Podcast appearances and mentions of Toni Morrison

You know Toni Morrison the writer, but what about Toni the editor? As she rose in literary fame, Morrison also worked in publishing as a senior editor for Random House, the first black woman to hold such a title in the company. Dana A. Williams, professor of African American literature and dean of the Graduate School at Howard University, discusses her new book about Toni Morrison's career as an editor, Toni at Random: The Iconic Writer's Legendary Editorship, which includes stories about the authors she shaped, and her efforts to change publishing for the better.

Let us lead a life that will encourage and impact others. Be Encouraged.

May we create the reality we deserve. Be encouraged. Happy Black History Month.

Let us not only free ourselves, but learn ourselves. Be encouraged. Happy Black History Month.

May we learn to be the solution to our own problems as we grow. Be Encouraged. Happy Black History Month.

Let us move forward and powerful awareness of our resources. Be Encouraged. Happy Black History Month.

Hello vous,J'espère que vous allez bien. Que ce mois de juin vous laisse un peu de temps pour souffler, ressentir, peut-être créer. Aujourd'hui, je vous retrouve avec une newsletter un peu particulière, à la frontière entre le journal intime, la réflexion spirituelle, et le partage de cœur à cœur.J'ai vu un film. Et ce film m'a bouleversée.C'est pour ça que j'ai eu envie de vous proposer une lecture émotionnelle — pas une critique technique, pas une analyse de scénario, non. Juste une prise de parole à hauteur d'âme. Une tentative de mettre des mots sur ce que ce film a réveillé, soulevé, dérangé, apaisé aussi, en moi.Ce film, c'est Sinners.

We're pulling another banger episode out of the Patreon vault this week with our episode on the 1999 classic Deep Blue Sea starring Samuel L. Jackson, LL Cool J and Thomas Jane. But first did Cody get a new tattoo? How did it remind Cody of Terry Moore's art in Rachel Rising? Do we have a Toni Morrison horn? Did Cody love The Private Eye by Brian K. Vaughan? Was Janice Soprano in this movie? Do they rip-off Jurassic Park in this movie? Was this Anthony's first time watching Deep Blue Sea? Is this Cody's favorite shark movie? Were sick end credit songs necessary in 90s movies with rappers turned actors? Do we love the LL Cool J song Deepest Blue? Was Susan the true villain of the movie? Is there a little bit of Alien and Free Willy in this movie? Does Anthony have solidarity with orcas? Does everyone get eaten in this movie? Are they trying to cure Alzheimer's in this movie? Can shark swim backward? Was Preach our favorite character? Would we consider this a horror movie? Did we think Samuel L. Jackson's character would end up being the villain? Was this the best movie of 1999? Was '99 banana bonkers stacked? Do we make our first sports reference in this episode? Will Comics and Chronic be the voice of the summer Olympics in LA in 2028? Was Deep Blue Sea ahead of its time? Is Jaws the best shark movie? What is Cody's dark secret this episode? Does Sam Tallent have a great impersonation of Cody's laugh? Could the sharks in this movie take down the Titanic? Why does Cody want Anthony dead? Does Anthony have Michael Rapaport vibes? Is the Thomas Jane Punisher movie the best one? Is The Bronx Zoo Anthony's North Star? Are the guys working on a trilogy of Bronx Zoo horror movies? Can you dab shark brain juice? Is Jake still giving away House of Slaughter Vol. 1?New episodes every THURSDAYFollow us on social media! Bluesky // Instagram // Twitter // TikTok :⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@comicsnchronic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/channel/UC45vP6pBHZk9rZi_2X3VkzQ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠E-mail: comicsnchronicpodcast@gmail.comCodyInstagram // Bluesky:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@codycannoncomedy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: @Cody_CannonTikTok: @codywalakacannonJakeInstagram // Bluesky:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@jakefhaha⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AnthonyBluesky // Instagram // Threads // Twitter // TikTok:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mrtonynacho⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

How do brains slip so easily from the real world into made up worlds? What do authors of great literature have in common with stage magicians and comedians? What does any of this have to do with cognitive shortcuts, prediction machines, Marcel Proust, Toni Morrison, Jane Austen, or why jokes are always structured in threes? Join Eagleman this week for a conversation with his Stanford colleague Joshua Landy as they discuss brains on story.

Merriam-Webster's Word of the Day for May 29, 2025 is: nascent • NASS-unt • adjective Nascent is a formal word used to describe something that is just beginning to exist, or in other words, is recently formed or developed. // The actress is now focused on her nascent singing career. See the entry > Examples: “I asked my father, recently, if I might borrow one of his old journals as research for a nascent writing project. It felt like there might be something there—in the poetry of varietal names (Beedy's Camden Kale, Ruby Perfection Cabbage), or the steady plotless attention to the natural world.” — Fiona Warnick, LitHub.com, 9 May 2024 Did you know? Nascent descends from the Latin verb nasci, meaning “to be born,” as does many an English word, from nation and nature to innate and renaissance. But rather than describing the birth of literal babies—as in pups, kits, hoglets, et al.—nascent is applied to things (such as careers or technologies) that have recently formed or come into existence, as when scholar Danille K. Taylor-Guthrie wrote of Toni Morrison being “an integral part of a nascent group of black women writers who would alter the course of African American, American, and world literature.”

Merriam-Webster's Word of the Day for May 29, 2025 is: nascent • NASS-unt • adjective Nascent is a formal word used to describe something that is just beginning to exist, or in other words, is recently formed or developed. // The actress is now focused on her nascent singing career. See the entry > Examples: “I asked my father, recently, if I might borrow one of his old journals as research for a nascent writing project. It felt like there might be something there—in the poetry of varietal names (Beedy's Camden Kale, Ruby Perfection Cabbage), or the steady plotless attention to the natural world.” — Fiona Warnick, LitHub.com, 9 May 2024 Did you know? Nascent descends from the Latin verb nasci, meaning “to be born,” as does many an English word, from nation and nature to innate and renaissance. But rather than describing the birth of literal babies—as in pups, kits, hoglets, et al.—nascent is applied to things (such as careers or technologies) that have recently formed or come into existence, as when scholar Danille K. Taylor-Guthrie wrote of Toni Morrison being “an integral part of a nascent group of black women writers who would alter the course of African American, American, and world literature.”

Nonfiction writer Paul Elie joins co-hosts Whitney Terrell and V.V. Ganeshananthan to discuss his new book The Last Supper: Art, Faith, Sex, and Controversy in the 1980s and Pope Leo XIV. Elie compares the new pope to John Paul II, whose conservative views shaped the 1980s. He explains how and why '80s artists like Andy Warhol, U2, and Bob Dylan produced art he considers “crypto-religious,” a term coined by poet Czesław Miłosz. He analyzes limbo and purgatory in the work of writers of the period, including Louise Erdrich and Toni Morrison, and recalls the culture wars, including iconic incidents like Sinéad O'Connor tearing up the pope's picture on Saturday Night Live, as well as the controversy over Andres Serrano's Piss Christ. He reads from The Last Supper. Selected Readings: Paul Elie The Last Supper: Art, Faith, Sex, and Controversy in the 1980s Reinventing Bach: The Search for Transcendence in Sound The Life You Save May Be Your Own: An American Pilgrimage The Down-to-Earth Pope: Pope Francis Has Died at Eighty-eight | The New Yorker  Others Madame Bovary Mystery and Manners: Occasional Prose  Love Medicine The Handmaid's Tale Striving Towards Being: The Letters of Thomas Merton and Czeslaw Milosz U2 - Gloria  “The Controversial Saturday Night Live Performance That Made Sinéad O'Connor an Icon,” Time Magazine, July 26, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

Bentornati in Bookatini 2.0 - il podcast per chi è ghiotto di libri.Con l'episodio di oggi torna la serie dedicata ai libri che volevamo assolutamente leggere immediatamente, e che poi sono rimasti a prendere polvere sui nostri comodini. Ora li rispolveriamo e ve li proponiamo per rimetterli in cima alla lista.  In particolare abbiamo chiacchierato di questi libri:"Povere Creature", Alasdair Gray, Safarà Editore"Amatissima", Toni Morrison, Pickwick"Il grande libro di Stephen King",George Beham, Mondadori"La cronologia delll'acqua", Lidia Yuknavitch, Nottetempo Editore"Amelia", Anna Burns, Keller Editore"L'albero delle arance amare", Jokha al-Harthi, Bompiani"Demon Copperhead", Barbara Kingsolver, Neri Pozza"Il mio albero di arance dolci", José Mauro De Vasconcelos, Blackie EdizioniPotete contattarmi, scrivere commenti, suggerimenti, domande e condividre con me le vostre letture su questo tema contattandomi alla pagina Instagram Bookatini_podcast.Se volete sostenermi e godere di contenuti aggiuntivi, potete unirvi a 4 possibili livelli di Patreon che trovate al link: https://www.patreon.com/bookatiniLa sigla di Bookatini è scritta e suonata da Andrea Cerea

