” for the 1,987,231 time in Chills at Will history At about 19:55, The two discuss the book's epigraph and seeds for the book At about 22:40, Vanessa expands upon stewardship and community and the environment in the formulation of her book At about 24:20, Pete wonders about Vanessa's decision to avoid naming her characters At about 26:40, Pete asks Vanessa  At about 29:10, the two discuss the lengthy “setups” that are chapter titles, or “headlines” At about 32:20, “leaky boundaries” and the family dynamic, including the absent father, are discussed At about 33:35, “Terrorism” and government cover-up in the book and its couching is discussed; Vanessa talks about birds as “indicator species,” as she learned from a group of “elite ornithologists” (!!!) with whom she lived At about 36:40, Vanessa talks about perpetual archetypes and storylines for “female villainy” At about 37:40, Bird grief and research and animals as stand-ins for humans as discussed in the book is explored by Vanessa At about 41:10, Vanessa, in explaining her views of animals and things and dominion, references a wonderful Louise Gluck line  At about 42:35, Pete and Vanessa discuss Bay Area history, anthropology. and its effects on their mindsets and writing At about 44:00, The two talk about the “patriarch[al]” POPS Cola, and the protagonist's early life after her mother is arrested and convicted  At about 45:45, Vanessa expands on the patriarchal society and the 2024 election's connections to the systemic misogyny on display in the book At about  49:50, The protagonist, depicted 10 years as “The woman,” and Part II are described, as well as the “chaotic aunt” and more ugly realities that confront the woman At about 51:45, Vanessa cites inspiration from an interview with Toni Morrison regarding family alienation  At about 53:10, Vanessa explores connections between humor and speculative fiction At about 54:10, The woman's earliest interactions with and attractions to the man are discussed At about 55:10, Vanessa responds to Pete's question about the man being drawn to Elvis, with a trip down memory lane of a San Francisco that may no longer exist  At about 59:20, Vanessa talks about setting the woman as working at the very company that has imprisoned her mother  At about 1:01:25, Vanessa responds to Pete's question about the grisly displays of hurt and dead animals, and the two discuss ideas of entertainment and willful (or not) ignorance about the brutality in Gaza and climate change At about 1:05:00, Pete complements Vanessa for humor on the page and asks if the man has “discovered the manosphere”  At about 1:08:35, Vanessa talks about social justice being “commodified” At about 1:10:40, Vanessa talks about initial hesitat[ion] in depicting the man as having some assorted wisdom, along with many horrible traits At about 1:11:40, Vanessa discusses a famous writer, who is not related to her :(  At about 1:13:00, Another Maurice Carlos Ruffin shoutout At about 1:14:20, Movie actors for the book's characters! At about 1:16:10, “You are hearing me talk”-Al Gore You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. This week, his conversation with Episode 270 guest Jason De León is up on the website. A big thanks to Rachel León and Michael Welch at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, his DIY podcast and his extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode will feature an exploration of the wonderful poetry of Khalil Gibran. I have added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    This is a passion project of Pete's, a DIY operation, and he'd love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.     The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 285 with The Philharmonik, Episode 58 guest, vocalist, multi-instrumentalist, lyricist, music producer and genre defining artist. Recently, he has been nationally and globally recognized after winning the 2023 American Song writer contest and NPR's 2024 Tiny Desk Contest for his song “What's It All Mean?” The episode marks the one-year anniversary of his NPR Tiny Desk Contest win. This will be released on May 16.  

Adam feels reflective as always. He talks about childhood bullying, warning signs of poor health, Sylvia Plath and possible futures and projects to ponder.

From Jan 2024. Dive into the provocative world of artistic "theft" as Ty and Nathan explore how creative innovation truly emerges from our influences. This conversation challenges the myth of pure originality, arguing instead that the greatest artists throughout history have been masterful collectors and transformers of ideas.Beginning with Japanese fashion designer Yohji Yamamoto's transformative quote—"Start copying what you love... at the end of the copy you will find yourself"—the duo examines how creative development flourishes through strategic borrowing. From Quentin Tarantino's open acknowledgment of film references to David Bowie's musical influences, the most distinctive voices often emerge from those who've absorbed the most diverse inspirations.They unpack wisdom from creative legends including Jim Jarmusch, Paul Schrader, and Jean-Luc Godard, who all emphasize that true originality lies not in where you take ideas from, but where you take them to. Art movements throughout history—from Impressionism to Abstract Expressionism—evolved through artists stealing ideas from each other while working side by side, proving that innovation rarely emerges in isolation.What distinguishes mere imitation from transformative theft? When does copying become finding your voice? The conversation offers practical advice for artists at every stage: diversify your influences, document what moves you and why, maintain an "omnivorous" approach to inspiration, and create systems to capture ideas when they strike. Ultimately, the episode makes a compelling case that the most authentic artistic expression comes not from avoiding influence, but from embracing it wholeheartedly.Follow us on Instagram @ty_nathan_clark and @nathanturborg to continue exploring how creative influences shape artistic development.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

For this episode, Elizabeth is joined by writer Kathryn Good-Shiff, author of the new Meat For Tea Press book Love Letters to Ghosts. They talk about writing, surrealism in poetry, a fish elevator, and much, much more. Do tuck in!Referenced in this conversation:Three-Martini Afternoons at the Ritz: The Rebellion of Sylvia Plath & Anne Sexton, by Gail CrowtherBlonde Indian: An Alaska Native Memoir, by Ernestine HayesStatue of Artemis of Ephesus   https://www.ekphrastic.net/the-ekphrastic-review/statue-of-artemis-of-ephesus-by-kathryn-good-schiff Find out more at https://www.kathryngoodschiff.comand https://meatfortea.com/books.htm

Send us a textWelcome to Celebrate Poe - Episode 362 - Poetry and DreamsI was looking through articles about Poe to find information for a future article regarding why do so many people read Edgar Allan Poe. And I found some great stuff and certainly will be writing an episode or two about that subject. But I found an article that said that more Americans - almost 3/4 - are familiar with Edgar Poe - more than any other poet.  Shakespeare is second.Now  this was the episode where I wanted to start some episodes on Bram Stoker - but it turns out there is a poetry workshop that is rather time sensitive, so I better get this out now.You see, on Thursday, April 24 there will be a free workshop from the Academy of American Poets online at YouTube - no charge at all, tho I doubt they would turn down donations.  All you need to do is register, and again, it is free. I have the URL on my Buzzsprout transcript and show notes - but in case you can't  remember URLS - I can't - it is https//poets.org/gala/2025 - - again, it is free - all you need to do is register in advance.  The readers include people such as Christine Baranski, Stephen King, Tony Kusher, Fran Lebowitz, and Lawrence O'Donnell - among others.Just wanted to be sure that you got the info about what is called Poetry and the Creative Mind - again, to be held on Thursday, April 24.By the way, Meryl Streep is extremely active in Poetry and the Creative Mind, and has read works by Elizabeth Bishop, Sylvia Plath, and Walt Whitman in programs across multiple years.By the way, poets.org.gala.2025 will take you to the registration page as well.For the rest of this episode, I would like to delve into several of Edgar Poe's poems that deal with dreams.  The three poems are Dreams, A Dream, and A Dream Within a Dream, and Dreamland - and boy, are they easy to mix up.  So take them in order considering the number of words in the title - I know it sounds simplistic but stay with me because it makes things soooo much easier.  And I am not going to include the poem Dreamland until the end of this podcast  - It is (in my opinion, a poem that is in a class by yourself.)Think 1, 2, and 5 - words that is -The title of Dreams is just one word, the title of A Dream is two words, and the title of the shortest and most mature work - A Dream Within a Dream is 5 words. Dreams and A Dream were both published in 1827 and A Dream Within a Dream was published in 1849 - the year of Edgar Poe's earthly demise.Let me say that again - The title of Dreams is just one word, the title of A Dream is two words, and the title of the most mature work - A Dream Within a Dream is 5 words. Dreams and A Dream were both published in 1827 and A Dream Within a Dream was published in 1849.Thank you for experiencing Celebrate Poe.

