Podcast appearances and mentions of Sylvia Plath

Thu, 26 Feb 2026 17:15:00 GMT http://relay.fm/conduit/122 http://relay.fm/conduit/122 Kathy Campbell and Jay Miller Jay is gone again, so Kathy brings back Merlin Mann to discuss productivity porn as well as a ton of other topics of import. Jay is gone again, so Kathy brings back Merlin Mann to discuss productivity porn as well as a ton of other topics of import. clean 5583 Jay is gone again, so Kathy brings back Merlin Mann to discuss productivity porn as well as a ton of other topics of import. Guest Starring: Merlin Mann Links and Show Notes: Checked Connections - Merlin ✅ - Working on collecting the old sites and Fives list - Kathy ✅ - Get ready for unicorning cowork Keep sending those MyConduit Connections to us on Discord and through Feedback! New Connections - Merlin - Keep working on the site thing - Kathy - Take things to the post office For Our Super Conductors: Pre-Show: LIDar on iOS. How do you know if you're ladder is against the right wall? Post-Show: Embracing the chaos Credits Music: When You Smile Executive Producers: Relay FM Discord Community Conduit e122 Links Merlin's One Good Things Where Everybody Knows Your Name: Judy Greer (Ted Danson, Conan O'Brien Network) -- "I went in thinking, oh, this looks really good, and I ended up liking it probably twice as much as I expected." Judy Greer -- Cheryl/Carol on Archer, Kitty Sanchez on Arrested Development. "It was neat to hear her talk about how important it was for her to get better at acting." Typora -- WYSIWYG Markdown editor ($15). "A really nice balance of what I'm looking for" -- discovered through the 5ives redesign work with Claude. Judi Dench speech on The Graham Norton Show -- "Made me cry." Kathy's One Good Thing Flavor Flav sponsoring the US women's hockey team -- Vegas celebration for the gold-medal team. Merlin responded by rapping "Bring the Noise" from memory. Merlin's Shows Do By Friday (with Alex Cox) Reconcilable Differences (with John Siracusa) Roderick on the Line (with John Roderick) Productivity / Publishing Inbox Zero -- "I'm the inbox zero guy." Merlin originated the concept; the world turned it into a marketing term. 43folders.com -- "In 2004, there were not a lot of websites about how to deal with your productivity problems as a Mac user." Back to Work (5by5) -- former podcast David Allen / Getting Things Done -- "He claims he's the laziest man in the world, and I've always admired that he says that." Danny O'Brien and the 2005 ETech "Life Hacks" talk -- "Danny and I are both so addled and odd and different... his energy was just incandescent to be around." The conference where Merlin's laptop had Wi-Fi for the first time. Site Meter -- "There's your life before site meter and your life after site meter." The little GIF badge that counted page loads and launched a million blog vanity spirals. 5ives & Typography 5ives -- Merlin's list site (2002), 450 lists, being revived. "I'm pleased with myself. I like that I made four hundred and fifty lists that some people thought were funny in the 2000s." Matthew Butterick -- fonts, Practical Typography. "One of those people where I'm just interested in your deal," like Simon Willison or Edgar Wright. Merlin bought the entire font set during a bout of situational depression and is finally using them for the 5ives redesign. Movies & TV The Hollow Crown (BBC) -- Trailer. "Look at that stacked cast." Ben Whishaw, Tom Hiddleston, Sophie Okonedo, Rory Kinnear. Merlin told Kathy to buy it on Apple TV "or I can pirate it for you." Kenneth Branagh's Henry V (1989) -- "My number one movie that I recommend." "You don't even need to understand what they're saying. It'll still give you shivers." Mark Rylance: St. Crispin's Day speech at the Globe -- "It gives you a different kind of shivers, like a different part of your neck and your back." Merlin recited part of the speech from memory. The Death of Stalin (2017) -- "A very dark, very funny film" by Armando Iannucci. Veep / The Thick of It -- "It's gonna be difficult difficult lemon difficult." Both Iannucci. Led to Merlin imagining Matthew Butterick as a Veep restaurant reservation alias. Women Talking (2022) / Men (2022) -- Merlin's suggested double feature for mom's night. "Start with Women Talking, back with Men." Jessie Buckley, Rory Kinnear. Our Flag Means Death -- Merlin named his Mac Studio "Buttons" after Ewen Bremner's Mr. Buttons ("the guy from Trainspotting"). Rhys Darby, Kristian Nairn ("Hodor's on there. He's a big fella."). Fantastic Mr. Fox (2009) -- "Just to be available." Merlin's favorite line, from Mr. Kylie the possum wanting to know his job in the big plan. Music Vikingur Olafsson: Goldberg Variations (Deutsche Grammophon, 2023) -- Merlin's current obsession. "I care so intensely about that." Discovered after years of only knowing Glenn Gould. Glenn Gould: 1955 vs. 1981 Goldberg Variations -- The famous pair: 38 minutes of youthful showmanship vs. 51 minutes of deliberate structure. Public Enemy -- "Bring the Noise" -- Merlin rapped the full opening verse from memory when Kathy mentioned Flavor Flav. "Bass, how low can you go?" Poetry Gwendolyn Brooks -- "We Real Cool" (video of her 1983 Guggenheim reading) -- "We real cool. We jazz June. We die soon." Merlin on hearing poetry "in the air" vs. on the page. Sylvia Plath -- "Daddy" (her 1962 BBC recording) -- "You do not do, you do not do... you really hear something you didn't see on the page." Books & Podcasts Bessel van der Kolk on The Ezra Klein Show -- "One of my all-time favorite podcast episodes. It changed my life. Everything you know about trauma is screwing you up." Off Menu -- celebrities describe their dream meal. The Amanda Seyfried episode taught Merlin about a kind of olive he now puts on Brussels sprouts. Mr. Show with Bob and David -- source of the "hey everybody" drum bit Merlin does throughout. "I'm very, very, very specifically stealing it from a bit about the new Ku Klux Klan." Blank Check (Griffin Newman) -- source of "the great ___" bit. "I'll credit Griffin Newman for that bit." People James Thompson (PCalc, Dice by PCalc) -- "What if twenty-sided dice fell on your head?" Merlin on how James finds delight in close-to-the-metal Apple tech. Armando Iannucci -- "If you like English nerd comedy, he's really something." Simon Willison, Matt Webb, danah boyd -- people Merlin follows because "I'm just interested in your deal." Edgar Wright -- "I will just show up because I'm interested in what he's up to. I don't even care if I like his movie." Ecamm Live -- streaming app Kathy uses for her unicorn co-working sessions. Pre-Show (Superconductors only) LiDAR accessibility features on iPhone -- Merlin fiddled with it on the street, "pointing his phone at people for a very long time." Apple's breathing sleep LED -- the MacBook pulsing light. Kathy: "So relaxing, so unnecessary and delightful." Apple researched sleeping respiratory rates and chose the calmest end of the spectrum. Erich Brenn, plate spinner, on The Ed Sullivan Show -- the origin of "spinning plates" as a metaphor. 8 appearances in the 1950s-60s. Support Conduit with a Relay Membership