In 'Meanwhile', Jacqueline Woodson and Catherine Gund weave together the words of literary legends to explore the intersection of art, grief, and social justice.Description: James Baldwin, Toni Morrison, Muhammad Ali and Nina Simone are some of the artists featured in the moving new film “Meanwhile”, from National Book Award-winner Jacqueline Woodson and Emmy-nominated producer & director Catherine Gund. Their meditations on grief, art, breath and more are beautifully woven together as the film poses the question, how do you keep breathing amidst the chaos? Catalyzed by the Covid-19 pandemic and the police killing of George Floyd, Gund and Woodson tap into our shared existence. The artists featured in the docu-poem, with a haunting soundtrack by Meshell Ndegeocello, work through questions of race, political violence, resistance and identity — so much of what shapes our lives and relationships. “This is not a love letter to this country but to us inside this country,” says Woodson in the film. “We see us. We love us. We make eye contact and nod to us”. In this conversation with Laura Flanders, the trio of longtime friends discuss the film from Aubin Pictures, the losses they experienced in the 80s, and how the arts and poetry can compel us to enact change. Can we reclaim the “meanwhile”? All that, plus a commentary from Laura on hers.Guests:•  Catherine Gund: Producer & Director, Meanwhile; Filmmaker & Founder, Aubin Pictures•  Jacqueline Woodson: Writer & Performer, Meanwhile; Author, Brown Girl Dreaming; Founder, Baldwin for the Arts;  The Elders Project, ColumbiaWatch the special report released on YouTube May 16th 5pm ET; PBS World Channel May 18th, and on over 300 public stations across the country (check your listings, or search here via zipcode). Listen: Episode airing on community radio (check here to see if your station airs the show) & available as a podcast May 21st.Full Conversation Release May 16th, 2025: While our weekly shows are edited to time for broadcast on Public TV and community radio, we offer to our members and podcast subscribers the full uncut conversation. ARE YOU AUDACIOUS? SUPPORT OUR RESISTANCE REPORTING FUND! Help us continue fighting against the rise of authoritarianism in these times. Please support our Resistance Reporting Fund. Our goal is to raise $100K. We're at $35K! Become a sustaining member starting at $5 a month! Or make a one time donation at LauraFlanders.org/Donate RESOURCES:Watch the broadcast episode cut for time at our YouTube channel and airing on PBS stations across the country  Related Laura Flanders Show Episodes:•  Ask Angola Prison: What Difference Can a Play Make?  Watch / Listen:  Episode and Full Conversation•  Survival Guide for Humans Learned from Marine Mammals with Alexis Pauline Gumbs: Watch / Listen:  Episode and Full Conversation  •  V (formerly Eve Ensler): Reckoning with Our Past, Transforming the Future: Watch / Listen Related Articles and Resources:•  Jacqueline Woodson:  Kennedy Center Education Artist-in-Residence (2022-2024)•  Catherine Gund's Meanwhile:  A gorgeous, quietly energetic, and moving meditation on Black resilience and world-making in the face of interminable violence. by Brittany Turner, March 2025, The Brooklyn Rail•  Ivy Young, D.C. journalist, poet, and activist dies at 75: A life of service dedicated to community building. By Staff reports, June 6, 2023, Washington Blade•  Gai Gherardi, legendary co-founder of L.A. Eyeworks, Garrett Leight *Recommended book:“Brown Girl Dreaming” by Jacqueline Woodson. Get the Book*(*Bookshop is an online bookstore with a mission to financially support local, independent bookstores. The LF Show is an affiliate of bookshop.org and will receive a small commission if you click through and make a purchase.) Full Episode Notes are located HERE. Laura Flanders and Friends Crew: Laura Flanders, along with Sabrina Artel, Jeremiah Cothren, Veronica Delgado, Janet Hernandez, Jeannie Hopper, Gina Kim, Sarah Miller, Nat Needham, David Neuman, and Rory O'Conner. FOLLOW Laura Flanders and FriendsInstagram: https://www.instagram.com/lauraflandersandfriends/Blueky: https://bsky.app/profile/lfandfriends.bsky.socialFacebook: https://www.facebook.com/LauraFlandersAndFriends/Tiktok: https://www.tiktok.com/@lauraflandersandfriendsYouTube: https://www.youtube.com/channel/UCFLRxVeYcB1H7DbuYZQG-lgLinkedin: https://www.linkedin.com/company/lauraflandersandfriendsPatreon: https://www.patreon.com/lauraflandersandfriendsACCESSIBILITY - The broadcast edition of this episode is available with closed captioned by clicking here for our YouTube Channel

In 'Meanwhile', Jacqueline Woodson and Catherine Gund weave together the words of literary legends to explore the intersection of art, grief, and social justice.Description:  James Baldwin, Toni Morrison, Muhammad Ali and Nina Simone are some of the artists featured in the moving new film “Meanwhile”, from National Book Award-winner Jacqueline Woodson and Emmy-nominated producer & director Catherine Gund. Their meditations on grief, art, breath and more are beautifully woven together as the film poses the question, how do you keep breathing amidst the chaos? Catalyzed by the Covid-19 pandemic and the police killing of George Floyd, Gund and Woodson tap into our shared existence. The artists featured in the docu-poem, with a haunting soundtrack by Meshell Ndegeocello, work through questions of race, political violence, resistance and identity — so much of what shapes our lives and relationships. “This is not a love letter to this country but to us inside this country,” says Woodson in the film. “We see us. We love us. We make eye contact and nod to us”. In this conversation with Laura Flanders, the trio of longtime friends discuss the film from Aubin Pictures, the losses they experienced in the 80s, and how the arts and poetry can compel us to enact change. Can we reclaim the “meanwhile”? All that, plus a commentary from Laura on hers.“. . . Having lost people so early and in such quick succession and under such an awful oppressive situation [of AIDS in the 80s], . . . each one of those hit so hard. We wrote and we made movies, and we had these elaborate memorials, and we did things to process and grieve. I am really holding on to that approach to death and dying as we get older, because I don't wanna ever not care.” - Catherine GundGuests:•  Catherine Gund: Producer & Director, Meanwhile; Filmmaker & Founder, Aubin Pictures•  Jacqueline Woodson: Writer & Performer, Meanwhile; Author, Brown Girl Dreaming; Founder, Baldwin for the Arts;  The Elders Project, Columbia Full Conversation Release: While our weekly shows are edited to time for broadcast on Public TV and community radio, we offer to our members and podcast subscribers the full uncut conversation. These audio exclusives are made possible thanks to our member supporters.Watch the special report released on YouTube May 16th 5pm ET; PBS World Channel May 18th, and on over 300 public stations across the country (check your listings, or search here via zipcode). Listen: Episode airing on community radio (check here to see if your station airs the show) & available as a podcast May 21st. ARE YOU AUDACIOUS? SUPPORT OUR RESISTANCE REPORTING FUND! Help us continue fighting against the rise of authoritarianism in these times. Please support our Resistance Reporting Fund. Our goal is to raise $100K. We're at $35K! Become a sustaining member starting at $5 a month! Or make a one time donation at LauraFlanders.org/Donate RESOURCES:Watch the broadcast episode cut for time at our YouTube channel and airing on PBS stations across the country Full Episode Notes are located HERE. Related Laura Flanders Show Episodes:•  Ask Angola Prison: What Difference Can a Play Make?  Watch / Listen:  Episode and Full Conversation•  Survival Guide for Humans Learned from Marine Mammals with Alexis Pauline Gumbs: Watch / Listen:  Episode and Full Conversation  •  V (formerly Eve Ensler): Reckoning with Our Past, Transforming the Future: Watch / Listen Related Articles and Resources:•  Jacqueline Woodson:  Kennedy Center Education Artist-in-Residence (2022-2024)•  Catherine Gund's Meanwhile:  A gorgeous, quietly energetic, and moving meditation on Black resilience and world-making in the face of interminable violence. by Brittany Turner, March 2025, The Brooklyn Rail•  Ivy Young, D.C. journalist, poet, and activist dies at 75: A life of service dedicated to community building. By Staff reports, June 6, 2023, Washington Blade•  Gai Gherardi, legendary co-founder of L.A. Eyeworks, Garrett Leight   Laura Flanders and Friends Crew: Laura Flanders, along with Sabrina Artel, Jeremiah Cothren, Veronica Delgado, Janet Hernandez, Jeannie Hopper, Gina Kim, Sarah Miller, Nat Needham, David Neuman, and Rory O'Conner. FOLLOW Laura Flanders and FriendsInstagram: https://www.instagram.com/lauraflandersandfriends/Blueky: https://bsky.app/profile/lfandfriends.bsky.socialFacebook: https://www.facebook.com/LauraFlandersAndFriends/Tiktok: https://www.tiktok.com/@lauraflandersandfriendsYouTube: https://www.youtube.com/channel/UCFLRxVeYcB1H7DbuYZQG-lgLinkedin: https://www.linkedin.com/company/lauraflandersandfriendsPatreon: https://www.patreon.com/lauraflandersandfriendsACCESSIBILITY - The broadcast edition of this episode is available with closed captioned by clicking here for our YouTube Channel

It took nearly six years for bestselling author Daniel Handler to sell his first book, a satirical novel called The Basic Eight. When his agent sold it in 1998, it was “for the least amount she had ever negotiated for,” laughed Handler, who spoke at a UC Berkeley event earlier this month. More than two decades later, Handler has published seven novels. Under his pen name Lemony Snicket, he has written dozens of books for children, including the 13-volume series A Series of Unfortunate Events. His most recent book, And Then? And Then? What else?, is part memoir, part inspiration for aspiring writers. Handler was the keynote speaker at the Magnes Collection of Jewish Art and Life's inaugural Jewish Arts and Bookfest, a day of events held on May 4 in celebration of Jewish American Heritage Month. Throughout the day, artists and authors came together for panel discussions, workshops and other programming that showcased the Jewish experience through art, culture and storytelling. In episode 226 of Berkeley Talks, Handler, joined in conversation by J. The Jewish News of Northern California's editor-in-chief Chanan Tigay, discusses how his Jewish identity shapes his worldview and storytelling, where the name “Lemony Snicket” came from and how a great mentor taught him to read work by authors he admired in order to hone his craft.“When you suggest that we create our own canon, you don't necessarily mean a list of books that are the most significant to us,” Tigay said to Handler at the event, “but actually, the moments in books, turns of phrase and plot twists that are, in some ways, significant. “And I'm wondering if you could take us through a bit of your own canon, in that regard, the moments and turns of phrase and plot twists in books, specific books that have been most impactful to you as a writer?”“For writers, I try to encourage them to seek out what they're enthused by,” Handler replied. “ … So instead of saying, ‘Gosh darn it, Toni Morrison is sure a great writer,' that you think, ‘What is it about Beloved that I return to, that I think about all the time?' … Then, you can go back and find that scene, and look at it, and study it for what it is that you're trying to do, what you're trying to take from it."Handler went on to describe how a scene from the 1958 film Vertigo, when an important character named Midge leaves halfway through the story, inspired the structure of his second novel."My second novel Watch Your Mouth has two parts," he said. "I remember thinking, 'I want ... to have that feeling of like, OK, some things are gone. What in the world can happen in the second half of this story?' That was exciting to me, and I lifted that from that scene in Vertigo. No one in a million years would think that, there's nothing in the novel that reflects that plot or anything like that, but that was what it did for me." This conversation was recorded by Aaron Levy-Wolins / J. The Jewish News of Northern California.Read more about the speakers on the Magnes' website.Listen to the episode and read the transcript on UC Berkeley News (news.berkeley.edu/podcasts).Photo by Brittany Hosea-Small for UC Berkeley.Music by Blue Dot Sessions. Hosted on Acast. See acast.com/privacy for more information.