If you enjoy this episode, we're sure you will enjoy more content like this on The Occult Rejects.  In fact, we have curated playlists on occult topics like grimoires, esoteric concepts and phenomena, occult history, analyzing true crime and cults with an occult lens, Para politics, and occultism in music. Whether you enjoy consuming your content visually or via audio, we've got you covered - and it will always be provided free of charge.  So, if you enjoy what we do and want to support our work of providing accessible, free content on various platforms, please consider making a donation to the links provided below. Thank you and enjoy the episode!Links For The Occult Rejects and The Spiritual Gangsters https://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Cash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsJinhttps://linktr.ee/thresholdsaintsEthan Indigohttps://linktr.ee/ethanindigoJulia Gordon Bramerhttps://www.juliagordonbramer.com/

El libro El otro lado. Retratos, fetichismos, confesiones reúne la obra periodística de Mariana Enríquez. Propulsada por su potente estilo, escribe sobre algunos de sus ídolos y fetiches en ámbitos como la literatura y la música, además de abordar también aspectos de su propia vida.Encontramos en estas páginas desde una entrevista delirante con el legendario Charly García hasta un textosobre la fijación de los viandantes bonaerenses con el escote de la autora. Agudas piezas personales sobre sus inicios como escritora, la primera vez que la llaman «señora», la decisión de no ser madre o la fascinación por el erotismo homosexual conviven con espléndidos retratos de escritores como Bram Stoker, Mary Shelley, Lovecraft, Bradbury, Le Guin, Ballard, Richard Matheson o Neil Gaiman. Seabordan también las novelas vampíricas y las de temática sado de Anne Rice; figuras excéntricas como las de Hubert Selby Jr., Kenneth Anger, Joe Dallesandro o Mark Ryden; músicos como Guy Clark, Townes Van Zandt, Bruce Springsteen, los Rolling Stones, David Bowie, Kurt Cobain, Nick Cave o los Manic Street Preachers; actores como AsiaArgento, Jared Leto o Daniel Day-Lewis; mitos femeninos como Sylvia Plath, Nahui Olin o Kate Moss… Un libro ineludible para fans de Enríquez y para cualquier amante del periodismo vibrante y la buena literatura.

"Le Classico" de Sébastien Ministru : « Le Corps lesbien » de Monique Wittig. « Le Corps lesbien » a pour thème le lesbianisme, c'est-à-dire un thème dont on ne peut même pas dire qu'il est tabou, il n'a aucune réalité dans l'histoire de la littérature. La littérature homosexuelle mâle a un passé, elle a un présent. Les lesbiennes, elles, sont muettes – comme d'ailleurs toutes les femmes en tant que femmes à tous les niveaux. Quand on a lu les poèmes de Sapho, Le Puits de solitude de Radclyffe Hall, des poèmes de Sylvia Plath, d'Anaïs Nin, La Bâtarde de Violette Leduc, on a tout lu. Seul le mouvement des femmes a été capable dans un contexte en rupture totale avec la culture mâle de faire naître des textes lesbiens, textes écrits par des femmes uniquement pour des femmes insoucieuses de l'approbation masculine. Le Corps lesbien est dans cette catégorie. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This month's two shorter plays: Pleasure by Rachilde and Three Women by Sylvia Plath!If you're looking for a play that reveals how the pursuit of sensuality can both liberate and ensnare… then Rachilde's Pleasure is the two-hander of your dreams. An intimate, delicate, and emotionally charged conversation between two young lovers, Pleasure offers feminist undertones with a dangerous and erotic edge. The play's themes of sexual politics, youthful desire, and the consequences of indulgence are as timely today as they were in its origins in the Belle Époque. Fans of Sarah Kane, Sam Shepard, and Edith Wharton alike will delight in its dark twists and lush poetry, making this a standout choice for a contemporary or a classical season.If you're looking for an achingly lyrical play probing the complex beauty and pain of pregnancy… consider this dramatic poem that brings Sylvia Plath's raw emotionality to the stage. Interweaving three contrasting perspectives, this piece wrestles with childbirth, loss, and motherhood as perceived by a trio of women. One welcomes a wished-for and beloved child; another comes to terms with a miscarriage; the third gives her child up for adoption following the trauma of sexual assault. The resulting chorus paints a sharp and unflinching portrait of having, or losing, a child. Three Women is a daring piece to engage a community in conversation around the choices and agency of reproductive rights arcing towards glimmers of hope and healing.Hosted by Skye Pagon and Emily LyonSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

‘Sightlines produce a story, an avenue, a walkway, a space to move through…' This week, we join Sally reflecting on the idea of the sightline, and the stories they structure. Listen for a meditation on narrative, childhood, and a unique perspective of and from The Dreaming Spires… The text of the Sylvia Plath poem Sally references can be found here.  This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

Escritores mencionados:William Shakespeare;Jane Austen;Daniel Faria;Umberto Eco;John Steinbeck;Sally Rooney;Sylvia Plath;Mary Oliver;C.S. Lewis.Sigam-nos no instagram: @leiturasembadanasEdição de som: Tale House

Since her death, poet and novelist Sylvia Plath (1932-1963) has been an endless source of fascination for fans of her and her work. But while much attention has been paid to her tumultuous relationship with fellow poet Ted Hughes, we often overlook the influences that formed her, long before she traveled to England and met Hughes. What movies did she watch? Which books did she read? How did media shape her worldview? In this episode, Jacke talks to serial biographer Carl Rollyson about his new book The Making of Sylvia Plath, which takes a fresh approach to understanding Plath - and helps to revise and reposition Plath's legacy. PLUS Cheryl Hopson (Zora Neale Hurston: A Critical Life) stops by to discuss her choice for the last book she will ever read. Additional listening: 675 Zora Neale Hurston (with Cheryl Hopson) 563 Sylvia Plath (with Carl Rollyson) 654 Loving (and Reclaiming) Sylvia Plath (with Emily Van Duyne) The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

"The inspiration for this fugue-like piece was the imagined relationship between the crows - possibly Rooks by their call - and the Blenheim gamekeepers. One of judgement and mutual dislike, or perhaps literally a game. "The rising cello slides were suggested by what I suspect is an accelerating car in the original sound clip around at around the 1:10 mark – just before the jogger runs past.  "The title is a misquote of Sylvia Plath." Crows at Blenheim Palace reimagined by Adam Leonard. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Hoje Andreia D'Oliveira e Gabi Idealli vão passear na 5ª Avenida para encontrar uma das figuras mais complexas que a Literatura Americana já nos apresentou: com vocês, senhoras e senhores, Truman Capote. Apesar de sua biografia controversa, Capote é um dos mais aclamados escritores do seu tempo e, entre suas obras mais populares, escolhemos a doce Holy e seu ukelele de Bonequinha de Luxo. Então, pegue seu café da manhã e venha conosco para a frente da vitrine da Tiffany & Co onde "só coisas boas acontecem"