Thu, 26 Feb 2026 17:15:00 GMT http://relay.fm/conduit/122 http://relay.fm/conduit/122 There is No One True Anything with Merlin Mann 122 Kathy Campbell and Jay Miller Jay is gone again, so Kathy brings back Merlin Mann to discuss productivity porn as well as a ton of other topics of import. Jay is gone again, so Kathy brings back Merlin Mann to discuss productivity porn as well as a ton of other topics of import. clean 5583 Jay is gone again, so Kathy brings back Merlin Mann to discuss productivity porn as well as a ton of other topics of import. Guest Starring: Merlin Mann Links and Show Notes: Checked Connections - Merlin ✅ - Working on collecting the old sites and Fives list - Kathy ✅ - Get ready for unicorning cowork Keep sending those MyConduit Connections to us on Discord and through Feedback! New Connections - Merlin - Keep working on the site thing - Kathy - Take things to the post office For Our Super Conductors: Pre-Show: LIDar on iOS. How do you know if you're ladder is against the right wall? Post-Show: Embracing the chaos Credits Music: When You Smile Executive Producers: Relay FM Discord Community Conduit e122 Links Merlin's One Good Things Where Everybody Knows Your Name: Judy Greer (Ted Danson, Conan O'Brien Network) -- "I went in thinking, oh, this looks really good, and I ended up liking it probably twice as much as I expected." Judy Greer -- Cheryl/Carol on Archer, Kitty Sanchez on Arrested Development. "It was neat to hear her talk about how important it was for her to get better at acting." Typora -- WYSIWYG Markdown editor ($15). "A really nice balance of what I'm looking for" -- discovered through the 5ives redesign work with Claude. Judi Dench speech on The Graham Norton Show -- "Made me cry." Kathy's One Good Thing Flavor Flav sponsoring the US women's hockey team -- Vegas celebration for the gold-medal team. Merlin responded by rapping "Bring the Noise" from memory. Merlin's Shows Do By Friday (with Alex Cox) Reconcilable Differences (with John Siracusa) Roderick on the Line (with John Roderick) Productivity / Publishing Inbox Zero -- "I'm the inbox zero guy." Merlin originated the concept; the world turned it into a marketing term. 43folders.com -- "In 2004, there were not a lot of websites about how to deal with your productivity problems as a Mac user." Back to Work (5by5) -- former podcast David Allen / Getting Things Done -- "He claims he's the laziest man in the world, and I've always admired that he says that." Danny O'Brien and the 2005 ETech "Life Hacks" talk -- "Danny and I are both so addled and odd and different... his energy was just incandescent to be around." The conference where Merlin's laptop had Wi-Fi for the first time. Site Meter -- "There's your life before site meter and your life after site meter." The little GIF badge that counted page loads and launched a million blog vanity spirals. 5ives & Typography 5ives -- Merlin's list site (2002), 450 lists, being revived. "I'm pleased with myself. I like that I made four hundred and fifty lists that some people thought were funny in the 2000s." Matthew Butterick -- fonts, Practical Typography. "One of those people where I'm just interested in your deal," like Simon Willison or Edgar Wright. Merlin bought the entire font set during a bout of situational depression and is finally using them for the 5ives redesign. Movies & TV The Hollow Crown (BBC) -- Trailer. "Look at that stacked cast." Ben Whishaw, Tom Hiddleston, Sophie Okonedo, Rory Kinnear. Merlin told Kathy to buy it on Apple TV "or I can pirate it for you." Kenneth Branagh's Henry V (1989) -- "My number one movie that I recommend." "You don't even need to understand what they're saying. It'll still give you shivers." Mark Rylance: St. Crispin's Day speech at the Globe -- "It gives you a different kind of shivers, like a different part of your neck and your back." Merlin recited part of the speech from memory. The Death of Stalin (2017) -- "A very dark, very funny film" by Armando Iannucci. Veep / The Thick of It -- "It's gonna be difficult difficult lemon difficult." Both Iannucci. Led to Merlin imagining Matthew Butterick as a Veep restaurant reservation alias. Women Talking (2022) / Men (2022) -- Merlin's suggested double feature for mom's night. "Start with Women Talking, back with Men." Jessie Buckley, Rory Kinnear. Our Flag Means Death -- Merlin named his Mac Studio "Buttons" after Ewen Bremner's Mr. Buttons ("the guy from Trainspotting"). Rhys Darby, Kristian Nairn ("Hodor's on there. He's a big fella."). Fantastic Mr. Fox (2009) -- "Just to be available." Merlin's favorite line, from Mr. Kylie the possum wanting to know his job in the big plan. Music Vikingur Olafsson: Goldberg Variations (Deutsche Grammophon, 2023) -- Merlin's current obsession. "I care so intensely about that." Discovered after years of only knowing Glenn Gould. Glenn Gould: 1955 vs. 1981 Goldberg Variations -- The famous pair: 38 minutes of youthful showmanship vs. 51 minutes of deliberate structure. Public Enemy -- "Bring the Noise" -- Merlin rapped the full opening verse from memory when Kathy mentioned Flavor Flav. "Bass, how low can you go?" Poetry Gwendolyn Brooks -- "We Real Cool" (video of her 1983 Guggenheim reading) -- "We real cool. We jazz June. We die soon." Merlin on hearing poetry "in the air" vs. on the page. Sylvia Plath -- "Daddy" (her 1962 BBC recording) -- "You do not do, you do not do... you really hear something you didn't see on the page." Books & Podcasts Bessel van der Kolk on The Ezra Klein Show -- "One of my all-time favorite podcast episodes. It changed my life. Everything you know about trauma is screwing you up." Off Menu -- celebrities describe their dream meal. The Amanda Seyfried episode taught Merlin about a kind of olive he now puts on Brussels sprouts. Mr. Show with Bob and David -- source of the "hey everybody" drum bit Merlin does throughout. "I'm very, very, very specifically stealing it from a bit about the new Ku Klux Klan." Blank Check (Griffin Newman) -- source of "the great ___" bit. "I'll credit Griffin Newman for that bit." People James Thompson (PCalc, Dice by PCalc) -- "What if twenty-sided dice fell on your head?" Merlin on how James finds delight in close-to-the-metal Apple tech. Armando Iannucci -- "If you like English nerd comedy, he's really something." Simon Willison, Matt Webb, danah boyd -- people Merlin follows because "I'm just interested in your deal." Edgar Wright -- "I will just show up because I'm interested in what he's up to. I don't even care if I like his movie." Ecamm Live -- streaming app Kathy uses for her unicorn co-working sessions. Pre-Show (Superconductors only) LiDAR accessibility features on iPhone -- Merlin fiddled with it on the street, "pointing his phone at people for a very long time." Apple's breathing sleep LED -- the MacBook pulsing light. Kathy: "So relaxing, so unnecessary and delightful." Apple researched sleeping respiratory rates and chose the calmest end of the spectrum. Erich Brenn, plate spinner, on The Ed Sullivan Show -- the origin of "spinning plates" as a metaphor. 8 appearances in the 1950s-60s. Support Conduit with a Relay Membership

Daan Doesborgh gaat in gesprek met Yasmin Namavar over Sylvia Plath, paradoxen en de zin en onzin van close reading. Dank aan het Harry Mulisch Huis voor het beschikbaar stellen van de werkkamer voor deze opname, en tot ziens in België!

Jeff & Shannon celebrate Jeff's birthday (shared with Lincoln's 217th), shred Dataset 12's coded journals exposing a teenage victim's nightmare as a human incubator in Epstein's depraved breeding program, connect Bannon's Epstein ties, and call out elite protection rackets. Tune in at Rumble, YouTube, X and Red State Talk Radio! Patriots, hold on tight—this episode packs a patriotic punch from start to finish in **Season 8, Episode 029, "The Coded Journals in the Epstein Files That Hide a Teenage Girl's Horrific Story"**! @intheMatrixxx and @shadygrooove kick things off with a massive surprise birthday bash for Jeff (@intheMatrixxx), who shares the date with Abraham Lincoln's 217th birthday. Custom songs from Mikey Mariano, AARP memes, viewer Rumble rants, gift subs, and even a special "Happy birthday, Jeffrey, you're a true patriot" text straight from President Trump set the high-energy tone. Jeff reflects on his premature birth in the Land of Lincoln, breech at 5.7 ounces, and growing up with the Emancipation Proclamation on the wall—perfect backdrop for honoring the man who kept America from being torn apart by globalist bankers. Then the show dives straight into the gut-wrenching core: **Dataset 12** from the justice.gov/Epstein files, released under the Epstein Files Transparency Act. These are the raw, coded journals of a teenage victim starting at age 16—magazine cutouts, glued birthday cards for her 16th, sonograms, Sylvia Plath poems with underlined lines, and vertically readable handwritten codes documenting years of sexual slavery, repeated forced pregnancies, and babies ripped away minutes after birth, sometimes with Ghislaine Maxwell in the room ordering her to "close your eyes." She names the monsters: Leon Black (violent rapes), George Mitchell, Ted Leonsis, Steve Case, James Kimsey, John Colgan, "The Gregorys," and more from the flights and yachts of horror. The victim describes being used as a "human incubator" for a so-called superior gene pool—Epstein's eugenics obsession tied to hair color, eye color, musical talent—feeling "very Nazi-like" in her own words. This isn't speculation; it's her documented trauma, provable in court, exposing a systematic breeding program the mainstream media blackouts while obsessing over distractions. Jeff and Shannon connect the dots they've been targeted for years over: genetics, bloodlines, MKUltra-style programming, hot/cold treatment, compartmentalized minds, and the "born in" pattern from historical operations like Paperclip. They contrast this hard evidence against Pizzagate-style noise, slam the two-tiered justice system protecting elites, and spotlight networks working overtime to silence the truth—including deep ties like Steve Bannon borrowing Epstein's plane (not friendship, but partnership and cohorts), his silence on the files, and contradictions to his public MAGA persona. They also break down the Super Bowl LIX Bad Bunny halftime viewership crash (nearly 20% drops in markets like Boston and Seattle), elite disconnect, virtue-signaling rage bait, and the NFL's shame—plus a quick hat tip to Pam Bondi's congressional "Anons" gesture on Brennan indictments. After 8 years of fighting censorship, deplatforming, and attacks for exposing bloodline control and child protection, the message is clear: enough is enough. The truth is learned, never told. The constitution is your weapon. Tune in at noon-0-five Eastern LIVE to stand with Trump! MG Show: America First MAGA Podcast & Conservative Talk Show Launched in 2019 and now in Season 8, the MG Show is your go-to source for unfiltered truth on Trump policies, border security, economic nationalism, and exposing globalist psyops. Hosted by Jeffrey Pedersen (@InTheMatrixxx) and Shannon Townsend (@ShadyGrooove), it champions sovereignty, traditional values, and critiques of establishment politics. Tune in weekdays at 12pm ET / 9am PT for patriotic insights strengthening the Republic under President Trump's America First agenda. Hosts - Jeffrey Pedersen (@InTheMatrixxx): Expert in political analysis and exposing hidden agendas, with a focus on Trump's diplomatic wins and media bias. - Shannon Townsend (@ShadyGrooove): Delivers sharp insights on intelligence operations, Constitutional rights, and defenses of Trump's strategies against mainstream critiques. Where to Watch & Listen Catch live episodes or on-demand replays packed with MAGA victories like inflation drops, border awards, Trump pardons, and psyop exposures: - Live Streams: https://rumble.com/mgshow for premium America First content. - Radio: https://mgshow.link/redstate on Red State Talk Radio. - X Live: https://x.com/inthematrixxx for real-time pro-Trump discussions. - Podcasts: Search "MG Show" on PodBean, Apple Podcasts, Pandora, and Amazon Music. - YouTube: Full episodes at https://youtube.com/c/inthematrixxx and https://www.youtube.com/c/TruthForFreedom. Follow for daily pro-Trump alerts: - X: @InTheMatrixxx (https://x.com/inthematrixxx) and @ShadyGrooove (https://x.com/shadygrooove). Support the MG Show Fuel the MAGA movement against establishment lies: - Donate: https://mg.show/support or contribute at https://givesendgo.com/helpmgshow. - Merch: https://merch.mg.show for official gear. - MyPillow Special: Use code MGSHOW at https://mypillow.com/mgshow. - Crypto: https://mgshow.link/rumblewallet. All Links Everything MG Show Related: https://linktr.ee/mgshow. MG Show Anthem Get chills with the patriotic track: https://youtu.be/SyfI8_fnCAs