An ambitious genre-crossing exploration of Black speculative imagination, The Dark Delight of Being Strange: Black Stories of Freedom (Columbia University Press 2024) combines fiction, historical accounts, and philosophical prose to unveil the extraordinary and the surreal in everyday Black life.In a series of stories and essays, James B. Haile, III, traces how Black speculative fiction responds to enslavement, racism, colonialism, and capitalism and how it reveals a life beyond social and political alienation. He re-envisions Black technologies of freedom through Henry Box Brown's famed escape from slavery in a wooden crate, fashions an anticolonial “hollow earth theory” from the works of H. G. Wells and Jules Verne, and considers the octopus and its ability to camouflage itself as a model for Black survival strategies, among others. Looking at Black life through the lens of speculative fiction, this book transports readers to alternative worlds and spaces while remaining squarely rooted in present-day struggles. In so doing, it rethinks historical and contemporary Black experiences as well as figures such as Harriet Tubman, Frederick Douglass, Booker T. Washington, W. E. B. Du Bois, Henry Dumas, and Toni Morrison.Offering new ways to grasp the meanings and implications of Black freedom, The Dark Delight of Being Strange invites us to reimagine history and memory, time and space, our identities and ourselves. Winner, 2025 Hugh J. Silverman Book Prize, Association for Philosophy and Literature Finalist, 2025 PEN America Open Book Award James B. Haile III is a Professor of English & Philosophy at the University of Rhode Island. You can find him at the University of Rhode Island Philosophy Department website. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Dr. Haile continue their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, we're diving into Toni Morrison's Sula—a haunting tale of friendship, betrayal, and Black womanhood that still cuts deep today. We're also unpacking the global crisis around Afrikan refugees and the rising tension over tariffs—because the personal is always political.THE RANT: 5th-round draft pick for Shedeur Sanders? Connect with 4 Friends & A Book Podcast:YouTube: / @4friendsandabook INSTAGRAM | / 4friendsandabook FACEBOOK | / 4-friends-a-book-104994371734599 #4friendsandabookpodcast #bookreviewers #2025reading #bookrecommendation #bookclubreads #booktok #bookpodcast #booktube #shedeursanders #tariffs #tonimorrison 4 Friends and A Book podcast centers discussions on books, life experiences, and a little bit of everything else in between. We have organic conversations which flow naturally from the book at hand, through the writer's journey, and of course, the impact it has on the culture. Our mission is to bring inspiration and reinforce the joys of literacy within our community.

Have you watched the Heartstopper series or read the graphic novels by Alice Oseman? In this episode, we're sharing a conversation that originally aired on Patreon all about the pilot episode of Heartstopper, based on Oseman's beloved graphic novel series. Before we dive into the adaptation, we kick things off with a bookish check-in—Ashley shares about Iron Flame by Rebecca Yarros, and Jen is rereading Song of Solomon by Toni Morrison. We wrap things up with a fun Lit Chat question about whether we prefer borrowing or buying books (spoiler: it depends!).   Whether you've read the series, watched the show, or are just curious what all the buzz is about, we hope you'll tune in and join the conversation. Let us know what you thought about this one! Remember that you can support us on Patreon if you're interested in contributing to the podcast. Visit the Unabridged website for our full show notes and links to the books mentioned in the episode. Interested in what else we're reading? Check out our Featured Books page.   Want to support Unabridged?   Follow us @unabridgedpod on Instagram or Facebook. | Join our Unabridged Podcast Reading Challenge. | Visit our curated list of books at Bookshop.org. | Become a patron on Patreon. | Check out our Merch Store. | Visit the resources available in our Teachers Pay Teachers store.

An ambitious genre-crossing exploration of Black speculative imagination, The Dark Delight of Being Strange: Black Stories of Freedom (Columbia University Press 2024) combines fiction, historical accounts, and philosophical prose to unveil the extraordinary and the surreal in everyday Black life.In a series of stories and essays, James B. Haile, III, traces how Black speculative fiction responds to enslavement, racism, colonialism, and capitalism and how it reveals a life beyond social and political alienation. He re-envisions Black technologies of freedom through Henry Box Brown's famed escape from slavery in a wooden crate, fashions an anticolonial “hollow earth theory” from the works of H. G. Wells and Jules Verne, and considers the octopus and its ability to camouflage itself as a model for Black survival strategies, among others. Looking at Black life through the lens of speculative fiction, this book transports readers to alternative worlds and spaces while remaining squarely rooted in present-day struggles. In so doing, it rethinks historical and contemporary Black experiences as well as figures such as Harriet Tubman, Frederick Douglass, Booker T. Washington, W. E. B. Du Bois, Henry Dumas, and Toni Morrison.Offering new ways to grasp the meanings and implications of Black freedom, The Dark Delight of Being Strange invites us to reimagine history and memory, time and space, our identities and ourselves. Winner, 2025 Hugh J. Silverman Book Prize, Association for Philosophy and Literature Finalist, 2025 PEN America Open Book Award James B. Haile III is a Professor of English & Philosophy at the University of Rhode Island. You can find him at the University of Rhode Island Philosophy Department website. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Dr. Haile continue their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

An ambitious genre-crossing exploration of Black speculative imagination, The Dark Delight of Being Strange: Black Stories of Freedom (Columbia University Press 2024) combines fiction, historical accounts, and philosophical prose to unveil the extraordinary and the surreal in everyday Black life.In a series of stories and essays, James B. Haile, III, traces how Black speculative fiction responds to enslavement, racism, colonialism, and capitalism and how it reveals a life beyond social and political alienation. He re-envisions Black technologies of freedom through Henry Box Brown's famed escape from slavery in a wooden crate, fashions an anticolonial “hollow earth theory” from the works of H. G. Wells and Jules Verne, and considers the octopus and its ability to camouflage itself as a model for Black survival strategies, among others. Looking at Black life through the lens of speculative fiction, this book transports readers to alternative worlds and spaces while remaining squarely rooted in present-day struggles. In so doing, it rethinks historical and contemporary Black experiences as well as figures such as Harriet Tubman, Frederick Douglass, Booker T. Washington, W. E. B. Du Bois, Henry Dumas, and Toni Morrison.Offering new ways to grasp the meanings and implications of Black freedom, The Dark Delight of Being Strange invites us to reimagine history and memory, time and space, our identities and ourselves. Winner, 2025 Hugh J. Silverman Book Prize, Association for Philosophy and Literature Finalist, 2025 PEN America Open Book Award James B. Haile III is a Professor of English & Philosophy at the University of Rhode Island. You can find him at the University of Rhode Island Philosophy Department website. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Dr. Haile continue their conversation. 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

An ambitious genre-crossing exploration of Black speculative imagination, The Dark Delight of Being Strange: Black Stories of Freedom (Columbia University Press 2024) combines fiction, historical accounts, and philosophical prose to unveil the extraordinary and the surreal in everyday Black life.In a series of stories and essays, James B. Haile, III, traces how Black speculative fiction responds to enslavement, racism, colonialism, and capitalism and how it reveals a life beyond social and political alienation. He re-envisions Black technologies of freedom through Henry Box Brown's famed escape from slavery in a wooden crate, fashions an anticolonial “hollow earth theory” from the works of H. G. Wells and Jules Verne, and considers the octopus and its ability to camouflage itself as a model for Black survival strategies, among others. Looking at Black life through the lens of speculative fiction, this book transports readers to alternative worlds and spaces while remaining squarely rooted in present-day struggles. In so doing, it rethinks historical and contemporary Black experiences as well as figures such as Harriet Tubman, Frederick Douglass, Booker T. Washington, W. E. B. Du Bois, Henry Dumas, and Toni Morrison.Offering new ways to grasp the meanings and implications of Black freedom, The Dark Delight of Being Strange invites us to reimagine history and memory, time and space, our identities and ourselves. Winner, 2025 Hugh J. Silverman Book Prize, Association for Philosophy and Literature Finalist, 2025 PEN America Open Book Award James B. Haile III is a Professor of English & Philosophy at the University of Rhode Island. You can find him at the University of Rhode Island Philosophy Department website. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Dr. Haile continue their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

An ambitious genre-crossing exploration of Black speculative imagination, The Dark Delight of Being Strange: Black Stories of Freedom (Columbia University Press 2024) combines fiction, historical accounts, and philosophical prose to unveil the extraordinary and the surreal in everyday Black life.In a series of stories and essays, James B. Haile, III, traces how Black speculative fiction responds to enslavement, racism, colonialism, and capitalism and how it reveals a life beyond social and political alienation. He re-envisions Black technologies of freedom through Henry Box Brown's famed escape from slavery in a wooden crate, fashions an anticolonial “hollow earth theory” from the works of H. G. Wells and Jules Verne, and considers the octopus and its ability to camouflage itself as a model for Black survival strategies, among others. Looking at Black life through the lens of speculative fiction, this book transports readers to alternative worlds and spaces while remaining squarely rooted in present-day struggles. In so doing, it rethinks historical and contemporary Black experiences as well as figures such as Harriet Tubman, Frederick Douglass, Booker T. Washington, W. E. B. Du Bois, Henry Dumas, and Toni Morrison.Offering new ways to grasp the meanings and implications of Black freedom, The Dark Delight of Being Strange invites us to reimagine history and memory, time and space, our identities and ourselves. Winner, 2025 Hugh J. Silverman Book Prize, Association for Philosophy and Literature Finalist, 2025 PEN America Open Book Award James B. Haile III is a Professor of English & Philosophy at the University of Rhode Island. You can find him at the University of Rhode Island Philosophy Department website. You can find the host, Sullivan Summer, online, on Instagram, and at Substack, where she and Dr. Haile continue their conversation.

Send us a textWelcome to Celebrate Poe - Episode 372 - Dracula and DoublesBefore we go any further, I want to give you a basic definition of a double in literature or movies - first using some fairly recent examples.Now a "double" refers to a character or figure that acts as a duplicate or counterpart to another, often embodying opposing traits or hidden aspects of the original character's personality. This motif explores duality, fragmented identity, and moral conflict, serving as a reflection of the protagonist's inner struggles or desires. Doubles can represent repressed qualities (e.g., evil impulses), moral opposites, or even societal anxieties, creating tension and conflict that drives the narrative.Toni Morrison's Beloved (1987)In this Pulitzer Prize-winning novel, the ghostly figure of Beloved acts as a double for Sethe's guilt and trauma over her past actions. The motif highlights themes of memory, motherhood, and the haunting effects of slavery..Daphne du Maurier's Rebecca (1938)While not a modern work in publication date, its influence persists in contemporary Gothic fiction. The unseen presence of Rebecca acts as a psychological double for the narrator, embodying her insecurities and fears about her identity in relation to her husband's first wife.These two modern examples demonstrate how the double motif remains a powerful literary tool for exploring complex psychological and social issues while maintaining its Gothic roots in creating tension and unease.Listen to this episode to hear a theory regarding how the theme of "the double" is used in Bram Stokers Dracula!Thank you for experiencing Celebrate Poe.