By Walt HickeyDouble feature today!Welcome to the Numlock Sunday edition.This week, I spoke to Alissa Wilkinson who is out with the brand new book, We Tell Ourselves Stories: Joan Didion and the American Dream Machine.I'm a huge fan of Alissa, she's a phenomenal critic and I thought this topic — what happens when one of the most important American literary figures heads out to Hollywood to work on the most important American medium — is super fascinating. It's a really wonderful book and if you're a longtime Joan Didion fan or simply a future Joan Didion fan, it's a look at a really transformative era of Hollywood and should be a fun read regardless.Alissa can be found at the New York Times, and the book is available wherever books are sold.This interview has been condensed and edited. All right, Alissa, thank you so much for coming on.Yeah, thanks for having me. It's good to be back, wherever we are.Yes, you are the author of We Tell Ourselves Stories: Joan Didion and the American Dream Machine. It's a really exciting book. It's a really exciting approach, for a Joan Didion biography and placing her in the current of American mainstream culture for a few years. I guess just backing out, what got you interested in Joan Didion to begin with? When did you first get into her work?Joan Didion and I did not become acquainted, metaphorically, until after I got out of college. I studied Tech and IT in college, and thus didn't read any books, because they don't make you read books in school, or they didn't when I was there. I moved to New York right afterward. I was riding the subway. There were all these ads for this book called The Year of Magical Thinking. It was the year 2005, the book had just come out. The Year of Magical Thinking is Didion's National Book Award-winning memoir about the year after her husband died, suddenly of a heart attack in '03. It's sort of a meditation on grief, but it's not really what that sounds like. If people haven't read it's very Didion. You know, it's not sentimental, it's constantly examining the narratives that she's telling herself about grief.So I just saw these ads on the walls. I was like, what is this book that everybody seems to be reading? I just bought it and read it. And it just so happened that it was right after my father, who was 46 at the time, was diagnosed with a very aggressive leukemia, and then died shortly thereafter, which was shocking, obviously. The closer I get to that age, it feels even more shocking that he was so young. I didn't have any idea how to process that emotion or experience. The book was unexpectedly helpful. But it also introduced me to a writer who I'd never read before, who felt like she was looking at things from a different angle than everyone else.Of course, she had a couple more books come out after that. But I don't remember this distinctly, but probably what happened is I went to some bookstore, The Strand or something, and bought The White Album and Slouching Towards Bethlehem off the front table as everyone does because those books have just been there for decades.From that, I learned more, starting to understand how writing could work. I didn't realize how form and content could interact that way. Over the years, I would review a book by her or about her for one publication or another. Then when I was in graduate school, getting my MFA in nonfiction, I wrote a bit about her because I was going through a moment of not being sure if my husband and I were going to stay in New York or we were going to move to California. They sort of obligate you to go through a goodbye to all that phase if you are contemplating that — her famous essay about leaving New York. And then, we did stay in New York City. But ultimately, that's 20 years of history.Then in 2020, I was having a conversation (that was quite-early pandemic) with my agent about possible books I might write. I had outlined a bunch of books to her. Then she was like, “These all sound like great ideas. But I've always wanted to rep a book on Joan Didion. So I just wanted to put that bug in your ear.” I was like, “Oh, okay. That seems like something I should probably do.”It took a while to find an angle, which wound up being Didion in Hollywood. This is mostly because I realized that a lot of people don't really know her as a Hollywood figure, even though she's a pretty major Hollywood figure for a period of time. The more of her work I read, the more I realized that her work is fruitfully understood as the work of a woman who was profoundly influenced by (and later thinking in terms of Hollywood metaphors) whether she was writing about California or American politics or even grief.So that's the long-winded way of saying I wasn't, you know, acquainted with her work until adulthood, but then it became something that became a guiding light for me as a writer.That's really fascinating. I love it. Because again I think a lot of attention on Didion has been paid since her passing. But this book is really exciting because you came at it from looking at the work as it relates to Hollywood. What was Didion's experience in Hollywood? What would people have seen from it, but also, what is her place there?The directly Hollywood parts of her life start when she's in her 30s. She and her husband — John Gregory Dunn, also a writer and her screenwriting partner — moved from New York City, where they had met and gotten married, to Los Angeles. John's brother, Nick Dunn later became one of the most important early true crime writers at Vanity Fair, believe it or not. But at the time, he was working as a TV producer. He and his wife were there. So they moved to Los Angeles. It was sort of a moment where, you know, it's all well and good to be a journalist and a novelist. If you want to support yourself, Hollywood is where it's at.So they get there at a moment when the business is shifting from these big-budget movies — the Golden Age — to the new Hollywood, where everything is sort of gritty and small and countercultural. That's the moment they arrive. They worked in Hollywood. I mean, they worked literally in Hollywood for many years after that. And then in Hollywood even when they moved back to New York in the '80s as screenwriters still.People sometimes don't realize that they wrote a bunch of produced screenplays. The earliest was The Panic in Needle Park. Obviously, they adapted Didion's novel Play It As It Lays. There are several others, but one that a lot of people don't realize they wrote was the version of A Star is Born that stars Barbra Streisand and Kris Kristofferson. It was their idea to shift the Star is Born template from Hollywood entities to rock stars. That was their idea. Of course, when Bradley Cooper made his version, he iterated on that. So their work was as screenwriters but also as figures in the Hollywood scene because they were literary people at the same time that they were screenwriters. They knew all the actors, and they knew all the producers and the executives.John actually wrote, I think, two of the best books ever written on Hollywood decades apart. One called The Studio, where he just roamed around on the Fox backlot. For a year for reasons he couldn't understand, he got access. That was right when the catastrophe that was Dr. Doolittle was coming out. So you get to hear the inside of the studio. Then later, he wrote a book called Monster, which is about their like eight-year long attempt to get their film Up Close and Personal made, which eventually they did. It's a really good look at what the normal Hollywood experience was at the time: which is like: you come up with an idea, but it will only vaguely resemble the final product once all the studios get done with it.So it's, it's really, that's all very interesting. They're threaded through the history of Hollywood in that period. On top of it for the book (I realized as I was working on it) that a lot of Didion's early life is influenced by especially her obsession with John Wayne and also with the bigger mythology of California and the West, a lot of which she sees as framed through Hollywood Westerns.Then in the '80s, she pivoted to political reporting for a long while. If you read her political writing, it is very, very, very much about Hollywood logic seeping into American political culture. There's an essay called “Inside Baseball” about the Dukakis campaign that appears in Political Fictions, her book that was published on September 11, 2001. In that book, she writes about how these political campaigns are directed and set up like a production for the cameras and how that was becoming not just the campaign, but the presidency itself. Of course, she had no use for Ronald Reagan, and everything she writes about him is very damning. But a lot of it was because she saw him as the embodiment of Hollywood logic entering the political sphere and felt like these are two separate things and they need to not be going together.So all of that appeared to me as I was reading. You know, once you see it, you can't unsee it. It just made sense for me to write about it. On top of it, she was still alive when I was writing the proposal and shopping it around. So she actually died two months after we sold the book to my publisher. It meant I was extra grateful for this angle because I knew there'd be a lot more books on her, but I wanted to come at it from an angle that I hadn't seen before. So many people have written about her in Hollywood before, but not quite through this lens.Yeah. What were some things that you discovered in the course of your research? Obviously, she's such an interesting figure, but she's also lived so very publicly that I'm just super interested to find out what are some of the things that you learned? It can be about her, but it can also be the Hollywood system as a whole.Yeah. I mean, I didn't interview her for obvious reasons.Understandable, entirely understandable.Pretty much everyone in her life also is gone with the exception really of Griffin Dunn, who is her nephew, John's nephew, the actor. But other than that, it felt like I needed to look at it through a critical lens. So it meant examining a lot of texts. A lot of Didion's magazine work (which was a huge part of her life) is published in the books that people read like Slouching Towards Bethlehem and The White Album and all the other books. What was interesting to me was discovering (I mean, not “discovering” because other people have read it) that there is some work that's not published and it's mostly her criticism.Most of that criticism was published in the late '50s and the early '60s when she was living in New York City, working at Vogue and trying to make it in the literary scene that was New York at that time, which was a very unique place. I mean, she was writing criticism and essays for both, you know, like National Review and The Nation at the same time, which was just hard to conceive of today. It was something you'd do back then. Yeah, wild stuff.A lot of that criticism was never collected into books. The most interesting is that she'd been working at Vogue for a long time in various positions, but she wound up getting added to the film critic column at Vogue in, '62, I want to say, although I might have that date slightly off. She basically alternated weeks with another critic for a few years, writing that until she started writing in movies proper. It's never a great idea to be a critic and a screenwriter at the same time.Her criticism is fascinating. So briefly, for instance, she shared that column with Pauline Kael. Pauline Kael became well known after she wrote about Bonnie and Clyde. This was prior to that. This is several years prior to that. They also hated each other for a long time afterward, which is funny, because, in some ways, their style is very different but their persona is actually very similar. So I wonder about that.But in any case, even when she wasn't sharing the column with Pauline Kael, it was a literal column in a magazine. So it's like one column of text, she can say barely anything. She was always a bit of a contrarian, but she was actively not interested in the things that were occupying New York critics at the time. Things like the Auteur Theory, what was happening in France, the downtown scene and the Shirley Clark's of the world. She had no use for it. At some point, she accuses Billy Wilder of having really no sense of humor, which is very funny.When you read her criticism, you see a person who is very invested in a classical notion of Hollywood as a place that shows us fantasies that we can indulge in for a while. She talks in her very first column about how she doesn't really need movies to be masterpieces, she just wants them to have moments. When she says moments, she means big swelling things that happen in a movie that make her feel things.It's so opposite, I think, to most people's view of Didion. Most people associate her with this snobbish elitism or something, which I don't think is untrue when we're talking about literature. But for her, the movies were like entertainment, and entering that business was a choice to enter that world. She wasn't attempting to elevate the discourse or something.I just think that's fascinating. She also has some great insights there. But as a film critic, I find myself disagreeing with most of her reviews. But I think that doesn't matter. It was more interesting to see how she conceived of the movies. There is a moment later on, in another piece that I don't think has been republished anywhere from the New York Review of Books, where she writes about the movies of Woody Allen. She hates them. It's right at the point where he's making like Manhattan and Annie Hall, like the good stuff. She just has no use for them. It's one of the funniest pieces. I won't spoil the ending because it's hilarious, and it's in the book.That writing was of huge interest to me and hasn't been republished in books. I was very grateful to get access to it, in part because it is in the archives — the electronic archives of the New York Public Library. But at the time, the library was closed. So I had to call the library and have a librarian get on Zoom with me for like an hour and a half to figure out how I could get in the proverbial back door of the library to get access while the library wasn't open.That's magnificent. That's such a cool way to go to the archives because some stuff just hasn't been published. If it wasn't digitized, then it's not digitized. That's incredible.Yeah, it's there, but you can barely print them off because they're in PDFs. They're like scanned images that are super high res, so the printer just dies when you try to print them. It's all very fascinating. I hope it gets republished at some point because I