she was in the grip of the most ferocious creative surge of her life.

Klaus bringt uns zum Rande des Meeres und zeigt uns sein ganz besonderes, musikalisches Treibgut. Irgendwo zwischen Sehnsucht, Wehmut, Entspannung und Americana... und was eine Strohgitarre ist, erklärt er uns sogar auch noch. Spotify Playlist 26 (mit den sensationellen Songs aus unserem Podcast) Achtung: Die Liste enthält natürlich nur die auf Spotify verfügbaren Titel. Wie wir aber alle wissen, gibt es noch ein Musikuniversum jenseits von Streaming. Facebook (mit News aus der Rockmusik und allem, was glücklich macht) YouTube (der ganze Rest) Anregungen, Ideen? Dann schreibt uns doch mal - wmruv2021@gmail.com Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. (00:00) Kapitel 1

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series. And BEAUTIFUL PEOPLE is available from Bridwell Press. James's ROMANTIC COMEDY is available from Four Way Books.NOTES:Gwendolyn Brooks published "The Bean Eaters" in Poetry Magazine in 1959. Check out the video of this interview with Gwendolyn Brooks. Here is Sylvia Plath's "Aftermath." Listen to this October 1962 interview with Plath by Peter Orr for the British Council. Read Gary Soto's "Avocado Lake." Linda Pastan published her poem "Waiting Room" in the October 1984 issue of Poetry. Here's Suji Kwok Kim's "Occupation" which appeared in the July 1994 Poetry. Here is a 2008 reading by Kim (~28 min).Watch Cher introduce her song "Just Like Jesse James" during her Farewell Tour.Read "The Speed of Darkness" by Muriel Rukeyser.

V Gallusovi dvorani Cankarjevega doma je premiero doživel poetični spektakel Orfej in Evridika, ki vsem dobro znani grški mit pretvori v poetično premišljevanje o smrti in ženski emancipaciji. Predstavo je režiral Jan Krmelj, avtorica besedila je Urša Majcen. Predstava je nastala v koprodukciji Cankarjevega doma, Mestnega gledališča ljubljanskega in En–Knapa. Avtorica besedila: Urša Majcen Avtor glasbe: Sašo Vollmaier Režiser: Jan Krmelj Koreograf: Iztok Kovač Dramaturginja: Petra Pogorevc Scenograf: Lin Japelj Kostumografka: Brina Vidic Lektorica: Klasja Kovačič Oblikovalca zvoka: Matej Čelik, Jure Žigon Oblikovalec svetlobe: Andrej Hajdinjak Oblikovalec videa: Gašper Torkar Avtorja priredbe besedila: Jan Krmelj, Petra Pogorevc Avtor aranžmajev in korepetitor: Sašo Vollmaier Perzefona: Nataša Tič Ralijan Virginia Woolf, Sylvia Plath, Sarah Kane: Ajda Smrekar Evridika: Lena Hribar Škrlec Orfej: Matic Lukšič Haron: Filip Samobor Kerber: Lara Wolf k. g. Tantal: Gregor Gruden Sizif: Joseph Nzobandora - Jose Ixion: Gal Oblak k. g. Zbor: Veronika Železnik k. g., Filip Štepec k. g., Mattia Cason, Matija Franješ, Tina Habun, Fiona Macbride, Carolina Alessandra Valentini, Nika Zidar Had: Sašo Vollmaier

Hello Seekers! Ben here, today Hesse, Jacques and I open up the show with a discussion on Venezuela. Then we get into some new eating techniques Jacques is developing and end the show by forgetting about how Sylvia Plath died.

On this episode, Madeline Blair, founder and editor of the literary magazine Sabr Tooth Tiger, talks about her development as a lover and writer of poetry, how balancing reading online publications can run up against her day job, and how she discovers new pieces to read. You also get to hear me have a bit of an existential crisis in real time which happens every time I think about how much content there is out there to read.    Sabr Tooth Tiger   Books mentioned in this episode:    What Betsy's reading:  The Sisters by Jonas Hassan Khemiri  There is No Place for Us by Brian Goldstone   Books Highlighted by Madeline: Crossing the Water by Sylvia Plath  Ariel by Sylvia Plath  Wicked by Gregory Maguire Monsters, Clowns, and the Holy Fool by Satori Na The Poet's Companion by Kim Addonizio  Letters to Milena by Franz Kafka The Unabridged Journals of Sylvia Plath by Sylvia Plath   All books available on my Bookshop.org episode page.   Other books mentioned in this episode: Johnny Panic and the Bible of Dreams by Sylvia Plath  Girls That Never Die by Safia Elhillo  The Diary of Anaïs Nin by Anaïs Nin  The Intentions of Thunder by Patricia Smith  Poems 1962-2012 by Louise Glück  Selected Poems of Frank O'Hara by Frank O'Hara  Men in the Off Hours by Anne Carson  Tender is the Flesh by Augustina Bzaterrica  Dubliners by James Joyce  The Idaho Four by James Patterson & Vicky Ward  The Wild Fox of Yemen by Threa Almontaser

Hva er likheten mellom Lily Allens snakkisalbum West End Girl og Sigrid Undset, Sylvia Plath, Miranda July og Mary Shelley?Den britiske popartisten Lily Allens skilsmissealbum West End Girl har skapt storm siden det kom i oktober, så til de grader at vi nå befinner oss i en såkalt «West End Girl Winter».De fjorten sangene forteller om eksmannen og Stranger Things-skuespilleren David Harbours svik og parets påfølgende skilsmisse, i et brutalt og selvransakende oppgjør med tiden de hadde sammen og med samfunnets forestillinger om den moderne kvinnen. I musikkens verden er oppbruddsplater en lang tradisjon, og Allen selv har omtalt albumet som autofiksjon – fiksjon tett knyttet til egne erfaringer.Forfatter og litteraturprofessor Janne Stigen Drangsholt mener derimot at albumet ikke enkelt kan leses som et stykke virkeligheteslitteratur, og vil i dette foredraget heller trekke linjer mellom Allen og forfattere som Mary Shelley, Virginia Woolf, Sigrid Undset, Sylvia Plath og popmusikkens Taylor Swift. Hva har alle disse til felles? Finnes egentlig den moderne kvinnen?Litteraturliste fra foredraget:W. H. Auden – «Letter to Lord Byron» (1937)Jane Austen – Pride and Prejudice (1813) Zygmunt Bauman – Liquid Modernity (2000)Charlotte Brontë – Jane Eyre (1847)Emily BrontëSabrina CarpenterCharles DarwinFriedrich EngelsWilliam Godwin Ted HughesMiranda July – All Fours (2024)Immanuel KantKarl MarxJohn Stuart Mill – The Subjection of Women (1869)Toril Moi – «Kjærlighetstortur. Torborg Nedreaas' Av måneskinn gror det ingenting. Kultur og liv på 1950-tallet» (2020)William MorrisMaggie NelsonSylvia Plath – “Words Heard, By Accident, Over The Phone” (1962)Sylvia Plath – The Journals of Sylvia Plath (1982)Sylvia Plath – The Bell Jar (1963)Jean-Jacques RousseauAnne SextonMary ShelleyPercy Bysshe ShelleyTaylor Swift – The Life of a Showgirl (2025)Sigrid Undset Mary Wollstonecraft – A Vindication of the Rights of Women (1792)Virginia Woolf – To the Lighthouse (1927)Virginia Woolf – A Room of One's Own (Women & Fiction) (1929) Hosted on Acast. See acast.com/privacy for more information.

Emily LaBarge's Dog Days (Peninsula Press) begins with a personal trauma – the account of how she and her family were held hostage during the Christmas holidays of 2009 – building on that experience a dazzling exploration of writing, art and the imagination. Drawing on writer and artists such as Vivian Gornick, Robert Burton, David Lynch and Sylvia Plath, LaBarge picks apart the structures of narrative forms to ask how it might be possible to tell the ‘Good Story,' and its aftermath, on its own terms. LaBarge was in conversation with writer Olivia Laing.

Emily Van Duyne discusses her remarkable tome of scholarship on Sylvia Plath, including a literary history of how Plath's legacy has been shaped. Emily also guides Rachael and John's attempts to de-Hughes-ify the available texts.

Sylvia Plath, Janet Malcolm and our thoughts on writing style – welcome to episode 144! In the first half of this episode, we discuss whether we prefer writing style to be ornate or simple. In the second half, we compare

di Matteo B. Bianchi | In occasione della Giornata Internazionale per l'Eliminazione della Violenza contro le Donne, "Copertina" dedica una puntata speciale al ruolo dei libri e delle librerie nel contrasto alla violenza di genere. A partire dall'iniziativa delle librerie rifugio, nata grazie all'editore Settenove, Matteo B. Bianchi esplora come questi luoghi – da sempre spazi di ascolto e di comunità – possano diventare un punto di accesso sicuro per le donne che chiedono aiuto. La puntata ospita testimonianze e riflessioni di chi, ogni giorno, lavora con la cultura per promuovere consapevolezza e cambiamento: tra loro Fosca Giovanelli della Libreria delle Donne di Milano, la conduttrice e autrice Daniela Collu e la podcaster Mariella Martucci, autrice del podcast “Sputiamo Su Holden”. Questo episodio fa parte di Interferenze, la campagna realizzata da Sorgenia per dare voce a storie di violenza reali e portarle oltre i soliti spazi. Un'iniziativa che si inserisce in Sempre25Novembre, il progetto che Sorgenia porta avanti dal 2018 per combattere la violenza di genere. Libri consigliati: QUANTO LONTANO DOVRAI CORRERE di Letizia Venturini, Mondadori I RAGAZZI POSSONO ESSERE FEMMINISTI? di Lorenzo Gasparrini e Cristina Portolano, Settenove AMERICHEA di Antonella Restelli e Sara Cimarosti, Edizioni Corsare FEMMINISMO MON AMOUR per Quaderni di Via Dogana, edito dalla Libreria delle donne di Milano PERCHÉ CONTARE I FEMMINICIDI È UN ATTO POLITICO di Donata Columbro, Feltrinelli QUANDO LE DONNE SUONAVANO I TAMBURI di Layne Redmond, Venexia LA CAMPANA DI VETRO di Sylvia Plath, Mondadori Learn more about your ad choices. Visit megaphone.fm/adchoices

Lords: * Danny * https://linktr.ee/dannyBstyleband * Josh * https://www.bonusstage.ca/ * Vitor * https://vitoramado.framer.website/ Topics: * Games you love that nobody else knows exist * I keep losing my sunglasses. How do I fix this? * Homebrewing * When did Bush stop hiding the facts?? * Mad Girl's Love Song by Sylvia Plath * https://allpoetry.com/mad-girl%27s-love-song * I didn't actually have four poems in mind that made me say oh shit but skimming the list, this could be them: * https://www.tumblr.com/ailbey/750880084257374208 * https://cih.ucsd.edu/sites/cih.ucsd.edu/files/cfm/When%20I%20am%20among%20the%20Trees%20by%20Mary%20Oliver.pdf * https://en.wikipedia.org/wiki/DoNotStandatMyGraveand_Weep * https://nextworldover.tumblr.com/post/705362430786748416/guooey-a-psalm-for-the-wild-built-becky Microtopics * Video game music man. * Playing a guitar part that someone else wrote by clicking with a mouse. * A very fun interesting exercise that you appreciate. * Bass dives. * Playing bass with extra fingers. * Walking into the luthier's workshop asking to pay them to put a whammy bar on a bass and they're like *fuck you, that's disgusting." * Harold Drumsman. * Tympanum Factotum. * Super Stardust vs. Super Rub-a-Dub. * The twin stick shooter you made all your bandmates play. * The most 1989 thing you've ever seen. * A lopsided castle shape drawn out of block characters. * Seeing a Lamborghini game and wondering "who would ever play that??" * Modding modern-resolution models and textures into an N64 game. * A game that looks like dogshit but with modern emulation it's extremely high resolution dogshit. * Impressing your dad at how good you are at the one video game he lets you play. * Hemiroids. * Art style becoming a monoculture more easily in small communities. * Dirty Dancing except Baby never dances again. * Phalanx. (The banjo game.) * The banjo player going inside the ship for the European box art. * Engineering Jones and the Time Thieves of DSPea. * Games that quiz you on what sorts of consulting services your company needs. * Finding a pair of crudely drawn breasts in a collection of Windows 3.1 icons on Uncle Dave's PC and thinking "Uncle Dave is into some weird shit." * Prescription sunglasses vs. Just For Fun sunglasses. * Doing something that makes you look funny and preparing a five minute angry rant to spit at anyone who looks at you funny. * Lacquering your eyes with a substance that darkens in the sunlight. * Lacquering your skin instead of wearing clothes. * Buying more and more expensive sunglasses until you stop losing them. * Pushing 32. * Being the mead guy and everyone sends you mead making videos. * Fermenting honey in the hot dog water. * Making a slurry of hot dogs and ethanol in the blender. * Letting honey sit in the closet until it becomes mead. * Putting mead in the beehive to give back to the community. * Giving all the hallucinogens to all the manufacturing insects to see if they make exciting new kinds of silk and honey. * Kirkland Signature Mead. * Going into an underground tavern in Sweden and eating boar and lingonberries. * Distilling and getting all the wrong -thanols. * Putting a couple shots of moonshine in a cup of Booster Juice. * Could potato pizza sprout more potato. * Have you ever heard a plant scream during a job interview? * There is no ethical consumption under life. * Connecting plants up to synthesizers. * The sound of two black holes colliding. (Bloop!) * Data Audializaion. * How Windows XP users discovered that bush hid the facts. * When did Bush get Microsoft to disable the "Bush hid the facts" Easter egg. * The mongoose is a common sight on the Earth. * The mongoose's shadow casts a faint glow upon the ancient tree. * Reading aloud and trying to understand what you're reading at the same time. * Cool as fuck yours truly uwu. * The four poems that made you say "oh shit." * Art that communicates ideas vs. art that communicates feelings. * Bonus stage. * Rock Band Karaoke.

We are back. Sorry for the delay--we were just uh...savoring the book's ending, and the richness of the text.John and Asher ride solo...together. Like DL and Takeshi! In our final Vineland read-through, we cover the book's last three chapters, learn more about Brock Vond's sexual proclivities, witness, the birth of Prairie, get the scoop on Zoyd's whole window-smashing-deal, return to Vineland itself for the Traverse-Becker family reunion, learn the fate of all our characters, and meet like 17 more.We also discuss myths of the afterlife, theories of hereditary madness (courtesy Italian phrenologists), giggling, acid versus coke rock, acid versus coke books, the ontology of the Pynchonverse, the (over)abundance agenda, if Sleep is the same band as Electric Wizard, Sylvia Plath, Proust (natch!), something-other-than-pessimism, the symbolism of blue jays, if hope is evil, and the impossibility of tilting the beam.Thanks for listening! We'll be back soon!And remember...SUNSHINE DAYDREAMSUNSHINE DAYDREAMSUNSHINE DAYDREAMSUNSHINE DAYDREAMSUNSHINE DAYDREAMSUNSHINE DAYDREAMSUNSHINE DAYDREAMSUNSHINEDAYDREAMMusic In This Episode:Wendy Watson - "Degrassi Jr. High Theme" (excerpt)Sleep - "Dragonaut" (excerpt)Pop o' Pies - "Sugar Magnolia" (Demo Tape Version) (edited)Other Stuff:"Daddy" by Sylvia Plath"Proverbs for Paranoids" Gravity's Rainbow Guide

Today's poem is a “row of perfect rhymes” and an absolute delight. Happy reading.You can find the text of the poem here.George Starbuck was born in Columbus, Ohio on June 15, 1931. He grew up in Illinois and California. He attended the University of California at Berkeley for two years, and the University of Chicago for three. He then studied with Archibald MacLeish and Robert Lowell, alongside peers Anne Sexton and Sylvia Plath, at Harvard University. Starbuck won the Yale Younger Poets Prize for his collection Bone Thoughts (1960). He is the author of several other books, including The Argot Merchant Disaster: New and Selected Poems (1982), Elegy in a Country Church Yard (1974), and White Paper (1966). He taught at the State University College at Buffalo, the University of Iowa, and Boston University.Starbuck's witty songs of protest are usually concerned with love, war, and the spiritual temper of the times. John Holmes believed that “there hasn't been as much word excitement ... for years,” as one finds in Bone Thoughts. Harvey Shapiro pointed out that Starbuck's work is attractive because of its “witty, improvisational surface, slangy and familiar address, brilliant aural quality” and added that Starbuck may become a “spokesman for the bright, unhappy young men.” Louise Bogan asserted that his daring satire “sets him off from the poets of generalized rebellion.”After reading Bone Thoughts, Holmes hoped for other books in the same vein; R.F. Clayton found that, in White Paper(1966), the verse again stings with parody. Although Robert D. Spector wasn't sure of Starbuck's sincerity in Bone Thoughts, he rated the poems in White Paper, which range “from parody to elegy to sonnets, and even acrostic exercises,” as “generally superior examples of their kind.” In particular, Spector wrote, when Starbuck juxtaposes McNamara's political language and a Quaker's self-immolation by burning, or wryly offers an academician's praise for this nation's demonstration of humanity by halting its bombing for “five whole days,” we sense this poet's genuine commitment.Starbuck died in Tuscaloosa, Alabama on August 1, 1996.-bio via Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Indie rock legend Evan Dando joins me in episode 130 to talk about The Lemonheads' excellent new album, Love Chant — their first LP of originals in twenty years. We also discuss the Townes Van Zandt covers album he's currently working on, his recently released memoir, Rumors of My Demise, and we delve into important creative influences past and present: Sylvia Plath, the Replacements, Big Star, Love, the mentorship he received from Dinosaur Jr.'s J Mascis, and more. Dando also answers a couple of fun guest questions submitted by our pals Adam Green (who co-wrote the song “Wild Thing” from the new album) and Ben Lee. 

Heather Clarke is the award-winning author of "Red Comet: The Short Life and Blazing Art of Sylvia Plath." Her debut novel, "The Scrapbook" tells the story of an intense first love haunted by history and family memory, inspired by the startling WWII scrapbook of Clark's own grandfather, hidden in an attic until after his death.

Nick Hennegan celebrates the birthdays this week of two of the greatest writers of the last century – Dylan Thomas and Sylvia Plath - in their own words! www.BohemianBritain.com And celebrate writers live every week in London with The London Literary Pub Crawl!

Since her death, Sylvia Plath (1932–1963) has become an endless source of fascination for a wide audience ranging from readers of The Bell Jar, her semiautobiographical novel, to her groundbreaking poetry as exemplified by Ariel. Beyond her writing, however, interest in Plath has also been fueled in part by the tragic nature of her death. As a result, a steady stream of biographies of Plath have appeared over the last fifty-five years that mainly focus on her death or contain projections of an array of points of view about the writer. Until now, little sustained attention has been paid to the influences on Plath's life and work. What movies did she watch? Which books did she read? How did media shape her worldview? In this meticulously researched biography The Making of Sylvia Plath (UP Mississippi, 2024), Carl Rollyson explores the intricate web of literature, cinema, spirituality, psychology, and popular culture that profoundly influenced Plath's life and writing. At the heart of this biography is a compelling exploration of William Sheldon's seminal work, Psychology and the Promethean Will, which Plath devoured in her quest for self-discovery and understanding. Through Plath's intense study of this work, readers gain unprecedented access to Plath's innermost thoughts, her therapeutic treatments, and the overarching worldview that fueled her creative genius.Through Sheldon as well as Plath's other influences, Rollyson offers a captivating survey of the symbiotic relationship between an artist and the world around her and offers readers new insights into the enigmatic mind of one of the most important writers of the twentieth century.   Jane Scimeca, Professor of History at Brookdale Community College Website here @janescimeca.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Since her death, Sylvia Plath (1932–1963) has become an endless source of fascination for a wide audience ranging from readers of The Bell Jar, her semiautobiographical novel, to her groundbreaking poetry as exemplified by Ariel. Beyond her writing, however, interest in Plath has also been fueled in part by the tragic nature of her death. As a result, a steady stream of biographies of Plath have appeared over the last fifty-five years that mainly focus on her death or contain projections of an array of points of view about the writer. Until now, little sustained attention has been paid to the influences on Plath's life and work. What movies did she watch? Which books did she read? How did media shape her worldview? In this meticulously researched biography The Making of Sylvia Plath (UP Mississippi, 2024), Carl Rollyson explores the intricate web of literature, cinema, spirituality, psychology, and popular culture that profoundly influenced Plath's life and writing. At the heart of this biography is a compelling exploration of William Sheldon's seminal work, Psychology and the Promethean Will, which Plath devoured in her quest for self-discovery and understanding. Through Plath's intense study of this work, readers gain unprecedented access to Plath's innermost thoughts, her therapeutic treatments, and the overarching worldview that fueled her creative genius.Through Sheldon as well as Plath's other influences, Rollyson offers a captivating survey of the symbiotic relationship between an artist and the world around her and offers readers new insights into the enigmatic mind of one of the most important writers of the twentieth century.   Jane Scimeca, Professor of History at Brookdale Community College Website here @janescimeca.bsky.social 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

Since her death, Sylvia Plath (1932–1963) has become an endless source of fascination for a wide audience ranging from readers of The Bell Jar, her semiautobiographical novel, to her groundbreaking poetry as exemplified by Ariel. Beyond her writing, however, interest in Plath has also been fueled in part by the tragic nature of her death. As a result, a steady stream of biographies of Plath have appeared over the last fifty-five years that mainly focus on her death or contain projections of an array of points of view about the writer. Until now, little sustained attention has been paid to the influences on Plath's life and work. What movies did she watch? Which books did she read? How did media shape her worldview? In this meticulously researched biography The Making of Sylvia Plath (UP Mississippi, 2024), Carl Rollyson explores the intricate web of literature, cinema, spirituality, psychology, and popular culture that profoundly influenced Plath's life and writing. At the heart of this biography is a compelling exploration of William Sheldon's seminal work, Psychology and the Promethean Will, which Plath devoured in her quest for self-discovery and understanding. Through Plath's intense study of this work, readers gain unprecedented access to Plath's innermost thoughts, her therapeutic treatments, and the overarching worldview that fueled her creative genius.Through Sheldon as well as Plath's other influences, Rollyson offers a captivating survey of the symbiotic relationship between an artist and the world around her and offers readers new insights into the enigmatic mind of one of the most important writers of the twentieth century.   Jane Scimeca, Professor of History at Brookdale Community College Website here @janescimeca.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Since her death, Sylvia Plath (1932–1963) has become an endless source of fascination for a wide audience ranging from readers of The Bell Jar, her semiautobiographical novel, to her groundbreaking poetry as exemplified by Ariel. Beyond her writing, however, interest in Plath has also been fueled in part by the tragic nature of her death. As a result, a steady stream of biographies of Plath have appeared over the last fifty-five years that mainly focus on her death or contain projections of an array of points of view about the writer. Until now, little sustained attention has been paid to the influences on Plath's life and work. What movies did she watch? Which books did she read? How did media shape her worldview? In this meticulously researched biography The Making of Sylvia Plath (UP Mississippi, 2024), Carl Rollyson explores the intricate web of literature, cinema, spirituality, psychology, and popular culture that profoundly influenced Plath's life and writing. At the heart of this biography is a compelling exploration of William Sheldon's seminal work, Psychology and the Promethean Will, which Plath devoured in her quest for self-discovery and understanding. Through Plath's intense study of this work, readers gain unprecedented access to Plath's innermost thoughts, her therapeutic treatments, and the overarching worldview that fueled her creative genius.Through Sheldon as well as Plath's other influences, Rollyson offers a captivating survey of the symbiotic relationship between an artist and the world around her and offers readers new insights into the enigmatic mind of one of the most important writers of the twentieth century.   Jane Scimeca, Professor of History at Brookdale Community College Website here @janescimeca.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices

Since her death, Sylvia Plath (1932–1963) has become an endless source of fascination for a wide audience ranging from readers of The Bell Jar, her semiautobiographical novel, to her groundbreaking poetry as exemplified by Ariel. Beyond her writing, however, interest in Plath has also been fueled in part by the tragic nature of her death. As a result, a steady stream of biographies of Plath have appeared over the last fifty-five years that mainly focus on her death or contain projections of an array of points of view about the writer. Until now, little sustained attention has been paid to the influences on Plath's life and work. What movies did she watch? Which books did she read? How did media shape her worldview? In this meticulously researched biography The Making of Sylvia Plath (UP Mississippi, 2024), Carl Rollyson explores the intricate web of literature, cinema, spirituality, psychology, and popular culture that profoundly influenced Plath's life and writing. At the heart of this biography is a compelling exploration of William Sheldon's seminal work, Psychology and the Promethean Will, which Plath devoured in her quest for self-discovery and understanding. Through Plath's intense study of this work, readers gain unprecedented access to Plath's innermost thoughts, her therapeutic treatments, and the overarching worldview that fueled her creative genius.Through Sheldon as well as Plath's other influences, Rollyson offers a captivating survey of the symbiotic relationship between an artist and the world around her and offers readers new insights into the enigmatic mind of one of the most important writers of the twentieth century.   Jane Scimeca, Professor of History at Brookdale Community College Website here @janescimeca.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Acclaimed debut novelist Penny Zang spoke with us about making friendship bracelets for readers, why the world doesn't stop when you lose a loved one, hanging out with Sylvia Plath, and her psychological thriller DOLL PARTS I am joined by a co-host this week, none other than The Book Babe, Milena Gonzalez. Penny Zang is an English professor at Greenville Technical College and the debut author of DOLL PARTS, described as “... a dark, poetic, dual-timeline psychological thriller that blends sad girl lit and feminist horror with a heavy dose of 90s grunge nostalgia.” International bestselling author Samantha Downing said of the book, "Doll Parts is the most mesmerizing and original book I've read in a long time. It's eerie and addictive, a story that pulls you in and won't let go," and Library Journal wrote, “Zang's compelling debut delves insightfully into topics such as friendship, grief, and Plath's place in literature...” Penny Zang holds an MFA in Creative Writing from West Virginia University and is the 2024 Elizabeth Boatwright Coker fiction fellow via the South Carolina Academy of Authors. Her work has appeared in New Ohio Review, Louisville Review, Superstition Review, Potomac Review, and South 85, among others. [Discover ⁠⁠⁠⁠The Writer Files Extra⁠⁠⁠⁠: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at ⁠⁠⁠⁠writerfiles.fm⁠⁠⁠⁠] [If you're a fan of The Writer Files, please ⁠⁠⁠⁠click FOLLOW to automatically see new interviews⁠⁠⁠⁠. And drop us a rating or a review wherever you listen] In this file Penny Zang, Milena Gonzalez, and I discussed: How she formed the #5AMWritersClub Writing as a form of grief after losing a good friend Reminding her parents that her fiction didn't really happen Wending pop culture iconography into her work Why finding your writing community is so important And a lot more! Show Notes: pennyzang.com  Doll Parts: A Novel by Penny Zang (Amazon) Penny Zang on Facebook Penny Zang on Instagram Penny Zang on Twitter Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Roll on another month and another Three Ravens Live Show release - and of not just one but two performances recorded at Gloucester History Festival at the end of September 2025!As we explain in the episode, first comes our Forgotten Melodies Live show, performed on Sunday 21st September in the Great Hall at Gloucester's Blackfriars as part of Witch Night, followed by a retelling of Martin's Gloucester story first heard in Series 3 Episode 2 about Gloucestershire, "The Torbarrow Guardian" as recorded that afternoon in the Scriptorium Buttery.We really hope you enjoy both recordings, speak to you tomorrow for an all-new episode of Three Ravens Haunting Season, and if you would like details of the Forgotten Melodies Live set list then it's as follows:The Earth, The Air, The Fire, The Water (Trad)On Matthew Hopkins by Samuel Butler (c.1663)Ring Down Below (Trad)Hecate's Speech from Macbeth by William Shakespeare (c.1606)Old Pendle (Trad)Very Wicked People (spoken word)Witches Reel (Trad)Witch Burning by Sylvia Plath (1959)Sovay (Trad)The White Witch by James Weldon Johnson (1915)Hare Spell (Trad)Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcastProud members of the Dark Cast Network.Visit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Itinéraire d'une cinéphile autodidacte Dans la catégorie critiquée et redoutée de la critique ciné, au sein de ce métier malmené par la concurrence des algorithmes publicitaires, Murielle Joudet fait figure de rempart, de meilleur espoir. Signature cinglante du journal Le Monde depuis 2017, mousquetaire sur France Inter du nouveau Masque et la plume depuis 2024, la journaliste et autrice parisienne est la jeune première qui monte, acerbe et bien renseignée, incollable (ou presque) sur l'âge d'or d'Hollywood. À 34 ans, l'ex-chroniqueuse au lance-flammes du magazine Chronicart, vue dans l'émission Le Cercle sur Canal+, semble déjà reconnue comme la « bad cop » du milieu, sa mauvaise conscience, à la recherche du « grand » cinéma.Mais comment cette stakhanoviste autodidacte a-t-elle formé son goût et ses dégoûts ? « Entre 17 et 24 ans, on attend que la vie commence et le cinéma est une sorte de teaser. Mais le décalage est toujours un peu décevant », dit cette lectrice de Sylvia Plath et de Pierre Michon, fan d'Éric Rohmer ou d'Abdellatif Kechiche, qui passa « religieusement » sept ans dans les salles obscures en marge de ses études de philo. « Les cinéphiles peuvent faire l'économie du dehors, comme si tous les films vus recouvraient la surface du monde, pour ne plus avoir à le voir – j'ai été comme ça, je le suis encore un peu. »Qu'a-t-elle retenu de son exposition aux princesses et sorcières de Walt Disney ? Ou de ses nuits à zapper pour tomber sur le cinéma queer de Paul Morrissey ou Les hommes préfèrent les blondes avec Marilyn Monroe, dont la pluie de couleurs et de diamants lui donna l'idée « de travailler sur les images » ? Comment cette blogueuse graphomane a-t-elle professionnalisée sa « vie intérieure hyper-trophiée » ? Ces questions sont à l'affiche de ce premier épisode, à écouter les yeux grands ouverts.L'autrice du mois : Murielle JoudetNée en 1991 à Paris, Murielle Joudet est critique de cinéma dans la presse (Le Monde), à la radio (sur France Inter pour Le masque et la plume), en ligne (dans le podcast Sortie de secours ou via l'émission Dans le film sur le site Hors-Série) ou pour la Cinémathèque française. Elle a publié quatre ouvrages qui documentent avec rigueur des façons de défier les conventions, en tant que femme, dans l'industrie du 7e art : Isabelle Huppert – vivre ne nous regarde pas (Capricci, 2018), Gena Rowlands – on aurait dû dormir (Capricci, 2021), La seconde femme – ce que les actrices font à la vieillesse (Premier Parallèle, 2022) et un recueil d'entretiens avec la cinéaste Catherine Breillat, Je ne crois qu'en moi (Capricci, 2023). Elle vit et travaille à Paris. Enregistrement juillet 2025 Entretien, découpage Richard Gaitet Prise de son Mathilde Guermonprez Montage Étienne Bottini Réalisation, mixage Charlie Marcelet Musiques originales Samuel Hirsch Harpe, flûte, clarinette, cor, basson, xylophone, timbales et gong Xavier Thiry Illustration Sylvain Cabot

Seth's life until now has been a product of a diabolical, evil Truman Show, his entire upbringing a façade orchestrated for malevolent purposes. After his beloved dies, he undergoes a demonic metamorphosis, which causes the world's fictitious walls to crumble. As he tries to piece a semblance of his life back together and move on, he meets friends who inspire, but even more harsh truths are revealed, perhaps too difficult to cope with. The very existence of life and reality is exposed as a machination of grotesque gods. And to defeat them, Seth will have to fill his emptiness, for which there's only two options…bring the world to ruin, or learn to transmute his pain into strength. Fans of "Jerusalem" by Alan Moore, “The Bell Jar” by Sylvia Plath, or “The Master and Margarita” by Mikhail Bulgakov will enjoy “The Monsters Among Us.”

Nat & Marc are back at the microphones chatting through the politics of food shopping & cooking dinner, the challenges of contacting people all hours of the day (& night), and Marc's still eyeing up that days-old salad in the fridge... Enjoy! xx THE BIG CHRISTMAS LIVE SHOW 7th December ⁠⁠- claphamgrand.com/event/live-with-nat-at-christmas/ The tiny warm-up shows. Tickets available from 11am on the 22nd September 4th Nov - Dixon Studio, Palace Theatre, Southend - www.trafalgartickets.com/palace-theatre-southend/en-GB/event/other/live-with-nat-work-in-progress-tickets 6th Nov - Hat Factory, Luton - http://www.culturetrust.com/whats-on/live-nat-work-progress 16th Nov - Hawth Studio, The Hawth Theatre, Crawley - https://www.parkwoodtheatres.co.uk/the-hawth/whats-on/live-with-nat-work-in-progress Please subscribe, follow, and leave a review. xxx You can find us in all places here; ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podfollow.com/lifewithnat/view⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ INSTA: @natcass1 We're also on Facebook too: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/lifewithnatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ A 'Keep It Light Media' Production Sales, advertising, and general enquiries: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hello@keepitlightmedia.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SHOW INFO: Life with Nat - it's me! Natalie Cassidy and I'll be chatting away to family, friends and most importantly YOU. I want to pick people's brains on the subjects that I care about- whether that's where all the odd socks go, weight and food or kids on phones. Each week I will be letting you into my life as i chat about my week, share my thoughts on the mundane happenings as well as the serious. I have grown up in the public eye and have never changed because of it. Life with Nat is the podcast for proper people. Come join the community. ♥️ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Biographers in Conversation, multi-award-winning biographer Dr Heather Clark chats with Dr Gabriella Kelly-Davies about her choices while crafting Red Comet: The Short Life and Blazing Art of Sylvia Plath. Here's what you'll discover in this episode: Why Heather Clark intentionally shifts the narrative away from Sylvia Plath's tragic death to celebrate her vibrant life and literary achievements. Why Heather emphasises Sylvia Plath's ambition, joy and creative courage as a young woman navigating the mid-20th-century's literary culture. The challenge of navigating an avalanche of archival material to find the narrative thread in Plath's life. How Heather balanced rigorous scholarship with the art of storytelling, giving Red Comet the propulsive narrative energy of a novel despite its scholarly depth. How Heather portrayed Plath's inner life with empathy and honesty.   How Heather focuses on Plath's literary significance, repositioning her among the most important writers of the 20th century. How by challenging one-dimensional stereotypes, Red Comet invites a new appreciation of Plath's genius and legacy beyond the shadow of her death.

Becker, Esther www.deutschlandfunkkultur.de, Lesart

The newest evolution of softboi has just landed with the most on the nose name yet - the performative male. He reads Sylvia Plath outside indie coffee shops as he sips matcha. He has a Labubu and his Labubu has a cute nickname. He is a little bit Letterboxd famous and he calls his mother once a week. He's also the worst man you have ever dated in your life.In this week's episode, hosts Ione and Gina get to grips with whether this new archetypal male is anything new, or if men have always manipulated what women want to get laid.Support our work and become a Polyester Podcast member

This week, I got to talk with Penny Zang about her debut novel Doll Parts! We dive into her inspiration for the story, the importance of music throughout, and the ways Sylvia Plath's life and writing influenced Doll Parts.Doll Parts SynopsisSome stories refuse to stay buried.For best friends Nikki and Sadie, college was supposed to be a fresh start, a way to blast Courtney Love from car speakers and leave their youth behind. But along with sadness-obsessed girls and intrusive professors, a dark story plagues their small all-women's school: the Sylvia Club, a campus legend surrounding the deaths of multiple Sylvia Plath-adoring students, all written off as suicides. Aspiring writer Nikki finds herself drawn to the tragic tales, so much so that dead girls begin to haunt her dark imagination. As she digs deeper, Nikki soon suspects there's much more to the story - a suspicion that will lead to a tragedy of its own, one that will tear her and Sadie apart.It's been nearly twenty years since Sadie last saw her estranged friend. Now, Nikki is dead, and when Sadie ends up pregnant by Nikki's grieving husband not long after the funeral, she finds herself stepping into her ex-best friend's seemingly perfect life. But the longer Sadie lives in Nikki's eerily preserved home, the more she sees her appear and soon, she's convinced that Nikki is sending her clues from beyond the grave. Because it seems Nikki never stopped looking for answers about what happened to the girls of the Sylvia Club, and she may have been its latest victim. Told in a dual timeline, Doll Parts is a provocative and irresistible debut, at once an exploration of the dark chasms that break apart friendships, an ode to the aching beauty of girlhood, and a sharp portrayal of grief that can physically haunt you.  Get Bookwild MerchCheck Out My Stories Are My Religion SubstackCheck Out Author Social Media PackagesCheck out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on InstagramOther Co-hosts On Instagram:Gare Billings @gareindeedreadsSteph Lauer @books.in.badgerlandHalley Sutton @halleysutton25Brian Watson @readingwithbrian

Sylvia Plath is legendary for being a tragic poet mostly known for her novel, The Bell Jar. John and Rachael are fans of Plath's poetry and The Bell Jar, but hereby set out on a historical project to read Plath's work as the world would have known it first, and as she would have known it herself, without the legend imposing its darkest meanings onto every possible opportunity. 

“On the morning of the second day whilst at Arvon Lumb Bank writers' retreat I walked up the steep hill cow-heavy to Hepenstall Cemetery where Sylvia Plath is buried. I […]

In this episode, Abby interviews radical mycologist James Oliver about mushrooms and his work healing post-fire sites with mycelium at The Center for Applied Ecological Remediation (CAER). Together, they present the poem "Mushrooms," by Sylvia Plath.Recitation begins at 47:22MushroomsSylvia PlathOvernight, veryWhitely, discreetly,Very quietlyOur toes, our nosesTake hold on the loam,Acquire the air.Nobody sees us,Stops us, betrays us;The small grains make room.Soft fists insist onHeaving the needles,The leafy bedding,Even the paving.Our hammers, our rams,Earless and eyeless,Perfectly voiceless,Widen the crannies,Shoulder through holes. WeDiet on water,On crumbs of shadow,Bland-mannered, askingLittle or nothing.So many of us!So many of us!We are shelves, we areTables, we are meek,We are edible,Nudgers and shoversIn spite of ourselves.Our kind multiplies:We shall by morningInherit the earth.Our foot's in the door.

When Harold Dahl saw UFOs over Puget Sound in 1947, he never expected a visit from a man in black who would threaten him to keep quiet—spawning a phenomenon that would haunt UFO witnesses for decades.Join the DARKNESS SYNDICATE: https://weirddarkness.com/syndicateTake the WEIRD DARKNESS LISTENER SURVEY and help mold the future of the podcast: https://weirddarkness.com/surveyIN 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. (The Intimidating and Terrifying Men in Black)ABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.DISCLAIMER: Ads heard during the podcast that are not in my voice are placed by third party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. *** Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Lead-In00:01:44.740 = Show Open00:04:31.537 = Intimidating and Terrifying Men In Black00:13:11.087 = Shelton Disappearance00:25:26.772 = Lake Michigan Paranormal Triangle00:42:51.645 = Tragic Death of Sylvia Plath00:51:48.043 = Voynich Manuscript00:58:43.489 = Meet The Hodag01:07:42.142 = Show OutroSOURCES AND RESOURCES 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/3ccn32bj=====(Over time links 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 ©2025, Weird Darkness.=====Originally aired: November 07, 2023NOTE: Some of this content may have been created with assistance from AI tools, but it has been reviewed, edited, narrated, produced, and approved by Darren Marlar, creator and host of Weird Darkness — who, despite popular conspiracy theories, is NOT an AI voice.EPISODE PAGE at WeirdDarkness.com (includes list of sources): https://weirddarkness.com/TheyKnewTooMuch#MenInBlack #MIB #UFOSightings #UFO #HaroldDahl #MauryIslandIncident #AlbertBender #GrayBarker #TheyKnewTooMuch #UFOWitnesses #UFOConspiracy #GovernmentCoverUp #FlyingSaucers #AlienEncounters #UFOHistory #MenInBlackOrigins #RealMenInBlack #MIBSightings #UFOFolklore #MysteriousVisitors #Paranormal #UFOSilencing #ConspiracyTheories #Ufology #UFOCulture #MIBPhenomenon #TrueUFOStories #UnexplainedPhenomena #AlienConspiracy #GovernmentAgents #ParanormalHistory #AmericanFolklore #ModernMythology #UFOCoverUp #1947UFO #RoswellIncident #SpaceReview #UFOThreats #UFOIntimidation #BlackSuitVisitors #PugetSoundUFO #WashingtonStateUFO #UFODebris #ParanormalInvestigation #1950sUFO #UFOMystery #AlienMystery #UnexplainedMysteries #CarlJung #FredCrisman

About This Episode For over 100 years, teens from throughout the country have participated in a storied American tradition – the Scholastic Art & Writing Awards. Originally conceived in 1923 as a way to celebrate student artists at a time when most awards focused on athletic achievements, the Awards have gone on to become the nation's longest-running scholarship and recognition program for creative teens and have served as the launching pad for some of the most well-known and respected artists and writers of the last century, including the likes of Robert Redford, Sylvia Plath, Richard Avedon, Andy Warhol, Joyce Carol Oates, John Updike, Zac Posen and Amanda Gorman. In today's episode, host Billy DiMichele is joined by Chris Wisniewski, Executive Director of the Alliance for Young Artists & Writers, Karlotta Frier and Anyango Mpinga, two professional artists and national jurors for the 2025 Scholastic Awards, and Nia Cao, a teen writer and recipient of the 2025 New York Life Award, a sponsored Scholastic Award that recognizes outstanding works dealing with grief. Each of these interviews will explore a particular component of the Scholastic Art & Writing Award—from a work first being submitted through to a national winner taking a bow on the incomparable stage of Carnegie Hall. Listen to hear more about what makes a program like the Scholastic Art & Writing Awards so special, so enduring, and so necessary. Resources About the Scholastic Art & Writing Awards: https://www.artandwriting.org/ About the Alliance for Young Artists & Writers: https://www.artandwriting.org/the-alliance/ About the New York Life Award: https://www.artandwriting.org/scholarships/new-york-life-award Gallery of teen work recognized in the 2025 Scholastic Art & Writing Awards: https://www.artandwriting.org/gallery/ More listening: Scholastic Reads! Celebrating 100 Years of the Scholastic Art & Writing Awards Highlights Chris Wisniewski, Executive Director of the Alliance for Young Artists & Writers “More than anything else, when we talk to teenagers and ask why did you enter the program? It was really about the opportunity to share their work, to have their work celebrated, particularly in their home communities, or even on the stage of Carnegie Hall. That's a really extraordinary thing for a young person who's at a crucial moment in their creative development and really thinking about what's next for them. So that recognition is really important.” “We also see the Scholastic Awards as being almost like a big national tailgate party for art and culture. What we're doing is bringing communities together all around the country to celebrate these young people who are doing extraordinary things in their art and writing.” “When you think about the fact that one out of every four high schools in the country has a young person who enters this program, we can rightfully say that we are conducting a celebration of creative teens on a truly national scale. And when we award 2-3,000 national medals, that really is a recognition of some of the very finest creative work that has happened anywhere in this country over the past year by teenagers.” “With 103 years of Scholastic Awards under our belt, that makes us a unique repository of teen creativity. We can tell a story about what young people were thinking about, and what was on their minds when they were making art and writing over the course of these past 100 years, and that's something that's unique to this program.” “The work that I find tends to resonate most powerfully with our jurors is the work that expresses a unique point of view. So young people who have the courage to really put themselves out there and to go beyond a classroom assignment or a sense of the expected, that's always the best path, not just to winning a Scholastic Award, but to really developing as a creative. To remember to always be true to yourself first.” Karlotta Frier, professional artist and 2025 national juror [On what intrigued her about participating as a juror] “I got invited and didn't know it was going to be so much fun and feel so important to me…Winning an award was really important to my path…and that experience of being seen by someone else other than my mom who always believed in me this whole time, but somebody else, in New York [meant] maybe I can do this.” Anyango Mpinga, professional artist and 2025 national juror [On the message she would want Scholastic Awards participants to hear] “I just want them to know that their voice is valid and to not change for anyone…If you're really connected to who you are, and this is your creativity, the best thing you can do for yourself is cultivate that creativity and become even better than you were yesterday, and stick to it, and make that your voice…you have to stick to your guns, and you have to fight for yourself.” _Nia Cao, teen poet and recipient of the 2025 New York Life Award _ “[My poem] was a really important work to me, and it was the first time that I processed [my uncle's] death. Applying for the New York Life Award, it wasn't something that I hesitated about. This is something that really resonates with my poem and with my work, and I think it was something that really tied into his legacy.” “It's validating to be acknowledged and know that my poem resonated with someone, and it feels as if the judges are saying to me, ‘I see you, I hear you.'” Special Thanks Producers: Allyson Barkan and Anne Sparkman Sound engineer: S. Shin Music composer: Lucas Elliot Eberl

In this episode of Killer Women Podcast, Danielle Girard is joined by author Nicci Cloke to discuss Her Many Faces—a psychological thriller told through the shifting perspectives of five men who think they know the woman at its center.Nicci opens up about the crisis of faith in herself as a writer that led to twelve (!) false starts before finding her way into this novel—and what finally clicked. The conversation explores the pervasive problem of imposter syndrome among evenhighly successful writers and some ways of getting back to work in spite of it.Nicci Cloke is the author of eight novels, including two under the pseudonym Phoebe Locke. Her books have been published in twelve languages. She lives in the Cambridgeshire countryside after a decade spent in London, and previously worked as a nanny, a cocktail waitress and a Christmas Elf to support her writing. Before being published, she worked as a permissions manager, looking after literary estates includingthose of Sylvia Plath, Ted Hughes and T. S. Eliot, and was also communications manager at the Faber Academy. Killer Women Podcast is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast#podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors#thrillerbooks #suspense #wip #writers #writersinspiration #books#bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile#read #amreading #lovetoread #daniellegirard #daniellegirardbooks #niccicloke #phoebelocke #williammorrow

In this episode of Killer Women Podcast, Danielle Girard is joined by author Nicci Cloke to discuss Her Many Faces—a psychological thriller told through the shifting perspectives of five men who think they know the woman at its center. Nicci opens up about the crisis of faith in herself as a writer that led to twelve (!) false starts before finding her way into this novel—and what finally clicked. The conversation explores the pervasive problem of imposter syndrome among even highly successful writers and some ways of getting back to work in spite of it. Nicci Cloke is the author of eight novels, including two under the pseudonym Phoebe Locke. Her books have been published in twelve languages. She lives in the Cambridgeshire countryside after a decade spent in London, and previously worked as a nanny, a cocktail waitress and a Christmas Elf to support her writing. Before being published, she worked as a permissions manager, looking after literary estates including those of Sylvia Plath, Ted Hughes and T. S. Eliot, and was also communications manager at the Faber Academy. Killer Women Podcast is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #niccicloke #phoebelocke #williammorrow

Author Nicci Cloke discusses her fantastic new release, HER MANY FACES. When four powerful men are discovered murdered in their private club, a young woman is forced to stand trial for the killings. Five men who profess to know her best promise to reveal who she really is and what she really did… but do any of them really know her? “…So original, thrilling and utterly addictive. I loved it."—Alice Feeney, New York Times bestselling author Listen in as we chat about the cool ways she got so good at character psychology, the growing acceptance of conspiracy theories, and find out what bit of holiday magic turned holiday nightmare Nicci shared that made me laugh this hard! (HINT: It involves a costume, a garden center, and a lot of broken dreams!!) https://niccicloke.com https://www.mariesutro.com/twisted-passages-podcast ABOUT THE AUTHOR: Nicci Cloke is an author and editor based in Cambridgeshire. Her novels have been published in twelve languages, and she has previously worked as a nanny, a cocktail waitress and a Christmas Elf. Before being published, she was a permissions manager, looking after literary estates including those of Sylvia Plath, Ted Hughes and T. S. Eliot, and was also communications manager at the Faber Academy.

Host Jason Blitman welcomes author Nicci Cloke to discuss her latest novel and US debut, Her Many Faces. They explore the inspiration behind the book's innovative structure, Nicci's transition from UK to American publishing, and her unexpected background working as an elf. Later, Jason sits down with Guest Gay Reader, author Tess Sharpe (No Body No Crime), discussing her love of 80s action films, the art of crafting rural crime fiction with humor, and what makes her storytelling unique. No Body No Crime is August's pick for the Gays Reading Book Club!Nicci Cloke is the author of eight novels, including two under the pseudonym Phoebe Locke. Her books have been published in twelve languages. She lives in the Cambridgeshire countryside after a decade spent in London, and previously worked as a nanny, a cocktail waitress and a Christmas Elf to support her writing. Before being published, she worked as a permissions manager, looking after literary estates including those of Sylvia Plath, Ted Hughes and T. S. Eliot, and was also communications manager at the Faber Academy.Tess Sharpe was born in a mountain cabin to a punk-rocker mother and grew up in rural California. She lives deep in the backwoods with a pack of dogs and a group of formerly feral forest cats. She is the award-winning author of many books for kids, teenagers, and adults, including Barbed Wire Heart and the New York Times bestseller The Girls I've Been.BOOK CLUB!Sign up for the Gays Reading Book Club HERE July Book: Disappoint Me by Nicola DinanAugust Book: No Body No Crime by Nicci Cloke SUBSTACK!https://gaysreading.substack.com/ MERCH!http://gaysreading.printful.me WATCH!https://youtube.com/@gaysreading FOLLOW!Instagram: @gaysreading | @jasonblitmanBluesky: @gaysreading | @jasonblitmanCONTACT!hello@gaysreading.com

From touring Europe as a musician, to a 12 year career in publishing working with some of the world's biggest authors - Hattie William's is now a celebrated debut author whose novel Bittersweet has secured a six figure deal with Orion Fiction.Set in the heady, complex world of London publishing, Bittersweet explores a toxic age-gap relationship, the messy beauty of female friendship, and the hidden wounds that shape our choices.Hattie opens up about how the story and characters arrived, and her history as a reader. We discuss everything from Ted Hughes and Sylvia Plath to friendship, grief, ambition, and emotional dependency - plus the unexpected joy of writing strong, surprising friendships.

Amanda Holmes reads Sylvia Plath's “Daddy.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Brocarde is the creator of an enchanting world where dark, haunting aesthetics meet passion-fuelled lyrics and design. Her latest single "Identity Theft" was produced by Chris Collier (Korn, Mick Mars). Brocarde is a dynamic storyteller who marries both music and fashion in an orchestral explosion, designed to make the ears and eyes bleed. A one-woman horror story, if centuries aligned, Brocarde could almost be the secret lovechild of Edgar Allan Poe and Sylvia Plath. In what could only be described as an effervescent melting pot, Brocarde's bubbling cauldron is peppered with hints of Little House on The Prairie, and seasoned with remnants of the Addams family values: she's an all-consuming artist who's not for the faint-hearted. Brocarde arrived on the music scene in 2019 presenting her debut single Last Supper. With its biblical relatability and an army of sinister pigs, the music video depicted a twisted fairy tale that whetted the appetite of her loyal supporters. She was hailed as "One to Watch" by Planet Rock Magazine, and secured airplay on Kerrang!, Planet Rock and BBC Introducing.  www.Instagram.com/brocarde website www.Brocarde.com  About Music Matters with Darrell Craig Harris The Music Matters Podcast is hosted by Darrell Craig Harris, a globally published music journalist, professional musician, and Getty Images photographer. Music Matters is now available on Spotify, iTunes, Podbean, and more. Each week, Darrell interviews renowned artists, musicians, music journalists, and insiders from the music industry. Visit us at: www.MusicMattersPodcast.com Follow us on Twitter: www.Twitter.com/musicmattersdh For inquiries, contact: musicmatterspodcastshow@gmail.com Support our mission via PayPal: www.paypal.me/payDarrell           

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