I am so excited to say that my guest on the GWA Podcast is one of the most exciting painters working in the world today, Michaela Yearwood-Dan. Hailed for her works that bloom, dance, and come alive when you are witness to them, with an abundance of textures, weathers, colours, mark-makings, and more, Yearwood-Dan intertwines the botanical with abstraction, and brings painting back to its natural-like essence. Never restricting herself to just one medium, Yearwood-Dan works across ceramics, sound, installation, performance, and all-encompassing paintings that can range from small to the colossal, with some measuring up to 8-metres-wide. See them in the flesh and it's like seeing an entire ecosystem unfold, embedded with hidden languages, whether it be the symbolism she uses or the small elements of text, poetry and song lyrics, that add another dimension to her rich, embellished worlds. Raised in London as the youngest of three girls, by parents and grandparents that taught her about craft, weaving, seamstressing, Yearwood-Dan completed her studies at Brighton from 2013–2016, where she graduated top of her class, before going onto experiment with an artistic language that has constantly been growing and reinventing, and pushing paint to its limits. While early work – at the time I met her in around 2019, when she invited me for a studio visit when we were both in our mid 20s – explored more interior images intertwined with house plants, it has been incredible to watch her work mould into spaces of abundance, possibility and exhilaration. And indeed, her work has been described by the renowned writer and curator Ekow Eshun as having “a sense of boundless possibility”, which feels apt for a time like today, when it feels more than ever for art to be our guide to expanding our imagination, and also joy in times of despair. This is exactly the topic of Yearwood-Dan's new exhibition, opening at Hauser & Wirth in London on 13 May, titled No Time for Despair, referencing a line from Toni Morrison's 2004 article for The Nation, which states, “in times of dread, artists must never choose to remain silent.” – and I can't wait to find out more… Exhibition page: https://www.hauserwirth.com/hauser-wirth-exhibitions/michaela-yearwood-dan-no-time-for-despair/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

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

Toni Morrison (1931-2019) was a groundbreaking writer and the first African-American woman to win the Nobel Prize in Literature in 1993. Her works, including the Pulitzer Prize-winning novel Beloved—where she coined the word "rememory"—explore race, identity, and the legacies of slavery. Morrison’s profound storytelling has made her one of the most influential voices in American literature. For Further Reading: National Women’s History Museum: Toni Morrison Toni Morrison, Towering Novelist of the Black Experience, Dies at 88 Manifestations and Memory: A Look At Trauma, Hauntings, and “Rememory” 'I wanted to carve out a world both culture specific and race-free': an essay by Toni Morrison Toni Morrison, a Writer of Many Gifts Who Bent Language to Her Will This month, we’re talking about Word Weavers — people who coined terms, popularized words, and even created entirely new languages. These activists, writers, artists, and scholars used language to shape ideas and give voice to experiences that once had no name. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

While Bill is on a research and writing sabbatical for the next 3 weeks we decided it's important to revisit the horrors we laid out in our Project 2025 podcast series, Trump's Project 2025: Up Close and Personal – and tie them to what's actually happened so far. Project 2025 proposed to eliminate the Department of Education and divert federal education funding into universal school voucher programs, allowing public money to be used for private and for-profit schools. This would result in cuts to critical services and programs at public schools, including mental health counseling, school resource officers, after-school programs, reading/writing specialists, and services for students with disabilities. Classroom sizes at public schools would increase substantially due to the funding cuts, hampering the ability to provide a quality education. The plan also calls for the censorship of curriculum and book banning related to topics like racial equity, LGBTQ issues, and reproductive health. Private for-profit schools receiving voucher funds have been found to use substandard or misleading curriculum, including teaching that dinosaurs and humans co-existed and that slavery was not as bad as portrayed. Overall, the goal of Project 2025 is to end public education in the United States in favor of a privatized, deregulated school system, with devastating consequences for students, especially those from lower-income families and communities.Based on the actual proposals and likely consequences above, the fictional based stories begin as Martha Sheakley, the principal of Southeast Middle School, faces the challenges of new controversial book-banning laws that require the removal of numerous classics from the library. As she meets with librarian Paige Parker, they express their frustration over the vague standards forcing them to censor popular titles, including works by Toni Morrison and Anne Frank. Martha is frustrated with the political landscape affecting education and the consequences of enforcing these new laws. Martha then attends a distressing meeting about school funding. Due to the government's shift to vouchers for private schools, public schools face severe funding cuts. She learns they must eliminate wrap-around services and support staff, including mental health counselors, after-care programs, and special education resources. These cuts threaten the well-being of students and the overall educational environment. The meeting exposes the deepening crisis in public education as more responsibilities are pushed onto families with lower income and fewer resources. After a day filled with painful decisions and meetings, Martha encounters law enforcement taking away censored books from the library, further highlighting the absurdity and tragedy of censorship in education. As the day ends, Martha reflects on the privilege of parents benefitting from the new policies while her own students and staff suffer the consequences.In parallel, Marcus and other parents share their concerns about Blue Ribbon Academy, a new school that seemed promising but delivered a disappointing reality. They discover misleading curriculum materials that trivialize serious historical issues and provide an inadequate education. As they navigate their experiences trying to advocate for better education options for their children, they are met with resistance from the Blue Ribbon administration, which has no accountability to the public.Despite their efforts, the parents ultimately face the grim reality that shifts in educational policy have sidelined their children, particularly those with special needs like Marcus's son, Jamal, who is deemed "not a good fit" for Blue Ribbon due to his ADHD. This reflects a larger trend of public schools becoming underfunded and unable to meet the needs of diverse learners as more families are funneled into less supportive educational environments.We'd like to thank all the artists who volunteered their time to make this episode: Ever Carradine and Don Cheadle who read the chapters and others who contributed character voices. Sound design by Johnathan Moser.Trump's Project 2025: Up Close and Personal is written by David Pepper and produced by Pepper, Melissa Jo Peltier and Jay Feldman and is a production of Ovington Avenue Productions and The Bill Press Pod. Today's Bill Press Pod is supported by The Laborers' International Union of North America. More information at LIUNA.orgSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Two girls from different racial backgrounds meet in a shelter and form a complicated, lifelong bond. As they reunite at various points in their lives, shifting memories and buried prejudices force them—and the reader—to confront how race, class, and personal history shape perception. The result is a reading experience as powerful as it is provocative. The short story: Recitatif by Toni Morrison Let's get LIT!  Links & Resources: Grab your Digital Reading Journal here: ETSY or Patreon Want more bookish fun? Check out our archive of episodes! (www.LITSocietyPod.com) Shop Kari's collection of luxury literary-themed candles at www.lovelitotes.com. Find Alexis and Kari online:  Instagram — www.instagram.com/litsocietypod Bluesky — https://bsky.app/profile/litsocietypod.bsky.social Our website — www.LitSocietyPod.com. Subscribe to emails and get free stuff: http://eepurl.com/gDtWCr.

Dr. Michelle Hite on Mothering While Black, Everyday Courage, and the Power of Telling the Truth What happens when the world sees your child as a threat before it sees them as human? What does it cost to raise a child while defending your right to grieve, to question, to be seen? This conversation centers the weight—and the wisdom—of mothering while Black. In this featured National Black Girl Month™ 2025 episode, we're joined by Dr. Michelle Hite, Spelman College professor, public scholar, and cultural critic whose work traces the intersections of Black identity, grief, and resistance. Together with co-host Dr. Rikesha Fry Brown, we examine what it means to mother, nurture, and protect in a world that wasn't built for our safety. This episode isn't about resilience. It's about truth-telling as a form of care. You'll hear: How cultural narratives, from Mamie Till to Toni Morrison, shape our understanding of motherhood Why public strength can't replace private witnessing The difference between independence and isolation—and why communal living is the lesson we keep returning to How everyday gestures become sacred acts of protection, memory, and joy Why sharing isn't a virtue. It's a practice. And we're out of practice. Whether you're a mother by birth, bond, or assignment, this conversation invites you to return to what you know: you don't have to do it alone. Listen now and access the free toolkit at NationalBlackGirlMonth.com Access Dr. Hite's work: https://www.spelman.edu/staff/profiles/michelle-hite.html  Connect with Dr. Rikesha Fry Brown: www.instagram.com/dr.rikesha  Connect with Felicia Ford: www.threads.net/@friendscallmefe  More about Dr. Hite:  Michelle Hite, Ph.D. has been a Faculty Member Since 2004 and is an Associate Professor for English, the Honors ProgramDirector and the International Fellowships and ScholarshipsDirector. Michelle Hite earned her Ph.D. from Emory University in American/African American Studies in 2009. Her dissertation used Venus and Serena Williams as subjects whose representation in popular media, books, videos, and other texts prompted her research questions regarding what their public portrayal might suggest about the intersection of race, gender, and nationalism during late capitalism.Although Dr. Hite remains deeply interested in sports, her intellectual work now focuses on African-American life, culture, and experience in the United States during the mid-twentieth century. To this end, she is currently working on a monograph about the bombing of the 16th Street Baptist Church in Birmingham, Alabama on September 15, 1963.In addition to her work as an associate professor in the English department at Spelman, Dr. Hite is director of the Ethel Waddell Githii Honors Program and director of International Fellowships and Scholarships. #nationalblackgirlmonth

Welcome to our monthly book discussion series hosted by Marisa Serafini (@serafinitv) and me, Phil Svitek! This month, we dive into Song of Solomon by Toni Morrison — a sweeping, lyrical novel about family, memory, freedom, and finding one's true self.We follow Milkman Dead, a young man born into privilege but alienated from his roots, as he embarks on a journey that reconnects him with the strength, sorrows, and ancestral stories of his past. Along the way, Morrison weaves a tapestry rich with myth, folklore, and haunting imagery—challenging us to rethink ideas of identity, flight, love, and legacy.In this discussion, we explore major themes like generational trauma, the search for selfhood, economic and racial injustice, the transformative power of oral history, and what it really means to be free. Join us as we break down Morrison's unforgettable characters, potent symbolism, and enduring legacy—and don't forget to share your thoughts in the comments!Upcoming Reads:-1984 by George Orwell (May 2025)- Avatar: The Last Airbender – The Reckoning of Roku by Randy Ribay (June 2025)-TBD (July 2025)-James Burrow's Directed By (August 2025)Be sure to like, comment, and subscribe. And check out Marisa's podcast, Friends & Favorites w/ Marisa Serafini: https://podcasts.apple.com/us/podcast/friends-and-favorites-w-marisa-serafini/id1693327509