think there's enough interest in her work that it's fascinating to see this other aspect of her taste and her persona.It's really interesting that she seems to have wanted to meet the medium where it is, right? She wasn't trying to literary-up Hollywood. I mean, LA can be a bit of a friction. It's not exactly a literary town in the way that some East Coast metropolises can be. It is interesting that she was enamored by the movies. Do you want to speak about what things were like for her when she moved out?Yeah, it is funny because, at the same time, the first two movies that they wrote and produced are The Panic in Needle Park, which is probably the most new Hollywood movie you can imagine. It's about addicts at Needle Park, which is actually right where the 72nd Street subway stop is on the Upper West Side. If people have been there, it's hard to imagine. But that was apparently where they all sat around, and there were a lot of needles. It's apparently the first movie supposedly where someone shoots up live on camera.So it was the '70s. That's amazing.Yes, and it launched Al Pacino's film career! Yeah, it's wild. You watch it and you're just like, “How is this coming from the woman who's about all this arty farty stuff in the movies.” And Play It As It Lays has a very similar, almost avant-garde vibe to it. It's very, very interesting. You see it later on in the work that they made.A key thing to remember about them (and something I didn't realize before I started researching the book)was that Didion and Dunn were novelists who worked in journalism because everybody did. They wrote movies, according to them (you can only go off of what they said. A lot of it is John writing these jaunty articles. He's a very funny writer) because “we had tuition and a mortgage. This is how you pay for it.”This comes up later on, they needed to keep their WGA insurance because John had heart trouble. The best way to have health insurance was to remain in the Writers Guild. Remaining in the Writers Guild means you had to have a certain amount of work produced through union means. They were big union supporters. For them this was not, this was very strictly not an auteurist undertaking. This was not like, “Oh, I'm gonna go write these amazing screenplays that give my concept of the world to the audience.” It's not like Bonnie and Clyding going on here. It's very like, “We wrote these based on some stories that we thought would be cool.”I like that a lot. Like the idea that A Star is Born was like a pot boiler. That's really delightful.Completely. It was totally taken away from them by Streisand and John Peters at some point. But they were like, “Yeah, I mean, you know, it happens. We still got paid.”Yeah, if it can happen to Superman, it can happen to you.It happens to everybody, you know, don't get too precious about it. The important thing is did your novel come out and was it supported by its publisher?So just tracing some of their arcs in Hollywood. Obviously, Didion's one of the most influential writers of her generation, there's a very rich literary tradition. Where do we see her footprint, her imprint in Hollywood? What are some of the ways that we can see her register in Hollywood, or reverberate outside of it?In the business itself, I don't know that she was influential directly. What we see is on the outside of it. So a lot of people were friends. She was like a famous hostess, famous hostess. The New York Public Library archives are set to open at the end of March, of Didion and Dunn's work, which was like completely incidental to my publication date. I just got lucky. There's a bunch of screenplays in there that they worked on that weren't produced. There's also her cookbooks, and I'm very excited to go through those and see that. So you might meet somebody there.Her account of what the vibe was when the Manson murders occurred, which is published in her essay The White Album, is still the one people talk about, even though there are a lot of different ways to come at it. That's how we think about the Manson murders: through her lens. Later on, when she's not writing directly about Hollywood anymore (and not really writing in Hollywood as much) but instead is writing about the headlines, about news events, about sensationalism in the news, she becomes a great media critic. We start to see her taking the things that she learned (having been around Hollywood people, having been on movie sets, having seen how the sausage is made) and she starts writing about politics. In that age, it is Hollywood's logic that you perform for the TV. We have the debates suddenly becoming televised, the conventions becoming televised, we start to see candidates who seem specifically groomed to win because they look good on TV. They're starting to win and rule the day.She writes about Newt Gingrich. Of course, Gingrich was the first politician to figure out how to harness C-SPAN to his own ends — the fact that there were TV cameras on the congressional floor. So she's writing about all of this stuff at a time when you can see other people writing about it. I mean, Neil Postman famously writes about it. But the way Didion does it is always very pegged to reviewing somebody's book, or she's thinking about a particular event, or she's been on the campaign plane or something like that. Like she's been on the inside, but with an outsider's eye.That also crops up in, for instance, her essays. “Sentimental Journeys” is one of her most famous ones. That one's about the case of the Central Park Five, and the jogger who was murdered. Of course, now, we're many decades out from that, and the convictions were vacated. We know about coerced confessions. Also Donald Trump arrives in the middle of that whole thing.But she's actually not interested in the guilt or innocence question, because a lot of people were writing about that. She's interested in how the city of New York and the nation perform themselves for themselves, seeing themselves through the long lens of a movie and telling themselves stories about themselves. You see this over and over in her writing, no matter what she's writing about. I think once she moved away from writing about the business so much, she became very interested in how Hollywood logic had taken over American public life writ large.That's fascinating. Like, again, she spends time in the industry, then basically she can only see it through that lens. Of course, Michael Dukakis in a tank is trying to be a set piece, of course in front of the Berlin Wall, you're finally doing set decoration rather than doing it outside of a brick wall somewhere. You mentioned the New York thing in Performing New York. I have lived in the city for over a decade now. The dumbest thing is when the mayor gets to wear the silly jacket whenever there's a snowstorm that says “Mr. Mayor.” It's all an act in so many ways. I guess that political choreography had to come from somewhere, and it seems like she was documenting a lot of that initial rise.Yeah, I think she really saw it. The question I would ask her, if I could, is how cognizant she was that she kept doing that. As someone who's written for a long time, you don't always recognize that you have the one thing you write about all the time. Other people then bring it up to you and you're like, “Oh, I guess you're right.” Even when you move into her grief memoir phase, which is how I think about the last few original works that she published, she uses movie logic constantly in those.I mean, The Year of Magical Thinking is a cyclical book, she goes over the same events over and over. But if you actually look at the language she's using, she talks about running the tape back, she talks about the edit, she talks about all these things as if she's running her own life through how a movie would tell a story. Maybe she knew very deliberately. She's not a person who does things just haphazardly, but it has the feeling of being so baked into her psyche at this point that she would never even think of trying to escape it.Fascinating.Yeah, that idea that you don't know what you are potentially doing, I've thought about that. I don't know what mine is. But either way. It's such a cool way to look at it. On a certain level, she pretty much succeeded at that, though, right? I think that when people think about Joan Didion, they think about a life that freshens up a movie, right? Like, it workedVery much, yeah. I'm gonna be really curious to see what happens over the next 10 years or so. I've been thinking about figures like Sylvia Plath or women with larger-than-life iconography and reputation and how there's a constant need to relook at their legacies and reinvent and rethink and reimagine them. There's a lot in the life of Didion that I think remains to be explored. I'm really curious to see where people go with it, especially with the opening of these archives and new personal information making its way into the world.Yeah, even just your ability to break some of those stories that have been locked away in archives out sounds like a really exciting addition to the scholarship. Just backing out a little bit, we live in a moment in which the relationship between pop culture and political life is fairly directly intertwined. Setting aside the steel-plated elephant in the room, you and I are friendly because we bonded over this idea that movies really are consequential. Coming out of this book and coming out of reporting on it, what are some of the relevances for today in particular?Yeah, I mean, a lot more than I thought, I guess, five years ago. I started work on the book at the end of Trump One, and it's coming out at the beginning of Trump Two, and there was this period in the middle of a slightly different vibe. But even then I watch TikTok or whatever. You see people talk about “main character energy” or the “vibe shift” or all of romanticizing your life. I would have loved to read a Didion essay on the way that young people sort of view themselves through the logic of the screens they have lived on and the way that has shaped America for a long time.I should confirm this, I don't think she wrote about Obama, or if she did, it was only a little bit. So her political writing ends in George W. Bush's era. I think there's one piece on Obama, and then she's writing about other things. It's just interesting to think about how her ideas of what has happened to political culture in America have seeped into the present day.I think the Hollywood logic, the cinematic logic has given way to reality TV logic. That's very much the logic of the Trump world, right? Still performing for cameras, but the cameras have shifted. The way that we want things from the cameras has shifted, too. Reality TV is a lot about creating moments of drama where they may or may not actually exist and bombarding you with them. I think that's a lot of what we see and what we feel now. I have to imagine she would think about it that way.There is one interesting essay that I feel has only recently been talked about. It's at the beginning of my book, too. It was in a documentary, and Gia Tolentino wrote about it recently. It's this essay she wrote in 2000 about Martha Stewart and about Martha Stewart's website. It feels like the 2000s was like, “What is this website thing? Why are people so into it?” But really, it's an essay about parasocial relationships that people develop (with women in particular) who they invent stories around and how those stories correspond to greater American archetypes. It's a really interesting essay, not least because I think it's an essay also about people's parasocial relationships with Joan Didion.So the rise of her celebrity in the 21st century, where people know who she is and carry around a tote bag, but don't really know what they're getting themselves into is very interesting to me. I think it is also something she thought about quite a bit, while also consciously courting it.Yeah, I mean, that makes a ton of sense. For someone who was so adept at using cinematic language to describe her own life with every living being having a camera directly next to them at all times. It seems like we are very much living in a world that she had at least put a lot of thought into, even if the technology wasn't around for her to specifically address it.Yes, completely.On that note, where can folks find the book? Where can folks find you? What's the elevator pitch for why they ought to check this out? Joan Didion superfan or just rather novice?Exactly! I think this book is not just for the fans, let me put it that way. Certainly, I think anyone who considers themselves a Didion fan will have a lot to enjoy here. The stuff you didn't know, hadn't read or just a new way to think through her cultural impact. But also, this is really a book that's as much for people who are just interested in thinking about the world we live in today a little critically. It's certainly a biography of American political culture as much as it is of Didion. There's a great deal of Hollywood history in there as well. Thinking about that sweep of the American century and change is what the book is doing. It's very, very, very informed by what I do in my day job as a movie critic at The New York Times. Thinking about what movies mean, what do they tell us about ourselves? I think this is what this book does. I have been told it's very fun to read. So I'm happy about that. It's not ponderous at all, which is good. It's also not that long.It comes out March 11th from Live Right, which is a Norton imprint. There will be an audiobook at the end of May that I am reading, which I'm excited about. And I'll be on tour for a large amount of March on the East Coast. Then in California, there's a virtual date, and there's a good chance I'll be popping up elsewhere all year, too. Those updates will be on my social feeds, which are all @alissawilkinson on whatever platform except X, which is fine because I don't really post there anymore.Alyssa, thank you so much for coming on.Thank you so much.Edited by Crystal Wang.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Have you ever met someone who felt like a mirror of you? In Katherine Brabon's new novel, Body Friend, the protagonist meets two women named Frida and Sylvia. All three are living with chronic illness and they're in profound pain. But when it comes to dealing with that pain, Frida and Sylvia are polar opposites — and our protagonist is caught in the middle. Katherine knows these difficulties firsthand. She joins Mattea Roach to talk about living with and writing about chronic pain. If you enjoyed this conversation, check out these episodes:Kate Gies: Reclaiming her body after years of medical traumaSarah Leavitt: Illustrating grief too wide for words

Nick Hennegan celebrates International Women's Day, with poems from Sylvia Plath and the Bronte sisters. www.BohemianBritain.com

Nick Hennegan celebrates International Women's Day, with poems from Sylvia Plath and the Bronte sisters.www.BohemianBritain.com

The backstory behind Ted Hughes's original book THE IRON MAN is a tragic one, and the subsequent film by Brad Bird has a heartbreaking story all its own. In episode 338, join Luke Elliott & James Bailey as they discover an unexpected connection to Sylvia Plath, try to wrap their heads around a "Space-Bat-Angel-Dragon," defend animation's reputation as a medium, explore questions of consciousness around artificial beings, and finally cast their votes on which one is ultimately best: the book or the movie?   Full Video version available on YouTube https://bit.ly/3Xdjc1n Support the show on Patreon for bonus content, merch, and the ability to vote on upcoming projects! https://www.patreon.com/inktofilm Get The Iron Giant or any of the source novels at the Ink to Film Bookshop: https://bookshop.org/shop/inktofilm Ink to Film's Twitter, Facebook, Instagram, Bluesky (@inktofilm) Home Base: inktofilm.com   Luke Elliott Recent publications: “Your Black Apron Meal Kit Has Arrived” in the Even Cozier Cosmic anthology https://bookshop.org/a/23566/9781630230975 “Beyond Heaven” in the Beyond the Vanishing Point anthology: https://a.co/d/cTwnwz7 Website: www.lukeelliottauthor.com Social Media Accounts: www.lukeelliottauthor.com/social   James Bailey Bluesky: https://bsky.app/profile/jamebail.bsky.social IG: https://www.instagram.com/jamebail/ Music:  “Last Dawn” by Ross Bugden https://youtu.be/wWjgsepyE8I?si=2LkPHQZ1x-1HPUto

March is here, and that means it's time for another special episode in honor of Women's History Month! This year, Frank joins the fun as we celebrate some of history's most remarkable women through a trivia showdown.We're quizzing each other on famous women in literature and science, covering authors like Harper Lee, Sylvia Plath, and Agatha Christie, and scientific pioneers such as Patricia Bath, Sally Ride, and Grace Hopper. Who will reign supreme in this battle of knowledge? More importantly, how big of a donation will the loser have to make to breast cancer awareness?Also, a special shoutout to our sponsor, Rise & Grind Coffee and their Suffrage Blend – a medium roast sourced from women-owned farms that supports literacy programs. Subscribe for Exclusive Content or to DonateContact Us:Frank: contempconserv@gmail.comReid: contempconserv2@gmail.comFollow Us on Twitter X @contempconservFollow Us on Truth Social @contempconservOur Links:The Wicky Wacky Radio Show on Red CircleThe Wicky Wacky Radio Show on YoutubeConservative Conversations PodcastConservative Conversations on YoutubeSupport this podcast at — https://redcircle.com/contemporary-conservative-audio/exclusive-content

'It was not easy to find a poet in the United States in my reading,who wrote with the clarity and intelligence that Larkin possessed. I found him to be full of surprises..'My guest today is writer David Biespiel who was born in Texas and who is now Poet in residence at Oregan state university. He has written for numerous publications and reviewed poetry for the Washington Post and the New York Times. He has taught creative writing at university across the US., has won many awards and published several books of his own poetry. In preparation for talking to David, he recommended that I have a look at his book A Long High Whistle: Selected Columns on Poetry, published in 2015, which is a collection of his pithy and fascinating articles on poets and poetry.‘I love that they are slender, I love that they are pocket sized, the whole texture of them- the Faber books.'Larkin poems mentioned:Church Going, This Be The Verse, I Remember, I Remember, Dockery and Son, Talking In Bed, Sad Steps, Friday Night In the Royal Station Hotel, Broadcast, An Arundel Tomb, The MowerPoets:John Ashberry, Walt Whitman, TS Eliot, Thom Gunn, Keats, Chaucer, Donne, Elizabeth Bishop, Herbert, Sylvia Plath, Robert Frost, William Stafford, Henry Allenhttps://www.washingtonpost.com/archive/lifestyle/1989/06/03/philip-larkins-everyday-poetry/1a53b1df-d319-43fc-9249-af52238ced60/The Paris Review, Archie Burnett, Martin Amis and Anthony Thwaite collections, US/UK poetry, railway journeys, rhyme schemes, literary tours of UK/Italyhttps://www.amazon.co.uk/Long-High-Whistle-David-Biespiel/dp/1938308107“The past is never dead. It's not even past.”  William Faulkner, Requiem for a Nun (1950)For more about Larkin's Coventry, please watch: Philip Pullen's fantastic 2022 talk at the PLS AGM in Coventry at Larkin's school King Henry VII School.https://www.youtube.com/watch?v=rDOqZ4N_fUk&t=3106s

S3E98 Today's special episode of Ear Read This was recorded on location in Portobello Library, where Ash interviewed novelist Alice Thompson about artificial intelligence, the effect of Edinburgh on the imagination of a writer and the influence of Sylvia Plath.  For copies of books mentioned in the podcast please visit Salt Publishing:  https://www.saltpublishing.com/products/chimera-9781784632540?srsltid=AfmBOoqcVviTu-PSkktp9HMgUK6lSgCGgxLZ48NqRlu-2CDT-vU5Ab0J Or Portobello Bookshop:  https://www.theportobellobookshop.com/contributed-by/alice-thompson And to read my review of Alice's latest novel, Chimera:  https://glasgowreviewofbooks.com/2024/02/07/a-shipload-of-symbolic-freight-on-chimera-by-alice-thompson/ Title Music: 'Not Drunk' by The Joy Drops. All other music by Epidemic Sound.  @earreadthis earreadthis@gmail.com facebook.com/earreadthis

Welcome back to Consider Yourself Hugged! Today, Michelle and I are diving into The Bell Jar by Sylvia Plath—one of the most hauntingly personal books on mental health, identity, and societal pressure. From the weight of expectations on women to the stigma surrounding depression and treatment, this book is filled with themes that still hit home today. But, as ChatGPT pointed out when I was researching, Michelle and I tend to approach heavy topics with a lighter touch—so we'll do our best to balance depth with relatability in today's conversation.

En este video exploramos la relación entre la locura y la creación artística, guiados por las ideas del filósofo Michel Foucault en su obra Historia de la locura en la época clásica. Foucault nos invita a reflexionar sobre cómo la sociedad ha tratado y concebido la locura a lo largo de la historia, especialmente en la transición de la Edad Media a la Modernidad. También analizamos el impacto de la locura en la vida y obra de artistas y escritores excepcionales como el dramaturgo Antonin Artaud, cuya lucha interna se vio reflejada en su revolucionaria propuesta teatral, y dos voces literarias desgarradoras: Alejandra Pizarnik y Sylvia Plath. Ambas, marcadas por su tormentosa relación con la psique y la creación, nos dejaron un legado que sigue siendo un testimonio de cómo el sufrimiento y la locura pueden inspirar algunas de las obras más profundas y complejas del arte y la literatura.

Our librarians suggest some 'easy' reads to 'ease' you into the new year. Check out what we talked about: "Undertow: A Short Story" by Marlena Frank with readalike "The Deep" by Nick Cutter. "Everything Is OK" by Debbie Tung as well as "Happily Ever After and Everything In Between," "Book Love," and "Quiet Girl in a Noisy World" by the same author. "The Yellow Wallpaper" by Charlotte Perkins Gilman with readalike "The Bell Jar" by Sylvia Plath. "Rabbits" by Terry Miles and its sequel "The Quiet Room" by the same author. "What Moves the Dead" by T. Kingfisher with watchalike series "The Fall of the House of Usher" from Netflix. "The Raw Shark Texts" by Steven Hall, likened to the series "Doctor Who" from BBC and the film "Memento" directed by Christopher Nolan. To access complete transcripts for all episodes of Not Your Mother's Library, please visit: oakcreeklibrary.org/podcast Check out books, movies, and other materials through the Milwaukee County Federated Library System: countycat.mcfls.org hoopladigital.com wplc.overdrive.com oakcreeklibrary.org

Pots comprar el llibre aquí: https://www.onallibres.cat/diaris-9788412828627 Aquesta setmana a L'illa de Maians, presentat i dirigit per Bernat Dedéu, parlem del llibre 'Diaris', de Sylvia Plath. L'edita Edicions del cràter el 2024. Traduït per Núria Busquet. En parlem amb Marina Porras i Jaume C. Pons Alorda. Un podcast d'Ona Llibres - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onallibres.cat⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Presentat i dirigit per Bernat Dedéu. Edició i realització per Albert Olaya.

Originally published by The Stinging Fly Press in Ireland on 2015, Claire-Louise Bennett's POND found a wider audience with its UK publisher, the then nascent Fitzcarraldo Editions—the paradigm-shifting house that is currently celebrating its 10th birthday. POND is an extraordinarily erudite book, which wears that erudition extraordinarily lightly. It could be understood as being in dialogue with writers such as Huysmans, Virginia Woolf, Sylvia Plath, John Berger, as well as with any number of contemporary authors who feel determined that their books should be about something. But POND is also funny, earthy, dirty, silly, profound and confounding. In short, it is unlike anything else, the kind of book that defies the “if you liked this, you'll like that” algorithm. Just the kind of book we love at S&Co.Buy Pond: https://www.shakespeareandcompany.com/books/pond*Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before moving to Ireland where she worked in and studied theatre for several years. In 2013 she was awarded the inaugural White Review Short Story Prize and went on to complete her debut book, Pond, which was shortlisted for the Dylan Thomas Prize in 2016. Checkout 19 was published by Jonathan Cape in 2021 and was part of the New York Times 10 Best Books of 2022 Selection.Claire-Louise's fiction and essays have appeared in a number of publications including The White Review, The Stinging Fly, gorse, Harper's Magazine, Vogue Italia, Music & Literature, and The New York Times magazine. She also writes about art and is a frequent contributor to frieze. In addition she has written for Tate etc., and Artforum, and a number of international exhibition catalogues. In 2016 she was writer-in-residence at Temple Bar Gallery & Studio. In 2020, Milan based art publisher Juxta Press published Fish Out Of Water, an essay Claire-Louise wrote in response to a self-portrait painting by Dorothea Tanning. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts 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.

Rumaan Alam is a best-selling author who made a splash in 2020 with his critically acclaimed novel Leave the World Behind. In this episode, from Schwartz Media's podcast Read This, Rumaan joins Michael for a conversation about his latest novel, Entitlement, and they discuss class, desire, and the influence of Sylvia Plath. Reading list: Rich and Pretty, Rumaan Alam, 2016  That Kind of Mother, Rumaan Alam, 2018 Leave the World Behind, Rumaan Alam, 2020 Entitlement, Rumaan Alam, 2024 You can find these books and all the others we mentioned at your favourite independent book store.  Socials: Stay in touch with Read This on Instagram and Twitter Guest: Rumaan Alam

On the latest Friday Morning Coffee episode, host Caitlin Malcuit discusses how intimate partner violence was a factor in Sylvia Plath's suicide and how it continues to be a major public health crisis. She also highlights a WBZ News story featuring Dr. Bharti Khurana, founder and director of the Trauma Imaging Research and Innovation Center, and her team's automated clinical decision support tool for Intimate Partner Violence Risk and Severity Prevention (AIRS). Author Emily Van Duyne then talks with Daniel Ford about her book Loving Sylvia Plath: A Reclamation. To learn more about Emily Van Duyne, follow her on Instagram.  Writer's Bone is proudly sponsored by Libro.fm, Authors for Voices of Color Auction, The Stacks Podcast, As Told To: The Ghostwriting Podcast, and The Shit No One Tells You About Writing. 

Sabrina Katonoff je kvír autorka, redaktorka v magazíne QYS, prispela do viacerých poviedkových zbierok. V novej epizóde Teplej vlny porozprávala, ako sa cez slohové práce a lásku k tvorbe autorstiev ako Sylvia Plath, Simone de Beauvoir, Albert Camus, dostala k písaniu.  Prezradila aká bola aj jej cesta k tranzícii, čo všetko ponižujúce pri tomto procese zažila. Zverila sa tiež s tým ako vníma nenávistnú rétoriku v rámci politiky, ako ju sklamala po teroristickom útoku na Tepláreň. Ako si vyberá svoje témy a ako vníma rôzne prúdy v aktivizme za práva kvír ľudí?  Teplá vlna je podcast Divadla NOMANTINELS, v ktorom sa rozprávame so zaujímavými osobnosťami a ľuďmi zo slovenskej queer komunity o ich živote, inšpiratívnych veciach, ktorými sa zaoberajú a odvahe, ktorá im pomohla prekonať predsudky okolia.  Financované zo zdrojov Európskej únie z programu "Citizens, Equality and Value Programme." Podcast podporil aj Fond na podporu umenia, Bratislavský samosprávny kraj a Nadácia mesta Bratislavy. Partnerom podcastu je denník SME.  

We've decided to wrap up 2024 with a look at a few films that are celebrating their 25th anniversary this year. 1999 has become known as one of the best movie years of all time. While we've already touched on some of the biggest films of that year (THE MATRIX, FIGHT CLUB), there are a handful of films from that year that may not fit into one of our long form series, and we wanted to make sure they got their due. So for this (short) series, each of our hosts have picked out a film from 1999 that they'd like to discuss, starting with Todd's pick, THE IRON GIANT. Brad Bird's debut film has gone on to become a beloved animation classic, but its story didn't start that way: When it debuted in 1999, the film — thanks to a practically non-existent marketing campaign from Warner Bros — came and went from theaters with most audiences totally unaware of its existence. But in the quarter century since, it has not only managed to find an audience, but it's gained a reputation as one of the greatest animated films of all time. In this episode, we trace its origins (which involves, we kid you not, the death of Sylvia Plath and a Pete Townshend album), all the way through its development, release, and eventual rediscovery. We will also, as always, discuss our own thoughts and feelings on the film, its legacy, and the important lessons it has to teach us. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. Up Next: THE BOONDOCK SAINTS. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | Benjamin Yates | Curt M. | Elton Novara | Justin V. | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

Troubled patron saint of confessional poetry? Quintessential literary sad girl? Genius poet rightfully viewed as the heir to Emily Dickinson? In her tragically brief life, Sylvia Plath (1932-1963) somehow managed to inspire all of these images and more. In this episode, Jacke talks to Emily Van Duyne about her book Loving Sylvia Plath: A Reclamation, which delivers a nuanced, passionate exploration of the life and work of one of the most misunderstood writers of the twentieth century. Additional listening: Sylvia Plath (with Mike Palindrome) Sylvia Plath and Ted Hughes (with Heather Clark) Plath, Hughes, and the "Other Woman" - Assia Wevill and Her Writings (with Julie Goodspeed-Chadwick and Peter Steinberg) Sylvia Plath Day by Day (with Carl Rollyson) The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 461 - Susan E. Schwartz, Ph.D. - A licensed clinical psychologist, Jungian Analytical PsychologySusan E. Schwartz, Ph.D. is a Jungian analyst educated in Zurich, Switzerland and is a licensed clinical psychologist. For many years Susan has been giving workshops and presentations at numerous local, national, community and professional organizations, and lectures worldwide on various aspects of Jungian analytical psychology. She has written several journal articles and book chapters on daughters and fathers, Puella, Sylvia Plath and has co-authored a couple of books.She is a member of the International Association of Analytical Psychology and the American Psychological Association. Susan maintains a private practice in Paradise Valley, Arizona serving people in the greater Phoenix area, Tuscon, Prescott and Cottonwood, West Valley, Scottsdale and Tempe.Jungian Analytical PsychologyEach of us harbors within our inner universe a number of characters, parts of ourselves that can cause conflict and distress when not understood. We seem to be relatively unacquainted with these players and their roles and yet they are constantly seeking a stage on which to perform their tragedies and comedies personally, relationally and collectively.A life challenge, crisis or change of any form may feel overwhelming and leave us bewildered, confused, even shattered. The current world with its uncertainty can make us feel isolated and confused. How we coped before works no longer and the former attitudes, beliefs or ways we perceived ourselves are now proving inadequate. The problems reflect what is discordant and unassimilated in our personality. Paradoxically, these very obstacles can also become the incentives and openings to development.The approach of Jungian Analytical Psychology addresses a broad range of emotional and relational situations and conflicts in the service of psychological growth. At the heart of the Jungian process is a realignment of conscious and unconscious energies so the psyche gains balance. Jungian Analytical Psychology is very much experience driven, keeping one foot in the outer world and the other in the realm of dreams, synchronistic events, fantasies, and symbols. Knowing oneself entails a journey so the unconscious, repressed or unknown elements are released, not merely for symptom relief but to transform and become concious. The psychological work involves connecting the past and the present, personal and collective, spiritual and mundane, and thereby creating an embodied and meaningful life. This is a process that is individual and collective, personal and relational and the work occurs in a sensitive and therapeutic atmosphere oriented to becoming all one is meant to be.https://susanschwartzphd.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

Ann Kennedy Smith takes seriously the old saying “behind every great man is a great woman,” bringing to light the complicated, illuminating, fascinating stories of women who made their mark and maybe haven't gotten their due recognition. She brings us into the beauty, sadness, and joy of women's lives and brings an important, compelling perspective. She is the writer behind the popular "Cambridge Ladies Dining Society" Substack and an independent scholar currently focusing on the lives of Victorian women (and beyond) at Cambridge.   Ann conducts herself with class, kindness, and genuine curiosity. She teaches us there are seasons of life for everything - for children and snatching moments of reading in between diaper changes, and for burying oneself in a dusty library at a romantic and beautiful university. On this episode, Katie and Ann were able to discuss some of the specific women she has profiled in her writing (including Katie's personal favorite, Sylvia Plath), how to balance different priorities in different seasons of life, and how to lean into your creative niche. Posts referenced in the episode: The Cambridge Bride Sylvia Plath at Home: Books & Babies & Beef Stews The fascinating Miss Pym Playlist referenced in the intro: https://open.spotify.com/playlist/52mOSwZguzpe6g4gi1OAiz?si=M-Y2Lk4rRFqTJmgVoTWNug  --- www.bornofwonder.com  www.mediamarqcreative.com Born of Wonder Substack   

In today's poem, Plath (who died at 30) contrasts the transience of youth and nature with the seeming permanence of art and artifice. (I even make time for a brief shout-out to a not-so-transitory Golden Mouth.) Happy reading. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

** TW: This episode contains themes of suicide **Sylvia Plath was one of the most influential writers of the 20th century.During and since she died, she became known for her volatile relationship with fellow poet, Ted Hughes, as much as her own beautiful, confessional writing.What was Sylvia Plath like as a woman? What drew her and Ted Hughes to each other? And how did sex and sexuality influence her personality and writing?Joining Kate today is Emily van Dyne, author of Loving Sylvia Plath: A Reclamation, to dispel some of the myths and help us get to know this remarkable woman.This podcast was edited by Tom Delargy. The producer was Stuart Beckwith. The senior producer was Charlotte Long.Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Sign here for up to 50% for 3 months using code BETWIXTYou can take part in our listener survey here.

The Barbizon Hotel was a place of freedom and upward mobility for many ambitious young women in the 20th century, including women like Sylvia Plath and Grace Kelly. The debut novel from former Dear Prudence advice columnist Daniel Lavery tells the story of people working and living at a similar kind of hotel. Lavery joins us to discuss the book Women's Hotel.

Donate to our October 2024 OVERCOMING THE DARKNESS campaign at https://weirddarkness.com/overcoming. Weird Darkness is narrated by professional full-time voice actor Darren Marlar. No A.I. voices are ever used in the show.IN THIS EPISODE: The Bermuda Triangle isn't the only watery region with a reputation for unexplainable events and tragedies. For centuries, a triangular portion of Lake Michigan has been ground zero for sunken ships, disappearing crews, and vanishing aircraft. As if these incidents aren't creepy enough, what is now known as the Lake Michigan Triangle is also notorious for UFO sightings and strange lights appearing on the horizon. (The Lake Michigan Paranormal Triangle) *** There's a beast living in the woodlands outside of Rhinelander, Wisconsin – and its description is beyond belief. I'll introduce you to the hodag! (Meet the Hodag) *** Sylvia Plath died by suicide at the age of 30 on February 11, 1963, following a barrage of literary rejections and her husband's infidelity. We'll look at her haunting story and tragic death. (The Tragic Death of Sylvia Plath) *** It's approximately four hundred years old, full of colorful illustrations of plants, flowers, the stars, women, medicinal herbs, and text… yet no one has been able to decipher exactly what the Voynich Manuscript is for or what it says. (The Voynich Manuscript) *** The disappearance of a person is a tragedy no matter how you look at it. When we first read about missing people we usually automatically assume the most logical explanation was what happened. But what if we're wrong? We'll look at the vanishing of Claude and Sue Shelton. (The Shelton Disappearance) *** Unlike their Hollywood counterparts, the real-life Men in Black are mysterious figures who threaten people who have reported paranormal experiences.CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Cold Open and Show Intro00:05:12.932 = Intimidating and Terrifying Men In Black00:15:17.680 = Shelton Disappearance00:27:31.524 = Lake Michigan Paranormal Triangle00:46:12.087 = Tragic Death of Sylvia Plath00:55:06.005 = Voynich Manuscript01:03:52.145 = Meet The Hodag01:12:47.631 = Show OutroSOURCES AND REFERENCES FROM THE EPISODE…BOOK: “The Knew Too Much About Flying Saucers” by Gray Barker: https://amzn.to/3FMkmXZBOOK: “Flying Saucers And The Three Men” by Albert Bender: https://amzn.to/40IKixr“The Lake Michigan Paranornal Triangle” by Megan Summers for Graveyard Shift: https://weirddarkness.tiny.us/y2zb3xjd“The Tragic Death of Sylvia Plath” by Kaleena Fraga for All That's Interesting: https://weirddarkness.tiny.us/5764u398“The Voynich Manuscript” by Shelly Barclay for Historic Mysteries: https://weirddarkness.tiny.us/2p8a92bu“Meet the Hodag” from The Ghost In My Machine: https://weirddarkness.tiny.us/2p8bv8ws (PHOTOS of the captured hodag: https://weirddarkness.tiny.us/2p8u5abz; statue in front of Chamber of Commerce:https://weirddarkness.tiny.us/2p8c3h38; statue at ice arena: https://explorerhinelander.com/Listings/rhinelander-ice-arena/)“The Shelton Disappearance” by Crystal Dawn for Lost N' Found Blogs: https://weirddarkness.tiny.us/yckkskp7“The Intimidating and Terrifying Men in Black” by Austin Harvey for All That's Interesting:https://weirddarkness.tiny.us/3ccn32bjWeird Darkness theme by Alibi Music Library. = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: November 07, 2023CUSTOM LANDING PAGE: https://weirddarkness.com/InhumanMIB

Today's poem demonstrates that, unlike Arnold's sideburns, loving the Bard never goes out of style. Although remembered now for his elegantly argued critical essays, Matthew Arnold, born in Laleham, Middlesex, on December 24, 1822, began his career as a poet, winning early recognition as a student at the Rugby School where his father, Thomas Arnold, had earned national acclaim as a strict and innovative headmaster. Arnold also studied at Balliol College, Oxford University. In 1844, after completing his undergraduate degree at Oxford, he returned to Rugby as a teacher of classics.After marrying in 1851, Arnold began work as a government school inspector, a grueling position which nonetheless afforded him the opportunity to travel throughout England and the Continent. Throughout his thirty-five years in this position Arnold developed an interest in education, an interest which fed into both his critical works and his poetry. Empedocles on Etna (1852) and Poems (1853) established Arnold's reputation as a poet and, in 1857, he was offered a position, which he accepted and held until 1867, as Professor of Poetry at Oxford. Arnold became the first professor to lecture in English rather than Latin. During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.Meditative and rhetorical, Arnold's poetry often wrestles with problems of psychological isolation. In “To Marguerite—Continued,” for example, Arnold revises John Donne's assertion that “No man is an island,” suggesting that we “mortals” are indeed “in the sea of life enisled.” Other well-known poems, such as “Dover Beach,” link the problem of isolation with what Arnold saw as the dwindling faith of his time. Despite his own religious doubts, a source of great anxiety for him, in several essays Arnold sought to establish the essential truth of Christianity. His most influential essays, however, were those on literary topics. In “The Function of Criticism” (1865) and “The Study of Poetry” (1880) Arnold called for a new epic poetry: a poetry that would address the moral needs of his readers, “to animate and ennoble them.” Arnold's arguments, for a renewed religious faith and an adoption of classical aesthetics and morals, are particularly representative of mainstream Victorian intellectual concerns. His approach—his gentlemanly and subtle style—to these issues, however, established criticism as an art form, and has influenced almost every major English critic since, including T. S. Eliot, Lionel Trilling, and Harold Bloom. Though perhaps less obvious, the tremendous influence of his poetry, which addresses the poet's most innermost feelings with complete transparency, can easily be seen in writers as different from each other as W. B. Yeats, James Wright, Sylvia Plath, and Sharon Olds. Late in life, in 1883 and 1886, Arnold made two lecturing tours of the United States.Matthew Arnold died in Liverpool on April 15, 1888.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Who better to explore syllabic poetry with than the Oxford Professor of Poetry, A.E. Stallings?! In this episode, we edge the perimeter of formal verse and free verse to arrive at this all-too-often dismissed poetic genre. We discuss Fibonacci poems, haiku stanzas, Sylvia Plath, and Marianne Moore. Lucky for us, A.E. Stallings shares some of her latest syllabic verse. At the Table: Katie Dozier Timothy Green A.E. Stallings Joe Barca Brian O'Sullivan Dick Westheimer

‘A gift, a love gift / Utterly unasked for / By a sky' This week, Sally has been reading Sylvia Plath's ‘Poppies in October' (1963). Join her for this brief mediation on living generously and the restorative powers of reading poetry. The text of the poem can be found here. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

The Writers Advice Podcast is bought to you by Booksprout. Booksprout is my go-to platform to share my stories with readers to engage with reviewers before they are launched with the rest of the world. Head to booksprout to increase your online reviews today! and THE WRITERS JOURNAL. Grab your copy here. && The AUTHORS BUSINESS JOURNAL All my other downloadable writing resources This week on the Writers Advice Podcast I am joined by Author, Brooke Hardwick: On this episode Brooke and I talk about: -Making the commitment to go all in on your writing -How our experiences shape our ideas and stories -Her reccomended writing courses -How to pitch your book -And all of Brooke's advice for up and coming writers. -And her brand now book, The Fog. Check it out here Grab a copy of my latest release - Adventure of a Lifetime HERE JOIN THE WRITERS ADVICE FACEBOOK GROUP Become a part of my ARC TEAM HERE Join us on Instagram: @writersadvicepodcast Contact Brooke:Website: brookehardwick.comInstagram: @brookeharwickwriter Contact Me:Website: oliviahillier.comInstagram: @oliviahillierauthorTikTok: @oliviahillierauthor

Ted Hughes, one of the giants of twentieth-century British poetry, was born in Mytholmroyd, Yorkshire. After serving in the Royal Air Force, Hughes attended Cambridge, where he studied archeology and anthropology and took a special interest in myths and legends. In 1956, he met and married the American poet Sylvia Plath, who encouraged him to submit his manuscript to a first-book contest run by the Poetry Center. Awarded first prize by judges Marianne Moore, W. H. Auden, and Stephen Spender, The Hawk in the Rain (Faber & Faber, 1957) secured Hughes's reputation as a poet of international stature. According to poet and critic Robert B. Shaw, Hughes's poetry signaled a dramatic departure from the prevailing modes of the period. The stereotypical poem of the time was determined not to risk too much: politely domestic in its subject matter, understated and mildly ironic in style. By contrast, Hughes marshaled a language of nearly Shakespearean resonance to explore themes which were mythic and elemental.Hughes remained a controversial figure after Plath's suicide left him as her literary executor and he refused (citing family privacy) to publish many of her papers. Nevertheless, his long career included unprecedented best-selling volumes such as Lupercal (Faber & Faber, 1960), Crow (Faber & Faber, 1970), Selected Poems 1957–1981 (Faber & Faber, 1982), and Birthday Letters (Faber & Faber, 1998), as well as many beloved children's books, including The Iron Man (Faber & Faber, 1968), which was adapted as The Iron Giant (1999). With Seamus Heaney, he edited the popular anthologies The Rattle Bag (Faber & Faber, 1982) and The School Bag (Faber & Faber, 1997). Hughes was named executor of Plath's literary estate and he edited several volumes of her work. Hughes also translated works from classical authors, including Ovid and Aeschylus. Hughes was appointed Britain's Poet Laureate in 1984, a post he held until his death in 1998. Among his many awards, he was appointed to the Order of Merit, one of Britain's highest honors.Hughes married Carol Orchard in 1970, and the couple lived on a small farm in Devon until his death. His forays into translations, essays, and criticism were noted for their intelligence and range. Hughes continued writing and publishing poems until his death from cancer on October 28, 1998. A memorial to Hughes in the famed Poets' Corner of Westminster Abbey was unveiled in 2011.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Subscriber-only episodeSend us a Text Message.Amy discusses the good and bad of audiobook narration in this week's bonus episode, then dives into the origins of the commercial audiobook industry. Founded in 1952, Caedmon Records was the brainchild of two young women who achieved their smash debut success by convincing Dylan Thomas to record himself reading some of his most popular work, including “A Child's Christmas in Wales.” The recording company went on to record LPs of work by a wide array of literary stars, including Gertrude Stein, Sylvia Plath, Ernest Hemingway, T.S. Eliot and J.R.R. Tolkien, thus paving the way for today's burgeoning audiobook market.For episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

The relationship between literature and "madwomen" has deep roots. In this episode, Jacke talks to author Suzanne Scanlon (Committed: On Meaning and Madwomen) about her efforts to reclaim the idea of the madwoman as a template for insight and transcendence. PLUS Jacke talks to Adhar Noor Desai (Blotted Lines: Early Modern English Literature and the Poetics of Discomposition) about his choice for the last book he will ever read. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on The Broski Report, Fearless Leader Brittany Broski breaks down The Bell Jar by Sylvia Plath and Crime & Punishment before diving into the world of Bridgerton and what she would serve Stanley Tucci for dinner.