The more independent publishers and their authors work together on their book marketing efforts, the better chance they have of selling more books. One of the main focuses of independent publisher Wordeee is figuring out how to leverage the relationships that their authors already have to maximize the reach of their book marketing efforts. Wordeee CEO Marva Allen and COO Patrice Samara join “Inside Independent Publishing (with IBPA)” to share the interesting book marketing tactics they employ with their authors, partnerships they've created for the film and audiobook rights of their books, and more.PARTICIPANTSMARVA ALLEN, CEO WORDEEEMs. Allen was president and co-owner of USI, a multi-million-dollar technology firm that was thrice nominated for the Ernst & Young Entrepreneurship Award. She is the recipient of numerous business awards, including the IBM & Kodak Excellence Awards, and was named a Crain's 40 Under 40 Awardee for significantly achieving in business before her 40th birthday. Allen was a nominee for the Top 100 Most Influential Women in Michigan. She holds a BSN from SGI in England; a B.S in Biology from the University of Michigan; and an M.S. in Health & Business Administration. As a noted book subject matter expert, Allen has been the 'go to‘ person for books for NPR, NBC, and was the on-air book contributor and commentator for Arise TV. She has been featured in the New York Times, NYSE Diversity Magazine (she rang the closing bell for Wall Street), Time Out, and various other magazines and periodicals. She spearheaded the First Literary Festival in Anguilla and hosted major events for Toni Morrison, President Bill Clinton, Secretary of State Hillary Clinton, and Maya Angelou, among many others. She consults with celebrities and high-profile authors who want out-of-the-box thinking on marketing, promoting, and selling their books.Ms. Allen is also the author of several books, including If I should Die Tonight; Camouflage; Protégée; and The Pianist and Min Jade under the nom de plume, C.C. AvramPATRICE SAMARA, COOA veteran entrepreneur in the communications, media and entertainment industries, Emmy, Parent's Choice, and Cine Golden-Eagle-winner Samara brings global business skills and relationships that play heavily into Wordeee's marketing and growth. An author and publisher, she has keen insight into the day-to-day operations of a myriad of successful public, private, and non-profit organizations in her forty-year career.Ms. Samara has worked in over fifty countries, has twice been an NGO Representative to the United Nations, and was the Senior Media Advisor to the 61st President of the UN General Assembly.A cross-cultural specialist, she is the author of seven Alphabet Kids children's books, a multicultural series celebrating the similarities and applauding the differences in all of us.She is also the co-author with Marva Allen of North Star, North Star, an aspirational children's book fostering community and inspiring children to be the best they can be.Independent Book Publishers Association is the largest trade association for independent publishers in the United States. As the IBPA Director of Membership & Member Services, Christopher Locke assists the 3,600 members as they travel along their publishing journeys. Major projects include managing the member benefits to curate the most advantageous services for independent publishers and author publishers; managing the Innovative Voices Program that supports publishers from marginalized communities; and hosting the IBPA podcast, “Inside Independent Publishing (with IBPA).” He's also passionate about indie publishing, because he's an author publisher himself, having published two novels so far in his YA trilogy, The Enlightenment Adventures.LINKSLearn more about the many benefits of becoming a member of Independent Book Publishers Association (IBPA) here: https://www.ibpa-online.org/page/membershipLearn more about Wordeee at https://www.wordeee.com/Follow IBPA on:Facebook – https://www.facebook.com/IBPAonlineX – https://twitter.com/ibpaInstagram - https://www.instagram.com/ibpalovesindies/

In 1987 Oprah Winfrey read a book that changed her life. What happened to her as a result of reading that book, the unanticipated lesson she learned, remains fresh and urgent for her 38 years later.The book, by author Toni Morrison, was a novel called Beloved in which Morrison attempts to show what it was like to be a slave. What did slavery do to the enslaved person's inner life, to their psyche, to their soul? How did slavery shape not only the enslaved person, but also their descendants—even when slavery was over?When Oprah Winfrey first read the novel, she fell in love with it. She just knew that she had to make a movie based on this book. Toni Morrison had never allowed any of her novels to be made into a film, but the author succumbed to the charms and persuasive powers of Oprah Winfrey.Oprah worked on the film Beloved for more than ten years. She herself played the lead. She used her power and influence to get the film made. The film was 3 hours long, was intense, hard, and sad—and did not have a happy ending.How did the film do? Alan Stone, a professor of law and psychiatry at Harvard Law School at the time, saw the film in Harvard Square when it first opened. He wrote:Ten minutes into the film, I began to hear audible groans from my two companions, who subsequently predicted Beloved's demise at the box office. They hated the film: they could not follow it…Baffled by the narrative…they like most filmgoers, missed the experience that Oprah wanted them to have.Alan Stone's friends would prove prophetic. The film cost 80 million dollars to make. It took in 22 million dollars at the box office. The first weekend it came out, even with Oprah's star power, the film was beaten at the box office by a horror movie called The Bride of Chucky. It took ten years to make. It was pulled from the theatres after four weeks.Oprah had been completely invested in this project. She worked on it for more than ten years. She believed in it. She really cared. And after all that personal care and investment, her beloved film Beloved did not land.The failure of her film devastated Oprah. When she learned that Beloved got beat at the box office by Chucky, she shared that stayed home and ate a prodigious amount of macaroni and cheese, and she experienced a major depression. She observed: “It was the only time in my life that I was ever depressed, and I recognized that I was depressed because I've done enough shows on the topic. ‘O, this is what people must feel like who are depressed.'All of which happened in 1998. Why am I bringing it up now?Author John Maxwell observed that life's greatest lessons always come from our failures, not from our successes. The more painful our failure, the more important it is to extract a life-enhancing lesson from that failure. That is just what Oprah did.

Morgan and Vanessa invite you to walk in the footsteps of the late Toni Morrison, drawing inspiration from her legacy to guide a grounding meditation and self-care audit that reconnects you with the power of rest. This episode features a grounding meditation and a self-care audit, designed to reconnect you with your inner peace. Yolanda Williams brings her authentic wisdom, while sleep specialist Dr. Keith Dixon offers life-saving insights into the power of rest. Together, they explore why rest is not just a necessity, but a revolutionary act of self-preservation. Tune in for a teach-in that could change the way you care for yourself.Important Disclaimer: While this episode provides helpful information, we are not medical experts. Please consult your doctor for personalized advice.

A gem rescued from the archives! We are re-releasing the Toni Morrison episode after cleaning up the audio.Toni Morrison writes about history, slavery, racism, resilience and survival with an unflinching voice. Her novels, once a staple of every American school bookshelf, are now the targets of politically motivated reviews and book bannings. Despite this, there is no getting around the fact that she was one of America's greatest writers. Before her death in 2019, her oeuvre stretched out over almost four decades. Her debut novel, The Bluest Eye, in 1970, already showed her ear for dialogue, and richly expressive depictions of African American struggles. In 2009, she came to Amsterdam on the strength of her book, A Mercy, which made the New York Times Book Review Top Ten of 2008. She read a passage for us from “A Mercy”. Although physically frail, her mind was sharp during her conversation with the Dutch novelist, playwright and translator, Bas Heine (May 20th, 2009 at the Aula of the UvA in Amsterdam).Visit our website for our live programs and other activities.Support the show

It's a small world. The great David Rieff came to my San Francisco studio today for in person interview about his new anti-woke polemic Desire and Fate. And half way through our conversation, he brought up Daniel Bessner's This Is America piece which Bessner discussed on yesterday's show. I'm not sure what that tells us about wokeness, a subject which Rieff and I aren't in agreement. For him, it's the thing-in-itself which make sense of our current cultural malaise. Thus Desire and Fate, his attempt (with a great intro from John Banville) to wake us up from Wokeness. For me, it's a distraction. I've included the full transcript below. Lots of good stuff to chew on. Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. 5 KEY TAKEAWAYS * Rieff views "woke" ideology as primarily American and post-Protestant in nature, rather than stemming solely from French philosophy, emphasizing its connections to self-invention and subjective identity.* He argues that woke culture threatens high culture but not capitalism, noting that corporations have readily embraced a "baudlerized" version of identity politics that avoids class discussions.* Rieff sees woke culture as connected to the wellness movement, with both sharing a preoccupation with "psychic safety" and the metaphorical transformation of experience in which "words” become a form of “violence."* He suggests young people's material insecurity contributes to their focus on identity, as those facing bleak economic prospects turn inward when they "can't make their way in the world."* Rieff characterizes woke ideology as "apocalyptic but not pessimistic," contrasting it with his own genuine pessimism which he considers more realistic about human nature and more cheerful in its acceptance of life's limitations. FULL TRANSCRIPTAndrew Keen: Hello everybody, as we digest Trump 2.0, we don't talk that much these days about woke and woke ideology. There was a civil war amongst progressives, I think, on the woke front in 2023 and 2024, but with Donald Trump 2.0 and his various escapades, let's just talk these days about woke. We have a new book, however, on the threat of woke by my guest, David Rieff. It's called Desire and Fate. He wrote it in 2023, came out in late 2024. David's visiting the Bay Area. He's an itinerant man traveling from the East Coast to Latin America and Europe. David, welcome to Keen on America. Do you regret writing this book given what's happened in the last few months in the United States?David Rieff: No, not at all, because I think that the road to moral and intellectual hell is trying to censor yourself according to what you think is useful. There's a famous story of Jean Paul Sartre that he said to the stupefaction of a journalist late in his life that he'd always known about the gulag, and the journalist pretty surprised said, well, why didn't you say anything? And Sartre said so as not to demoralize the French working class. And my own view is, you know, you say what you have to say about this and if I give some aid and comfort to people I don't like, well, so be it. Having said that, I also think a lot of these woke ideas have their, for all of Trump's and Trump's people's fierce opposition to woke, some of the identity politics, particularly around Jewish identity seems to me not that very different from woke. Strangely they seem to have taken, for example, there's a lot of the talk about anti-semitism on college campuses involves student safety which is a great woke trope that you feel unsafe and what people mean by that is not literally they're going to get shot or beaten up, they mean that they feel psychically unsafe. It's part of the kind of metaphorization of experience that unfortunately the United States is now completely in the grips of. But the same thing on the other side, people like Barry Weiss, for example, at the Free Press there, they talk in the same language of psychic safety. So I'm not sure there's, I think there are more similarities than either side is comfortable with.Andrew Keen: You describe Woke, David, as a cultural revolution and you associated in the beginning of the book with something called Lumpen-Rousseauism. As we joked before we went live, I'm not sure if there's anything in Rousseau which isn't Lumpen. But what exactly is this cultural revolution? And can we blame it on bad French philosophy or Swiss French?David Rieff: Well, Swiss-French philosophy, you know exactly. There is a funny anecdote, as I'm sure you know, that Rousseau made a visit to Edinburgh to see Hume and there's something in Hume's diaries where he talks about Rousseau pacing up and down in front of the fire and suddenly exclaiming, but David Hume is not a bad man. And Hume notes in his acerbic way, Rousseau was like walking around without his skin on. And I think some of the woke sensitivity stuff is very much people walking around without their skin on. They can't stand the idea of being offended. I don't see it as much - of course, the influence of that version of cultural relativism that the French like Deleuze and Guattari and other people put forward is part of the story, but I actually see it as much more of a post-Protestant thing. This idea, in that sense, some kind of strange combination of maybe some French philosophy, but also of the wellness movement, of this notion that health, including psychic health, was the ultimate good in a secular society. And then the other part, which again, it seems to be more American than French, which is this idea, and this is particularly true in the trans movement, that you can be anything you want to be. And so that if you feel yourself to be a different gender, well, that's who you are. And what matters is your own subjective sense of these things, and it's up to you. The outside world has no say in it, it's what you feel. And that in a sense, what I mean by post-Protestant is that, I mean, what's the difference between Protestantism and Catholicism? The fundamental difference is, it seems to me, that in Roman Catholic tradition, you need the priest to intercede with God, whereas in Protestant tradition, it is, except for the Anglicans, but for most of Protestantism, it's you and God. And in that sense it seems to me there are more of what I see in woke than this notion that some of the right-wing people like Chris Rufo and others have that this is cultural French cultural Marxism making its insidious way through the institutions.Andrew Keen: It's interesting you talk about the Protestant ethic and you mentioned Hume's remark about Rousseau not having his skin on. Do you think that Protestantism enabled people to grow thick skins?David Rieff: I mean, the Calvinist idea certainly did. In fact, there were all these ideas in Protestant culture, at least that's the classical interpretation of deferred gratification. Capitalism was supposed to be the work ethic, all of that stuff that Weber talks about. But I think it got in the modern version. It became something else. It stopped being about those forms of disciplines and started to be about self-invention. And in a sense, there's something very American about that because after all you know it's the Great Gatsby. It's what's the famous sentence of F. Scott Fitzgerald's: there are no second acts in American lives.Andrew Keen: This is the most incorrect thing anyone's ever said about America. I'm not sure if he meant it to be incorrect, did he? I don't know.David Rieff: I think what's true is that you get the American idea, you get to reinvent yourself. And this notion of the dream, the dream become reality. And many years ago when I was spending a lot of time in LA in the late 80s, early 90s, at LAX, there was a sign from the then mayor, Tom Bradley, about how, you know, if you can dream it, it can be true. And I think there's a lot in identitarian woke idea which is that we can - we're not constricted by history or reality. In fact, it's all the present and the future. And so to me again, woke seems to me much more recognizable as something American and by extension post-Protestant in the sense that you see the places where woke is most powerful are in the other, what the encampment kids would call settler colonies, Australia and Canada. And now in the UK of course, where it seems to me by DI or EDI as they call it over there is in many ways stronger in Britain even than it was in the US before Trump.Andrew Keen: Does it really matter though, David? I mean, that's my question. Does it matter? I mean it might matter if you have the good or the bad fortune to teach at a small, expensive liberal arts college. It might matter with some of your dinner parties in Tribeca or here in San Francisco, but for most people, who cares?David Rieff: It doesn't matter. I think it matters to culture and so what you think culture is worth, because a lot of the point of this book was to say there's nothing about woke that threatens capitalism, that threatens the neo-liberal order. I mean it's turning out that Donald Trump is a great deal bigger threat to the neoliberal order. Woke was to the contrary - woke is about talking about everything but class. And so a kind of baudlerized, de-radicalized version of woke became perfectly fine with corporate America. That's why this wonderful old line hard lefty Adolph Reed Jr. says somewhere that woke is about diversifying the ruling class. But I do think it's a threat to high culture because it's about equity. It's about representation. And so elite culture, which I have no shame in proclaiming my loyalty to, can't survive the woke onslaught. And it hasn't, in my view. If you look at just the kinds of books that are being written, the kinds of plays that are been put on, even the opera, the new operas that are being commissioned, they're all about representing the marginalized. They're about speaking for your group, whatever that group is, and doing away with various forms of cultural hierarchy. And I'm with Schoenberg: if it's for everybody, if it's art, Schoenberg said it's not for everybody, and if it's for everybody it's not art. And I think woke destroys that. Woke can live with schlock. I'm sorry, high culture can live with schlock, it always has, it always will. What it can't live with is kitsch. And by which I mean kitsch in Milan Kundera's definition, which is to have opinions that you feel better about yourself for holding. And that I think is inimical to culture. And I think woke is very destructive of those traditions. I mean, in the most obvious sense, it's destructive of the Western tradition, but you know, the high arts in places like Japan or Bengal, I don't think it's any more sympathetic to those things than it is to Shakespeare or John Donne or whatever. So yeah, I think it's a danger in that sense. Is it a danger to the peace of the world? No, of course not.Andrew Keen: Even in cultural terms, as you explain, it is an orthodoxy. If you want to work with the dominant cultural institutions, the newspapers, the universities, the publishing houses, you have to play by those rules, but the great artists, poets, filmmakers, musicians have never done that, so all it provides, I mean you brought up Kundera, all it provides is something that independent artists, creative people will sneer at, will make fun of, as you have in this new book.David Rieff: Well, I hope they'll make fun of it. But on the other hand, I'm an old guy who has the means to sneer. I don't have to please an editor. Someone will publish my books one way or another, whatever ones I have left to write. But if you're 25 years old, maybe you're going to sneer with your pals in the pub, but you're gonna have to toe the line if you want to be published in whatever the obvious mainstream place is and you're going to be attacked on social media. I think a lot of people who are very, young people who are skeptical of this are just so afraid of being attacked by their peers on various social media that they keep quiet. I don't know that it's true that, I'd sort of push back on that. I think non-conformists will out. I hope it's true. But I wonder, I mean, these traditions, once they die, they're very hard to rebuild. And, without going full T.S. Eliot on you, once you don't think you're part of the past, once the idea is that basically, pretty much anything that came before our modern contemporary sense of morality and fairness and right opinion is to be rejected and that, for example, the moral character of the artist should determine whether or not the art should be paid attention to - I don't know how you come back from that or if you come back from that. I'm not convinced you do. No, other arts will be around. And I mean, if I were writing a critical review of my own book, I'd say, look, this culture, this high culture that you, David Rieff, are writing an elegy for, eulogizing or memorializing was going to die anyway, and we're at the beginning of another Gutenbergian epoch, just as Gutenberg, we're sort of 20 years into Marshall McLuhan's Gutenberg galaxy, and these other art forms will come, and they won't be like anything else. And that may be true.Andrew Keen: True, it may be true. In a sense then, to extend that critique, are you going full T.S. Eliot in this book?David Rieff: Yeah, I think Eliot was right. But it's not just Eliot, there are people who would be for the wokesters more acceptable like Mandelstam, for example, who said you're part of a conversation that's been going on long before you were born, that's going to be going on after you are, and I think that's what art is. I think the idea that we make some completely new thing is a childish fantasy. I think you belong to a tradition. There are periods - look, this is, I don't find much writing in English in prose fiction very interesting. I have to say I read the books that people talk about because I'm trying to understand what's going on but it doesn't interest me very much, but again, there have been periods of great mediocrity. Think of a period in the late 17th century in England when probably the best poet was this completely, rightly, justifiably forgotten figure, Colley Cibber. You had the great restoration period and then it all collapsed, so maybe it'll be that way. And also, as I say, maybe it's just as with the print revolution, that this new culture of social media will produce completely different forms. I mean, everything is mortal, not just us, but cultures and civilizations and all the rest of it. So I can imagine that, but this is the time I live in and the tradition I come from and I'm sorry it's gone, and I think what's replacing it is for the most part worse.Andrew Keen: You're critical in the book of what you, I'm quoting here, you talk about going from the grand inquisitor to the grand therapist. But you're very critical of the broader American therapeutic culture of acute sensitivity, the thin skin nature of, I guess, the Rousseau in this, whatever, it's lumpen Rousseauanism. So how do you interpret that without psychologizing, or are you psychologizing in the book? How are you making sense of our condition? In other words, can one critique criticize therapeutic culture without becoming oneself therapeutic?David Rieff: You mean the sort of Pogo line, we've met the enemy and it is us. Well, I suppose there's some truth to that. I don't know how much. I think that woke is in some important sense a subset of the wellness movement. And the wellness movement after all has tens and tens of millions of people who are in one sense or another influenced by it. And I think health, including psychic health, and we've moved from wellness as corporal health to wellness as being both soma and psyche. So, I mean, if that's psychologizing, I certainly think it's drawing the parallel or seeing woke in some ways as one of the children of the god of wellness. And that to me, I don't know how therapeutic that is. I think it's just that once you feel, I'm interested in what people feel. I'm not necessarily so interested in, I mean, I've got lots of opinions, but what I think I'm better at than having opinions is trying to understand why people think what they think. And I do think that once health becomes the ultimate good in a secular society and once death becomes the absolutely unacceptable other, and once you have the idea that there's no real distinction of any great validity between psychic and physical wellness, well then of course sensitivity to everything becomes almost an inevitable reaction.Andrew Keen: I was reading the book and I've been thinking about a lot of movements in America which are trying to bring people together, dealing with America, this divided America, as if it's a marriage in crisis. So some of the most effective or interesting, I think, thinkers on this, like Arlie Hochschild in Berkeley, use the language of therapy to bring or to try to bring America back together, even groups like the Braver Angels. Can therapy have any value or that therapeutic culture in a place like America where people are so bitterly divided, so hateful towards one another?David Rieff: Well, it's always been a country where, on the one hand, people have been, as you say, incredibly good at hatred and also a country of people who often construe themselves as misfits and heretics from the Puritans forward. And on the other hand, you have that small-town American idea, which sometimes I think is as important to woke and DI as as anything else which is that famous saying of small town America of all those years ago which was if you don't have something nice to say don't say anything at all. And to some extent that is, I think, a very powerful ancestor of these movements. Whether they're making any headway - of course I hope they are, but Hochschild is a very interesting figure, but I don't, it seems to me it's going all the other way, that people are increasingly only talking to each other.Andrew Keen: What this movement seems to want to do is get beyond - I use this word carefully, I'm not sure if they use it but I'm going to use it - ideology and that we're all prisoners of ideology. Is woke ideology or is it a kind of post-ideology?David Rieff: Well, it's a redemptive idea, a restorative idea. It's an idea that in that sense, there's a notion that it's time for the victims, for the first to be last and the last to be first. I mean, on some level, it is as simple as that. On another level, as I say, I do think it has a lot to do with metaphorization of experience, that people say silence is violence and words are violence and at that point what's violence? I mean there is a kind of level to me where people have gotten trapped in the kind of web of their own metaphors and now are living by them or living shackled to them or whatever image you're hoping for. But I don't know what it means to get beyond ideology. What, all men will be brothers, as in the Beethoven-Schiller symphony? I mean, it doesn't seem like that's the way things are going.Andrew Keen: Is the problem then, and I'm thinking out loud here, is the problem politics or not enough politics?David Rieff: Oh, I think the problem is that now we don't know, we've decided that everything is part, the personal is the political, as the feminists said, 50, 60 years ago. So the personal's political, so the political is the personal. So you have to live the exemplary moral life, or at least the life that doesn't offend anybody or that conforms to whatever the dominant views of what good opinions are, right opinions are. I think what we're in right now is much more the realm of kind of a new set of moral codes, much more than ideology in the kind of discrete sense of politics.Andrew Keen: Now let's come back to this idea of being thin-skinned. Why are people so thin-skinned?David Rieff: Because, I mean, there are lots of things to say about that. One thing, of course, that might be worth saying, is that the young generations, people who are between, let's say, 15 and 30, they're in real material trouble. It's gonna be very hard for them to own a house. It's hard for them to be independent and unless the baby boomers like myself will just transfer every penny to them, which doesn't seem very likely frankly, they're going to live considerably worse than generations before. So if you can't make your way in the world then maybe you make your way yourself or you work on yourself in that sort of therapeutic sense. You worry about your own identity because the only place you have in the world in some way is yourself, is that work, that obsession. I do think some of these material questions are important. There's a guy you may know who's not at all woke, a guy who teaches at the University of Washington called Danny Bessner. And I just did a show with him this morning. He's a smart guy and we have a kind of ironic correspondence over email and DM. And I once said to him, why are you so bitter about everything? And he said, you want to know why? Because I have two children and the likelihood is I'll never get a teaching job that won't require a three hour commute in order for me to live anywhere that I can afford to live. And I thought, and he couldn't be further from woke, he's a kind of Jacobin guy, Jacobin Magazine guy, and if he's left at all, it's kind of old left, but I think a lot of people feel that, that they feel their practical future, it looks pretty grim.Andrew Keen: But David, coming back to the idea of art, they're all suited to the world of art. They don't have to buy a big house and live in the suburbs. They can become poets. They can become filmmakers. They can put their stuff up on YouTube. They can record their music online. There are so many possibilities.David Rieff: It's hard to monetize that. Maybe now you're beginning to sound like the people you don't like. Now you're getting to sound like a capitalist.Andrew Keen: So what? Well, I don't care if I sound like a capitalist. You're not going to starve to death.David Rieff: Well, you might not like, I mean, it's fine to be a barista at 24. It's not so fine at 44. And are these people going to ever get out of this thing? I don't know. I wonder. Look, when I was starting as a writer, as long as you were incredibly diligent, and worked really hard, you could cobble together at least a basic living by accepting every assignment and people paid you bits and bobs of money, but put together, you could make a living. Now, the only way to make money, unless you're lucky enough to be on staff of a few remaining media outlets that remain, is you have to become an impresario, you have become an entrepreneur of your own stuff. And again, sure, do lots of people manage that? Yeah, but not as many as could have worked in that other system, and look at the fate of most newspapers, all folding. Look at the universities. We can talk about woke and how woke destroyed, in my view anyway, a lot of the humanities. But there's also a level in which people didn't want to study these things. So we're looking at the last generation in a lot places of a lot of these humanities departments and not just the ones that are associated with, I don't know, white supremacy or the white male past or whatever, but just the humanities full stop. So I know if that sounds like, maybe it sounds like a capitalist, but maybe it also sounds like you know there was a time when the poets - you know very well, poets never made a living, poets taught in universities. That's the way American poets made their money, including pretty famous poets like Eric Wolcott or Joseph Brodsky or writers, Toni Morrison taught at Princeton all those years, Joyce Carol Oates still alive, she still does. Most of these people couldn't make a living of their work and so the university provided that living.Andrew Keen: You mentioned Barry Weiss earlier. She's making a fortune as an anti-woke journalist. And Free Press seems to be thriving. Yascha Mounk's Persuasion is doing pretty well. Andrew Sullivan, another good example, making a fortune off of Substack. It seems as if the people willing to take risks, Barry Weiss leaving the New York Times, Andrew Sullivan leaving everything he's ever joined - that's...David Rieff: Look, are there going to be people who thrive in this new environment? Sure. And Barry Weiss turns out to be this kind of genius entrepreneur. She deserves full credit for that. Although even Barry Weiss, the paradox for me of Barry Weiss is, a lot of her early activism was saying that she felt unsafe with these anti-Israeli teachers at Columbia. So in a sense, she was using some of the same language as the woke use, psychic safety, because she didn't mean Joseph Massad was gonna come out from the blackboard and shoot her in the eye. She meant that she was offended and used the language of safety to describe that. And so in that sense, again, as I was saying to you earlier, I think there are more similarities here. And Trump, I think this is a genuine counterrevolution that Trump is trying to mount. I'm not very interested in the fascism, non-fascism debate. I'm rather skeptical of it.Andrew Keen: As Danny Bessner is. Yeah, I thought Danny's piece about that was brilliant.David Rieff: We just did a show about it today, that piece about why that's all rubbish. I was tempted, I wrote to a friend that guy you may know David Bell teaches French history -Andrew Keen: He's coming on the show next week. Well, you see, it's just a little community of like-minded people.David Rieff: There you go. Well, I wrote to David.Andrew Keen: And you mentioned his father in the book, Daniel.David Rieff: Yeah, well, his father is sort of one of the tutelary idols of the book. I had his father and I read his father and I learned an enormous amount. I think that book about the cultural contradictions of capitalism is one of the great prescient books about our times. But I wrote to David, I said, I actually sent him the Bessner piece which he was quite ambivalent about. But I said well, I'm not really convinced by the fascism of Trump, maybe just because Hitler read books, unlike Donald Trump. But it's a genuine counterrevolution. And what element will change the landscape in terms of DI and woke and identitarianism is not clear. These people are incredibly ambitious. They really mean to change this country, transform it.Andrew Keen: But from the book, David, Trump's attempts to cleanse, if that's the right word, the university, I would have thought you'd have rather admired that, all these-David Rieff: I agree with some of it.Andrew Keen: All these idiots writing the same article for 30 years about something that no one has any interest in.David Rieff: I look, my problem with Trump is that I do support a lot of that. I think some of the stuff that Christopher Rufo, one of the leading ideologues of this administration has uncovered about university programs and all of this crap, I think it's great that they're not paying for it anymore. The trouble is - you asked me before, is it that important? Is culture important compared to destroying the NATO alliance, blowing up the global trade regime? No. I don't think. So yeah, I like a lot of what they're doing about the university, I don't like, and I am very fiercely opposed to this crackdown on speech. That seems to be grotesque and revolting, but are they canceling supporting transgender theater in Galway? Yeah, I think it's great that they're canceling all that stuff. And so I'm not, that's my problem with Trump, is that some of that stuff I'm quite unashamedly happy about, but it's not nearly worth all the damage he's doing to this country and the world.Andrew Keen: Being very generous with your time, David. Finally, in the book you describe woke as, and I thought this was a very sharp way of describing it, describe it as being apocalyptic but not pessimistic. What did you mean by that? And then what is the opposite of woke? Would it be not apocalyptic, but cheerful?David Rieff: Well, I think genuine pessimists are cheerful, I would put myself among those. The model is Samuel Beckett, who just thinks things are so horrible that why not be cheerful about them, and even express one's pessimism in a relatively cheerful way. You remember the famous story that Thomas McCarthy used to tell about walking in the Luxembourg Gardens with Beckett and McCarthy says to him, great day, it's such a beautiful day, Sam. Beckett says, yeah, beautiful day. McCarthy says, makes you glad to be alive. And Beckett said, oh, I wouldn't go that far. And so, the genuine pessimist is quite cheerful. But coming back to woke, it's apocalyptic in the sense that everything is always at stake. But somehow it's also got this reformist idea that cultural revolution will cleanse away the sins of the supremacist patriarchal past and we'll head for the sunny uplands. I think I'm much too much of a pessimist to think that's possible in any regime, let alone this rather primitive cultural revolution called woke.Andrew Keen: But what would the opposite be?David Rieff: The opposite would be probably some sense that the best we're going to do is make our peace with the trash nature of existence, that life is finite in contrast with the wellness people who probably have a tendency towards the apocalyptic because death is an insult to them. So everything is staving off the bad news and that's where you get this idea that you can, like a lot of revolutions, you can change the nature of people. Look, the communist, Che Guevara talked about the new man. Well, I wonder if he thought it was so new when he was in Bolivia. I think these are - people need utopias, this is one of them, MAGA is another utopia by the way, and people don't seem to be able to do without them and that's - I wish it were otherwise but it isn't.Andrew Keen: I'm guessing the woke people would be offended by the idea of death, are they?David Rieff: Well, I think the woke people, in this synchronicity, people and a lot of people, they're insulted - how can this happen to me, wonderful me? And this is those jokes in the old days when the British could still be savage before they had to have, you know, Henry the Fifth be played by a black actor - why me? Well, why not you? That's just so alien to and it's probably alien to the American idea. You're supposed to - it's supposed to work out and the truth is it doesn't work out. But La Rochefoucauld says somewhere no one can stare for too long at death or the sun and maybe I'm asking too much.Andrew Keen: Maybe only Americans can find death unacceptable to use one of your words.David Rieff: Yes, perhaps.Andrew Keen: Well, David Rieff, congratulations on the new book. Fascinating, troubling, controversial as always. Desire and Fate. I know you're writing a book about Oppenheimer, very different kind of subject. We'll get you back on the show to talk Oppenheimer, where I guess there's not going to be a lot of Lumpen-Rousseauism.David Rieff: Very little, very little love and Rousseau in the quantum mechanics world, but thanks for having me.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Jesmyn Ward has been hailed as the standout writer of her generation, proving her “fearless and toughly lyrical” voice in novels, memoir, and nonfiction. She's been called “the new Toni Morrison.” Ward is a MacArthur “Genius Grant” recipient and in 2017, she became the first woman and the first person of color to win two National Book Awards for Fiction—joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike. Her books include "Let Us Descend," "Sing, Unburied, Sing," "Salvage the Bones," and "Navigate Your Stars." The professor of creative writing at Tulane University joins host Dean Nelson for this evocative conversation as part of the 30th anniversary of the Writer's Symposium by the Sea at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 40217]

Jesmyn Ward has been hailed as the standout writer of her generation, proving her “fearless and toughly lyrical” voice in novels, memoir, and nonfiction. She's been called “the new Toni Morrison.” Ward is a MacArthur “Genius Grant” recipient and in 2017, she became the first woman and the first person of color to win two National Book Awards for Fiction—joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike. Her books include "Let Us Descend," "Sing, Unburied, Sing," "Salvage the Bones," and "Navigate Your Stars." The professor of creative writing at Tulane University joins host Dean Nelson for this evocative conversation as part of the 30th anniversary of the Writer's Symposium by the Sea at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 40217]

Jesmyn Ward has been hailed as the standout writer of her generation, proving her “fearless and toughly lyrical” voice in novels, memoir, and nonfiction. She's been called “the new Toni Morrison.” Ward is a MacArthur “Genius Grant” recipient and in 2017, she became the first woman and the first person of color to win two National Book Awards for Fiction—joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike. Her books include "Let Us Descend," "Sing, Unburied, Sing," "Salvage the Bones," and "Navigate Your Stars." The professor of creative writing at Tulane University joins host Dean Nelson for this evocative conversation as part of the 30th anniversary of the Writer's Symposium by the Sea at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 40217]

As a longtime staff writer at The New Yorker, Hilton Als's essays and profiles of figures like Toni Morrison, Joan Didion, and Richard Pryor have redefined cultural criticism, blending autobiography with literary and social commentary. Als is also a curator. His latest gallery exhibition is The Writing's on the Wall: Language and Silence in the Visual Arts, at the Hill Art Foundation in New York. The exhibit brings together the works of 32 artists across a range of media to examine how artists embrace silence. The show asked a powerful question: What do words — and their absence — look like? The Pulitzer Prize-winning writer spoke with Tonya Mosley. Also, Ken Tucker reviews new music from Lucy Dacus and Jeffrey Lewis.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Happy Spring, Collective Wisdom listeners! In this episode, Lucy is joined by Chelsea Madeline, the brilliant author of In Her Own Right.Chelsea shares her journey as a writer and community builder — telling us the stories of the women she's gathered, the family she's tended, and the words she's written.This conversation is about all the ways women can support each other as we create tangible manifestations of our dreams. Chelsea also shares a few poignant passages from her book to draw us deeper into our soul's work.Tune in for inspiration to go deeper together. Then join us in Spain this May to meet more women who can change your life. Use the code CREATE20 for 20% off.Jump into the conversation:[03:00] Why Chelsea created Boss Ladies Magazine[07:00] The importance of connecting deeper with women[10:30] Chelsea's greatest fear & how it inspires her creative process[13:00] How to create tangible manifestations of our lives[19:00] Simple ways to gather communities of women[23:25] The questions Chelsea asks to deepen relationships[25:00] The beautiful story behind In Her Own Right[28:00] Cultivating self-trust & overcoming doubt[39:00] The stories of Toni Morrison & Lee Krasner[42:30] Finding space to create[45:00] How Chelsea wrote her book in stolen moments of time[49:30] The moment of great repairMore about our guest: Chelsea Madeline is a writer, editor, and a mother exploring the world through a kaleidoscope of philosophy and poetry. She grew up in a fishing town in Maine, spent a decade in Santa Monica and currently lives with her family on a finca in Puerto Rico covered in mango trees and roaming chickens. Chelsea's editorial projects include Boss Ladies Magazine, Paper Airplanes, a newspaper of the poetry and art created during quarantine, and the Love Calendar. She is committed to creating contexts that evoke our brightest, softest selves.Stay connected:Check out The Murmuration CollectiveConnect with us on Instagram & LinkedInSubscribe to our monthly newsletterBuy Chelsea's book In Her Own RightFollow Chelsea on Instagram @chelsea.k.madelineMentioned in the episode: Reshma Khan, Sofia Sprechmann     ⌾ Take one week for yourself and join us in beautiful Trujillo, Spain from May 11 - 16. We'll co-create your clear path forward professionally and personally. Deadline to register for this immersive is April 1st. Learn more here.

In this episode, Hilliard and comedy writer Myles Warden sat down for a super fun conversation with Co-Executive Producer VINCENT BROWN.Vincent recently wrapped up as co-executive producer for the FOX animated series HOUSEBROKEN, starring Lisa Kudrow. Prior to that, he served as a Co-Executive Producer on Apple TV's series LIFE BY ELLA, winner of the Humanitas Award, a WGA Award and the Emmy Award for writing.Vincent began as a teen theatre performer, moving behind the scenes after graduating from Yale and becoming Dramaturge at San Francisco's Lorraine Hansberry Theatre, which mounted his first play: a stage adaptation of Toni Morrison's The Bluest Eye.He began in television on the Emmy-winning PBS children's show, WISHBONE. After moving to Los Angeles, he joined MALCOLM IN THE MIDDLE as Writer's Guild Trainee, and his first network shows were COMMITTED (NBC-Universal) and GIRLFRIENDS. He haswritten for numerous family sitcoms, including Disney series such as A.N.T. FARM and K.C. UNDERCOVER, as well as adult sitcoms like the acclaimed Latino reboot of Norman Lear's ONE DAY AT A TIME. His work on A.N.T. FARM won both a WGA Award and NAACP Image Award. He wasnominated again for a WGA award for his work on LIFE BY ELLA (AppleTV+) and won the Emmy award for the same show.He has developed shows for Disney, Nickelodeon, and Kapital Entertainment in partnership with Cedric the Entertainer's Bird and Bear. He's currently working with producers trying to bring multiple projects based on IP to market because that's where we are now.Our motto: "Keep it Game All Day!"For information, Merch (T-SHIRTS/HOODIES), and all things Rant Room!www.Screenwritersrantroom.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social media@Hilliardguess.bsky.socialIG: @ScreenwritersRantRoomGuests:@VincentBrownLA@ReallyMightyWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠: Screenwritersrantroom@gmail.com

What do we get from a good book? With a greater diversity of stories on offer from publishers and as exam set texts, Janine Bradbury looks at the arguments which are made in favour of reading as a way of encouraging empathy and understanding or as a place to find ourselves. She asks whether this is the right way to think about the value of reading and her essay considers examples including Toni Morrison's story Recitatif, Percival Everett's novel Erasure (which became the film American Fiction) and Nella Larsen's 1929 novel Passing, which Rebecca Hall has directed as a film.Janine Bradbury is a New Generation Thinker on the scheme run by the Arts and Humanities Research Council and the BBC to put academic research on radio. She is a senior lecturer in Contemporary Writing and Culture at the University of York, and her first poetry pamphlet Sometimes Real Love Comes Quick & Easy (Ignition Press) was a Poetry Book Society Pamphlet Choice. Producer in Salford: Ekene Akalawu

In a world that constantly tells us our bodies need fixing, this sermon explores what it means to truly accept yourself as "your own best thing." Drawing from Toni Morrison's novel Beloved and the ritual of communion, Pastor Tonetta challenges the false division between mind and body that costs us connection, joy, and presence. Discover how reclaiming your body as holy space can be an act of resistance against systems that try to define your worth through appearance. Whether you're wrestling with body image, seeking a healthier relationship with yourself, or curious about how embodiment connects to justice, this conversation offers a refreshing perspective on what it means to be fully human in a society obsessed with perfection.

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Child Gaze: Narrating Resistance in American Literature (UP of Mississippi, 2024) theorizes the child gaze as a narrative strategy for social critique in twentieth- and twenty-first-century US literature for children and adults. Through a range of texts, including James Baldwin's Little Man, Little Man, Mildred D. Taylor's Roll of Thunder, Hear My Cry, Toni Morrison's The Bluest Eye, Gene Luen Yang's American Born Chinese, and more, Amanda M. Greenwell focuses on children and their literal acts of looking. Detailing how these acts of looking direct the reader, she posits that the sightlines of children serve as signals to renegotiate hegemonic ideologies of race, ethnicity, creed, class, and gender. In her analysis, Greenwell shows how acts of looking constitute a flexible and effective narrative strategy, capable of operating across multiple points of view, focalizations, audiences, and forms. Weaving together scholarship on the US child, visual culture studies, narrative theory, and other critical traditions, The Child Gaze explores the ways in which child acts of looking compel readers to look at and with a child character, whose gaze encourages critiques of privileged visions of national identity. Chapters investigate how child acts of looking allow texts to redraw circles of inclusion around the locus of the child gaze and mobilize childhood as a site of resistance. The powerful child gaze can thus disrupt dominant scripts of power, widening the lens through which belonging in the US can be understood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Sigrid Nunez, one of our most celebrated literary voices, joins Rhett for a conversation about writing, adaptation, and the creative process. She shares her experience of seeing her novels adapted for the screen and reflects on how film adaptations, much like cover songs, bring a new vision to a writer's work. The two discuss her writing process, transition to short stories, and the unofficial trilogy formed by her last three novels, including "The Vulnerables." Drawing wisdom from her career and the influences of writers like Toni Morrison and Virginia Woolf, she provides a candid look at what it takes to sustain a life in writing. When asked what advice she would give her 21-year-old self, her response is simple: keep writing. Follow Sigrid Nunez https://sigridnunez.com Follow Rhett @rhettmiller Wheels Off is hosted and produced by Rhett Miller. Executive producer Kirsten Cluthe. Editing by Matt Dwyer. Music by Old 97's. Episode artwork by Mark Dowd. Show logo by Tim Skirven.  This podcast is available on Apple Podcasts, Stitcher, Spotify, or wherever you get your podcasts. You can also ask Alexa to play it. Revisit previous episodes of Wheels Off with guests Rosanne Cash, Rob Thomas, Jeff Tweedy, The Milk Carton Kids, and more. If you like what you hear, please leave us a rating or review. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textRecorded at the New Jersey Hall of Fame at American Dream, East Rutherford, NJHost: Mike Ham, Greetings from the Garden State Guests: Steve Edwards & Bryan Blaney, New Jersey Hall of FameEpisode HighlightsThe Origins of the New Jersey Hall of Fame – How it started in 2002 and became the first state Hall of Fame in the U.S.The Iconic Inaugural Class – Featuring Bruce Springsteen, Yogi Berra, Toni Morrison, and other legendary New JerseyansMore Than Just Celebrities – How the Hall of Fame honors everyday heroes, educators, and innovatorsThe Mission to Inspire – The role of Arete, an ancient Greek philosophy, in shaping the Hall of Fame's visionNew Jersey's Global Influence – From Thomas Edison to Buzz Aldrin, the state's impact on innovation, sports, and entertainmentInside the Hall of Fame Experience – A look at the interactive exhibits, holograms, and educational programmingWhat's Next – Upcoming inductions, live events, and how visitors can get involvedWhy You Should ListenThis episode explores the impact of New Jersey's most influential figures and the Hall of Fame's commitment to celebrating and inspiring the next generation. Whether you are a lifelong New Jersey resident, a history enthusiast, or someone looking for motivation, this conversation offers unique insights into the state's rich cultural heritage.Visit the New Jersey Hall of FameWebsite: njhof.org Location: American Dream, East Rutherford, NJ Socials: Instagram | TikTokFollow Greetings from the Garden StateWebsite: greetingsfromthegardenstate.com Subscribe & Listen: Available on Apple Podcasts, Spotify, and Google PodcastsIf you enjoyed the episode, subscribe, rate, and review to help more people discover the show. Keep New Jersey loud and proud. Support the show

Two biographical picture books introduce children to the life stories of writer Toni Morrison and civil rights activist Ruby Bridges. First, Andrea Davis Pinkney initially encountered Morrison's work as a child. But later, she became the editor of Morrison's children's books. Now, Pinkney is out with And She Was Loved, a picture book about Morrison's life. In today's episode, the author talks with Here & Now's Lisa Mullins about her decision to write the book in the form of a poem and love letter, Morrison's upbringing in the oral tradition, and how Pinkney approached her editing role. Then, Ruby Bridges tells her own story in an autobiographical picture book. In I Am Ruby Bridges, she recounts her experience as the first Black child to desegregate an all white school in 1960. In today's episode, she joins NPR's Mary Louise Kelly for a conversation about the book. They discuss what that first day of school looked like through a six-year-old's eyes – and the way white parents responded.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy