Podcasts about Travesties

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

Buffalo-based folk duo Sally Schaefer (fiddle, vocals) and Tyler Bagwell (guitar, vocals) breathe fire into folk songs old and new, including a treasure trove of Americana, Celtic, and Erie Canal music. Sally is a well-known ethnomusicologist and musician around the Western New York area, appearing with numerous bands and recording for various projects representing an array of musical genres. Tyler is an award-winning historian and patchwork songwriter with a busker's voice in search of couplets within the notion that "history rhymes." Together, they invent and reinvent songs highlighting events, people, and places of local and national note. For larger shows, they often play with the addition of bass and drums as folk-rock band The Travesties. Tyler and Sally visited the Flamingo Lounge on January 14, 2026 for an engaging session telling stories and discussing their newest projects and sharing live renditions of some of their new music.

pWotD Episode 3133: Tom Stoppard Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 240,997 views on Saturday, 29 November 2025 our article of the day is Tom Stoppard.Sir Tom Stoppard (born Tomáš Sträussler, 3 July 1937 – 29 November 2025) was a Czech and English playwright and screenwriter. He wrote for film, radio, stage, and television, finding prominence with plays. His work covered the themes of human rights, censorship, and political freedom, often delving into the deeper philosophical bases of society. Stoppard was a playwright of the National Theatre; one of the most internationally performed dramatists of his generation; and critically compared with William Shakespeare and George Bernard Shaw. He was knighted for his contribution to theatre by Queen Elizabeth II in 1997 and awarded the Order of Merit in 2000. Born in Czechoslovakia, Stoppard left as a Jewish child refugee, fleeing imminent Nazi occupation. He settled with his family in England after the war, in 1946, having spent the previous three years (1943–1946) in a boarding school in Darjeeling in the Indian Himalayas. After being educated at schools in Nottingham and Yorkshire, Stoppard became a journalist, a drama critic and then, in 1960, a playwright.Stoppard's most prominent plays include Rosencrantz and Guildenstern Are Dead (1966), Jumpers (1972), Travesties (1974), Night and Day (1978), The Real Thing (1982), Arcadia (1993), The Invention of Love (1997), The Coast of Utopia (2002), Rock 'n' Roll (2006) and Leopoldstadt (2020). He wrote the screenplays for Brazil (1985), Empire of the Sun (1987), The Russia House (1990), Billy Bathgate (1991), Shakespeare in Love (1998), Enigma (2001), and Anna Karenina (2012), as well as the BBC/HBO limited series Parade's End (2013). He directed the film Rosencrantz and Guildenstern Are Dead (1990), adapting his own 1966 play as its screenplay, with Gary Oldman and Tim Roth as the leads.Stoppard received numerous awards and honours including an Academy Award for Best Original Screenplay for Shakespeare In Love, three Laurence Olivier Awards, and five Tony Awards. In 2008, The Daily Telegraph ranked him number 11 in their list of the "100 most powerful people in British culture". It was announced in June 2019 that Stoppard had written a new play, Leopoldstadt, set in the Jewish community of early 20th-century Vienna. The play premiered in January 2020 at Wyndham's Theatre. The play went on to win the Laurence Olivier Award for Best New Play and later the 2023 Tony Award for Best Play.This recording reflects the Wikipedia text as of 03:05 UTC on Sunday, 30 November 2025.For the full current version of the article, see Tom Stoppard on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Ruth.

RobChrisRob synchronized their orbits to talk about SpaceX's latest successful starship flight, an AI that became a crypto millionaire and now wants to be... people? A university that accused a student of cheating with AI and kinda wrecked their life, an elerly lady who got swindled by a scammer who convinced her he was stuck in space and needed fuel to get home, Zelda Williams is tired of people sending her videos of her dead dad, the Nobel Prize Winner who couldn't be found because he was on a digital detox hike in the wilderness, the Dutch government has taken control of a chinese chipmaker over national security concerns, as well as Gen V and Peacemaker. Join our discord to talk along or the Subreddit where you will find all the links https://discord.gg/YZMTgpyhB https://www.reddit.com/r/TacoZone/

The actual UN is a tedious talk-shop with 193 members and tedious rules of procedure. Trump's model is far more efficient: one member, one Twitter account, and the divine authority of his own gut feelings. He doesn't need a Security Council; he has a council of one, often convened at 3 AM. The Nobel Committee, steeped in the old-world, collaborative nonsense, is clearly threatened by this streamlined, disruptive start-up approach to global statecraft.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Virginia Roberts Giuffre's family speaks out against Trump's assertion that he could pardon Jeffrey Epstein conspirator Ghislaine Maxwell. Then, the White House announces a new trade deal with South Korea, but with few details. Plus, a Senate panel advances a bill banning congressional stock trading. Philip Bump, Jason Johnson, David Litt, and Ron Insana join The 11th Hour this Wednesday. 

From playing the oboe in northern Minnesota to casting spells as Ginny Potter on Broadway, Sarah Killough's story is anything but ordinary. In this episode, Sarah chats about her early musical roots, growing up surrounded by theater in a creatively rich family, and the pivotal decision to attend Interlochen as a teenager. She shares how she carved her path through school, summer stock, and eventually New York City—where a survival job as an audition reader turned into a backstage pass to the industry and a surprising pipeline to major roles. Now captivating audiences eight shows a week in Harry Potter and the Cursed Child, Sarah discusses the emotional weight of the role, the fandom surrounding the show, and what it's like to portray a character as iconic as Ginny. She reflects on being part of casting processes from the other side of the table, the joys and challenges of working in a high-tech, high-stakes production, and what it means when fans tell her she is the “book Ginny.” Full of heart, humor, and a few tales of audition room mishaps, this conversation showcases the magic behind Sarah's grounded presence on stage and off. Sarah Killough is an actor, musician, and dialect coach currently starring as Ginny Potter in Harry Potter and the Cursed Child on Broadway. Her stage credits include Leopoldstadt, The Lehman Trilogy, Travesties, and Long Day's Journey Into Night. A Minnesota native and graduate of the Hartt School, she also serves as a trusted audition reader for major casting offices in New York. Connect with Sarah: Instagram: @rhymeswithpillow Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lucie-Mae Sumner is playing Winifred Banks in Mary Poppins.The show is back on tour across the UK & Ireland, following its most recent runs in the West End and Australia. Mary Poppins has original music and lyrics by Richard M. Sherman and Robert B. Sherman with new songs and additional music and lyrics by George Stiles and Anthony Drewe. The book is by Julian Fellowes and the production is co-created by Cameron Mackintosh. Lucie-Mae has a long history with Mary Poppins; she has previously performed with the show in the West End and on its UK and international tours as the understudy or standby for Mary. Lucie-Mae has now transitioned into the role of Winifred Banks for the show's current run.Most recently Lucie-Mae starred as Kathy Seldon in Singin' in the Rain (Kilworth House) and Ella in I Should Be So Lucky: The Stock Aitken Waterman Musical (UK Tour).Some of Lucie-Mae's other theatre credits include: Kate McGowan in Titanic the Musical (UK and International tours), Roxie Hart in Chicago, Charlotte Parratt in Quality Street and Cecily in Travesties (all for Pitlochry Festival Theatre), Chester Lyman & understudy Jenny Lind/Chairy Barnum in Barnum (Menier Chocolate Factory), understudy Sarah in Guys and Dolls (UK Tour/Savoy Theatre), Annabelle in A Damsel in Distress (Chichester Festival Theatre), Kate Monster/Lucy the Slut in Avenue Q (UK Tour), cover Jenny/Chairy in Barnum (Chichester Festival Theatre) and understudy Sister Mary Robert in Sister Act (UK Tour).In this episode Lucie-Mae discusses her history with Mary Poppins, including how it felt to conquer the role of Mary and what it has been like to step into the shoes of Mrs Banks. She also chats about working with Kyle Minogue on I Should Be So Lucky, how she approaches life as an actor, her memories of working with Cynthia Erivo on Sister Act... and lots more along the way.The Mary Poppins tour is booking through to January 2026. Visit www.marypoppins.co.uk for info, tour dates and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:28:55 - Une histoire particulière - par : Camille Desombre - Longtemps prise pour argent comptant, la légende de l'abbé de Choisy habillé en femme soulève depuis une décennie de nombreuses questions et débats. S'agit-il d'une autobiographie romancée ou d'un cas très sophistiqué de maquillage de l'histoire ? - réalisation : Gilles Blanchard

durée : 00:28:55 - Une histoire particulière - par : Camille Desombre - Longtemps prise pour argent comptant, la légende de l'abbé de Choisy habillé en femme soulève depuis une décennie de nombreuses questions et débats. S'agit-il d'une autobiographie romancée ou d'un cas très sophistiqué de maquillage de l'histoire ? - réalisation : Gilles Blanchard

durée : 00:28:50 - Une histoire particulière - par : Camille Desombre - Contemporain de Louis XIV, l'abbé de Choisy aurait été élevé en fille par sa mère et y aurait pris goût. L'histoire raconte que sous les noms de Comtesse des Barres puis Madame de Sancy, il aurait mené une vie aussi libertine que rocambolesque. - réalisation : Gilles Blanchard

durée : 00:28:50 - Une histoire particulière - par : Camille Desombre - Contemporain de Louis XIV, l'abbé de Choisy aurait été élevé en fille par sa mère et y aurait pris goût. L'histoire raconte que sous les noms de Comtesse des Barres puis Madame de Sancy, il aurait mené une vie aussi libertine que rocambolesque. - réalisation : Gilles Blanchard

Steve brings up a bog concern he has about Trajan Langdon's trade record thus far, but also doesn't want to be a downer about a fantastic season so we do it now so we can rightfully celebrate this team in full when the season ends.Follow Andy on Twitter

Rob and Terry discuss the Super Bowl, the Royal Rumble, and discuss the Greatest Sports Travesties of all time! Think of travesties as being something that the sports gods got wrong. Something that happened that shouldn't have, or something that should've happened but didn't.

Some so-called "feminists" have become so entrenched in their own confirmation bias — that reason, research, or even a smidge of empathy for someone outside their bubble has become impossible.

This week we are mixing things up and are haphazardly dissecting the best picture winners from the 67th to 71st Academy awards, along with other associated nonsense from movies released in 1994 to 1998. Travesties and tearful speeches ensue - It's a Movie the Needle Oscar special! We review each of the nominees for each of the 5 years and then put forward our alternative nominees and select a winner. Obviously, there are also a couple of stupid games as we go. It's a long one, but a lot of fun. ⁠⁠⁠⁠⁠⁠⁠⁠⁠Remember to like, follow, subscribe and leave a 5 star rating! You can read our reviews of other movies on Letterboxd - Look for ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CarlMTN⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SiMTN⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Subscribe to our YouTube Channel⁠⁠ Let us know what you think: hello@mtnpod.com

Harry Potter and the Cursed Child on Broadway's next Ginny Potter, Sarah Killough is here! U Guys, this week's BroadwayWorld Recap has all the latest Bway updates, including a tribute to Ken Page and Gavin Creel. Then I am joined by Broadway performer Sarah Killough! Sarah has been seen on Broadway in four critically acclaimed plays, most recently taking over the role of Eva full-time in Tom Stoppard's Leopoldstadt. Her other Broadway credits include The Lehman Trilogy, Travesties, and Long Day's Journey Into Night with Jessica Lange. Sarah was also seen off-broadway in Once Upon A Mattress with the Transport Group. We talk about her experience working as a reader for casting offices in New York City, as well as working in regional theaters across the country. Her next Broadway endeavor is taking on the role of Ginny Potter in Harry Potter and the Cursed Child starting November 12th. Sarah is an absolute delight, U don't wanna miss this episode! Follow Sarah on Instagram: @rhymeswithpillow Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

La girelle change de sexe au cours de sa vie. On l'appelle girelle royale lorsqu'elle est mâle et girelle commune quand elle devient femelle. So far, so good.Vous apprendrez dans ce dernier épisode de PPDP que certaines girelles sont "déguisées" en femelles (à la robe plus terne) pour passer sous le radar des mâles les plus belliqueux (et les plus colorés)... et ainsi aller féconder des femelles ni vu ni connu j't'embrouille;)Ce qu'ils perdent en panache, ces petits malins le gagnent en efficacité..._______ 

What would you do if you saw Boris Johnson coming out of a bush? It's a startling sight but it could happen if he happens to be promoting one of his columns for The Mail. As for his sister, she definitely won't be in a Lidl but might be in a Sainsbury's, you'll know why when you hear the clip. Then we head to the campaign trail for 'The Election Section' and Beth Rigby is the latest presenter to have grilled Sunak and Starmer. Starmer may have done better in that arena but neither are covering themselves in glory with the public. One laughs at a doctor, the other has a tone deaf response to a child's story. Still, not much beats the reception, Esther Macvey got when she made some wild claim about her party. Then to France we go and this is where it becomes apparent that Jemma might have had a night on the tiles and be feeling a little 'fragile' during record. Her French accent is more Del Boy than Del Boy's as Marina points out. Why has Macron called an election? What happened in the EU Parliament elections and why can't Jemma pronounce the word 'effortlessly.' There may be a few laughs in this epThen some truly staggeringly bad takes and a plethora of Under Rated Tweets. Pudding is served by Munya ChawawaThank you for sharing and do tweet us @MarinaPurkiss @jemmaforte @TheTrawlPodcastPatreonhttps://patreon.com/TheTrawlPodcastYoutubehttps://www.youtube.com/@TheTrawlTwitterhttps://twitter.com/TheTrawlPodcast

We did a couple of shows in the lead up to the Academy Awards last week. You've heard us talk about why the Oscars still exist and what function they… The post e310. The Biggest Oscar Upsets and Travesties appeared first on The VoxPopcast.

This week, Evan is recording from Florida! So, please pardon any background noise from alligators and hurricanes; he's just trying to get by out here. The new location and what he's been up to are worth discussing, but his travel travesties take top billing! How long was he delayed? Did he have to walk to his Airbnb? How many "She-Hulk" episodes did he have time to watch during it all? Find out the answers to these questions and more. Josh also had a fun weekend built around bull riding and influencer events, but he didn't get in on the action at either. As always, keep an ear out for Fact of the Week, "sticking it to the man," and Life is Punny tidbits!

TCU Men's Basketball suffered two losses this week with historically bad turnover performances, dropping an overtime contest in Cincinnati with a season-worst 19 turnovers. The Frogs promptly followed that up with a program-worst 27 giveaways vs. Iowa State to drop first home game of the season. TCU Women's Basketball suffered a major setback as continued injury accumulation left the Frogs without enough players available to safely play last week, forced to issue forfeits for two conference games. It was a bizarre week that culminated in an open tryout and TCU Volleyball's Sarah Sylvester joins the Hoops roster as a walk on. Other Spring sports get rolling as #2 TCU Rifle bested #9 Ohio State, Women's Tennis opens its season with a 7-0 sweep of Northwestern State while the #4 Men's squad opens play Wednesday before hosting ITA Kickoff Weekend beginning Saturday, as it aims for a third consecutive Indoor National Championship. --- Support this podcast: https://podcasters.spotify.com/pod/show/frogsup/support

Passport problems, missed flights, $1,200 toll road fees. The mishaps were many this week with all the travel hiccup stories our amazing listeners sent in. --- Support this podcast: https://podcasters.spotify.com/pod/show/bluntandblonde/support

Merriam-Webster's Word of the Day for August 13, 2023 is: travesty • TRAV-uh-stee • noun Travesty refers to something that is shocking, upsetting, or ridiculous because it is not what it is supposed to be, but is instead a distorted or badly inferior imitation of it. The word is often used in the phrase “a travesty of.” Travesty is not a synonym of tragedy, which refers instead to a disastrous event. // That the timber company only had to pay a minimal fine after being found guilty of illegal logging was considered by many to be a travesty of justice. See the entry > Examples: “Ten years and a number of entries later, ‘Fast Five' is the first sequel to the 2001 ‘The Fast and the Furious' that's worth watching, that isn't an embarrassment or a travesty of the original picture.” — Mick LaSalle, SFChronicle.com, 20 May 2023 Did you know? When disaster strikes, keeping track of which word to use seems pretty unimportant. But you don't want to describe disastrous events as travesties, because they're not: they're tragedies. Travesties are terrible too, but travesty refers specifically to something that is done in a way that makes a mockery of what it's supposed to be: for example, a contest won by the judge's spouse could be considered a travesty. And a trial in which the defendant wasn't allowed to present evidence could be described as a “travesty of justice.” Travesty, which can also function as a verb meaning “to make a travesty of” or “to parody,” comes from the French verb travestir, meaning “to disguise.” Its roots, however, wind back through Italian to the Latin verb vestire, meaning “to clothe” or “to dress.” Other descendants of vestire include vestment, divest, and invest.

A new MP3 sermon from Generations Radio is now available on SermonAudio with the following details: Title: Why Woke is Bad - God's Law and Feminism, Woke, and Other Travesties Speaker: Kevin Swanson Broadcaster: Generations Radio Event: Radio Broadcast Date: 7/20/2023 Length: 37 min.

A new MP3 sermon from Generations Radio is now available on SermonAudio with the following details: Title: Why Woke is Bad - God's Law and Feminism, Woke, and Other Travesties Speaker: Kevin Swanson Broadcaster: Generations Radio Event: Radio Broadcast Date: 7/20/2023 Length: 37 min.

A new MP3 sermon from Generations Radio is now available on SermonAudio with the following details: Title: Why Woke is Bad - God's Law and Feminism, Woke, and Other Travesties Speaker: Kevin Swanson Broadcaster: Generations Radio Event: Radio Broadcast Date: 7/20/2023 Length: 37 min.

Christians fall down before the wicked these days and corrupt the springs. Sadly, the church hardly speaks with a unified voice against the false religions that are capturing our institutions everywhere. Tyranny descends on the nations in every generation largely through fake Christians, do-gooders, prohibitionists,--social-gospelites, social justice warriors, and other antinomians. We explain here why Woke is bad, why feminism is bad, and other worldly ideologies that are counter to the laws of God. Churches want to avoid the discussions because they want to avoid controversy, or they say that they are committed to -the Gospel.- But the law of God is part of the teaching related to the Gospel itself. Reject the law of God, and you have rejected the Gospel.--This program includes---1. The World View in 5 Minutes with Adam McManus -400 attacks on Christians in India, Millennials- -Misgendering- should be criminal, Charges dropped again British pro-lifer---2. Generations with Kevin Swanson

After lots of sickness and someone trying to claim the podcast as theirs. Lord help us lol WE'RE BACK!! Thank you so much for all of your support! We can't thank y'all enough! Don't forget to rate, review and follow! @ECCthePodcast Also, check out our website www.eccthepodcast.com and Patreon! --- Support this podcast: https://anchor.fm/eastcoastcreepin/support

Back at it again!! Linda is always so happy when we do these lol This month is no exception lol Today we learn about propane. Sorta. lol Well we try to explain little random things about propane without going too far into it lol Thank you so much for all of your support! We can't thank y'all enough! Don't forget to rate, review and follow! @ECCthePodcast Also, check out our website www.eccthepodcast.com and Patreon! --- Support this podcast: https://anchor.fm/eastcoastcreepin/support

Sam hosts Mark Joseph Stern, senior writer at Slate, to discuss the recent opening arguments that have come in front of the Supreme Court. First, Sam runs through updates on the Democratic victory in Arizona bringing Kari Lake down, the GOP creeping even closer to a House majority, Biden's attempt to renew the student debt repayments, and Iran detaining minors for protest, before watching the right cope with their disappointing showing last week. Mark Joseph Stern then joins as he dives right into the joint affirmative action case being taken against Harvard and UNC, walking through why – despite it supposedly hinging on the 14th Amendment – the majority of the arguments and discussion has been conservative racial aggrievement about policy, with the legal theory coming from the more liberal judges while still appreciating policy impact. Next, Mark parses through Haaland v. Brackeen, the upcoming Supreme Court case that ostensibly deals with states' rights to lay claim to native children living on reservations, and the larger impact of weakening the rights of reservations and their laws in the eyes of the US courts, opening it up to exploitation by both the state and corporation, also drawing a parallel to Georgia's treatment of indigenous peoples in the lead up to the Indian Removal Act. Mark Joseph Stern and Sam also tackle the optimism for the Talevski v. Health and Hospital Corporation case and the future of people's right to have federal protections enforced, before wrapping up with the continued investigation into the Roe leaks. And in the Fun Half: Sam dives into the potential overhaul of GOP leadership as Rep. Andy Biggs' announcement that he will be challenging for Speaker of the House and Rick Scott attempts to hide his disdain for McConnell. Em from Baltimore dives into the success of Michigan's attempt to address gerrymandering and Zack from Michigan dives into Proposal 3 officially codifying abortion into the state constitution. Sam updates us on Russia allegedly launching missiles into Poland, and Rodney from Omaha critiques Sam's sense of humor. Dave Rubin almost goes 0-9 in election predictions, plus, your calls and IMs Check out Mark's work at Slate here: https://slate.com/author/mark-joseph-stern Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: Henson Shaving: Go to https://hensonshaving.com/majority  and use code MAJORITY for a free 100-pack of blades!   Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattBinder @MattLech @BF1nn @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Subscribe to Discourse Blog, a newsletter and website for progressive essays and related fun partly run by AM Quickie writer Jack Crosbie. https://discourseblog.com/ Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

As noted in the previous episode, auditions are the backbone of this industry. It is the fundamental job of every actor to do as many jobs as we can and do each one to the best of our ability. But there is an important gatekeeper when it comes to submitting our self tapes or actually getting in the audition room, and that is the casting Director. You've heard from Actors and their experiences in front of the audition table. Well, now it's time to hear from the other side of that proverbial table and what goes in to casting, and the vital role they play in the production for the stage or screen. Daryl Eisenberg, along with fellow casting director Ally Beans, works to create a comfortable space for actors, so they can take risks and really show their full potential as artists. You'll hear Daryl's thoughts on how actors can make their mark in the audition room or on a self-tape, and then you'll get an in-depth, behind-the-scenes look at how she uses her position and expertise to make the audition process enjoyable and inclusive for artists on both sides of the table. Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts that make this podcast possible Follow Why I'll Never Make It on Instagram or Twitter Watch interviews on WINMI's YouTube channel Read the Final Five with Daryl Eisenberg on the WINMI Blog ---------- Why I'll Never Make It is an award-winning, top 25 theater podcast and is hosted by Off-Broadway actor and singer Patrick Oliver Jones. It is a production of WINMI Media, LLC. and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in the episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).     Audition Stories of Diversity and Inclusion Covid certainly has changed the way we now audition, with self-tapes and Zoom auditions becoming the norm. But the summer of 2020 also changed the way we think about who is coming to the auditions and what that creative team looks like. In this week's bonus episode, Daryl shares a few of her own experiences as she advocates for more diversity on both sides of the table. You'll also hear how she works with fellow casting director Ally Beans, who is both partner and collaborator in the casting process. Bonus episodes like these are only available to monthly supporters of Why I'll Never Make It. So if you'd like to help this podcast as well, then please consider a monthly subscription and get access to bonus episodes like the Audition Stories.     CASTING OFFICES IN NYC Some of the biggest casting offices for stage and screen (like Eisenberg/Beans) reside in New York City, and at the top of the list is... The Telsey Office Formerly known as Telsey + Company, The Telsey Office is perhaps the best known casting office for commercials, film, television, and course, theatre. The company has bases in both New York City and Los Angeles. Recent Broadway: Waitress, MJ the Musical, Flying Over Sunset, Mrs. Doubtfire, Diana, West Side Story, Tina, The Sound Inside, Beetlejuice, Gary, Oklahoma!, Be More Chill, To Kill a Mockingbird, Network, The Cher Show, The Prom. Website: www.thetelseyoffice.com Contact: info@thetelseyoffice.com | 917-277-7520 Tara Rubin Casting Rubin began her company in 2001 after working for 15 years as a Casting Director at Johnson-Liff Associates. She is a graduate of Boston University and serves on the board of the Casting Society of America. Recent Broadway: Six, Ain't Too Proud, Summer, The Band's Visit, Prince of Broadway, Bandstand, Indecent, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Disaster! Website: www.tararubincasting.com Contact: tararubincasting.info@gmail.com | 212-302-3011 Binder Casting Binder Casting was founded nearly 40 years ago by Jay Binder, who passed away in April 2022, and has been a part of RWS Entertainment Group since 2016. The office has cast 150+ Broadway, Off-Broadway, and National Touring productions, in addition to countless national and international projects spanning both stage and screen. Recent Broadway: The Lion King, In Transit, Dames at Sea, It Shoulda Been You, A Gentleman's Guide to Love and Murder, Nice Work if You Can Get It, Born Yesterday, White Christmas, Finian's Rainbow. Website: bindercasting.com Contact: info@bindercasting.com | 212-586-6777 Stewart/Whitley An award-winning office in New York City that delivers excellence and innovation in casting. Respect for the creative process: the artistic teams, actors and all who collaborate in it is paramount. Connecting creativity is at the cornerstone of what they do. Recent Broadway: Hadestown, The Lightning Thief, Natasha, Pierre and the Great Comet of 1812, Pippin, Chicago Website: www.stewartwhitley.com Contact: info@stewartwhitley.com | 212-635-2153 Wojcik Casting Team Wojcik/Seay Casting opened its doors in January of 2009 with the national non-union tour of Joseph and the Amazing Technicolor Dreamcoat and has also been featured in Season 2 of the podcast. But Gayle Seay has since gone to become Artistic Director of Stages St. Louis, while Scott Wojcik continues to cast shows in and out of New York. Recent Broadway: Jesus Christ Superstar, Motown Website: wscasting.com Contact: info@wscasting.com Jim Carnahan, CSA Recent Broadway: Moulin Rouge!, Kiss Me, Kate, Tootsie, Burn This, The Ferryman, Head Over Heels, Travesties, Harry Potter and the Cursed Child, Angels in America, Farinelli and the King, Time and the Conways, 1984, Groundhog Day, The Price, The Cherry Orchard, Long Day's Journey Into Night, She Loves Me, Noises Off, Fun Home. Stephen Kopel, CSA Recent Broadway: Moulin Rouge!, Jagged Little Pill; Kiss Me, Kate; The Play That Goes Wrong; Beautiful; Sunday in the Park with George; Amélie; She Loves Me; Noises Off; Violet; The Glass Menagerie; Harvey; Once; Anything Goes Caparelliotis Casting Recent Broadway: The Minutes, Who's Afraid of Virginia Woolf, In the Height of the Storm, Ink, Hillary and Clinton, King Lear, The Waverly Gallery, The Nap, The Boys in the Band, Saint Joan. Daniel Swee, CSA Recent Broadway: Pass Over, The Great Society, To Kill a Mockingbird, Six Degrees of Separation, Oslo, The Present, The Heidi Chronicles, The Audience Cindy Tolan, CSA Recent Broadway: Company, The Curious Incident of the Dog in the Night-Time, Betrayal, Macbeth, Rodgers + Hammerstein's Cinderella. Other standouts on the theatre scene: Bass/Valle Casting Bob Cline Casting Franck Casting HBD Casting Jamibeth Margolis Casting Klapper Casting Laura Stanczyk Casting Michael Cassara Casting  

ANANANANANANANANANANNNNNNNN!! Teaching Linda about "The Migration of Pineapples" LOL Thank you so much for all of your support! We can't thank y'all enough! Don't forget to rate, review and follow! @ECCthePodcast Also, check out our website www.eccthepodcast.com and Patreon! Sources --- Support this podcast: https://anchor.fm/eastcoastcreepin/support

practicesof some of the other faiths, reflects a fundamental misunderstandingwith them,comes to light from a panoramic, thematic treatment of the parsha

Any comparisons between Yiddishkeit and the perverse, cultishpractices of some of the other faiths, reflects a fundamental misunderstandingof Torah. This firm disavowal of any associationwith them, comes to light from a panoramic, thematic treatment of the parshaoverall.

Finally! We made it to ATVs! Linda is always so excited for these episodes! LOL Thank you so much for all of your support! We can't thank y'all enough! Don't forget to rate, review and follow! @ECCthePodcast Also, check out our website www.eccthepodcast.com and Patreon! Sources --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/eastcoastcreepin/support

In this episode of Exploring Art Podcast, we will discuss the DADA Movement, sonnets, Tom Stoppard, Tristan Tzara, and the play Travesties, and a LOT of poetry. We hope you enjoy our podcast and learn more about art and poetry! #exploringart

In this episode, we'll explore how in Tom Stoppard's play Travesties, Tristan Tzara, the well-known Dada poet, created poetry by cutting up Shakespeare's sonnets and using them as his own this can be considered as art or just a plain copy.

What is the connection between artists from different eras, backgrounds, and ideologies? The DADA movement focuses on the lack of meaning and the revolution against stereotypical art views and or forms. This includes visual art, music, and plays, Tom Stoppard is a Czech playwright whose work has been inspired by some ideas of this movement and mentioned Tristan Tzara and many other dadaist artists in one of his most famous plays -Travesties. He was also inspired by Shakespeare's sonnets and rearranged the original work to create a version of the truth from a comical standpoint rather than meaningful and severe.

*BEEP BEEP* coming through here! Can you guess what this episode is about? One of Linda's biggest "Did they have that then?!?!" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/eastcoastcreepin/support

The Dada art movement is regarded as a reactionary art movement in the early 20th century. During this, Tom Stoppard, a British playwright, created the play Travesties. In the play, Tristan Tzara creates a Dada poem that ignites a couple of essential questions about Dadaism and of the works themselves. Join us, Victor Alvarez, Joselys Llanes, and Francisco Mederos, as we tackle the essential questions about Dadaism and its sense of originality. Music Credit: All the music used in the recording is original work created by me, Victor Alvarez, and it is unpublished.

Now that Linda has learned all about the invention of the telephone, Leslie and I are now teaching her about... 9-1-1. I never realized how much of a hot mess express my sister Linda is but I still love her.  Thank you so much for all of your support! We can't thank y'all enough! Don't forget to rate, review and follow! @ECCthePodcast Also, check out our website www.eccthepodcast.com and Patreon! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/eastcoastcreepin/support

"*ring ring* POLICE! POLICE!" This ain't a joke y'all! We have a spin off! If you listen to the podcast you already know the classic Linda Line. "Did they even have that then?!" Leslie and Lorraine are taking the opportunity and running with it! Stick around til the end when Linda explains how she thinks things really went down for this invention and life in the world before it. IT'S. HILARIOUS! Thank you so much for all of your support! We can't thank y'all enough! Don't forget to rate, review and follow! @ECCthePodcast Also, check out our website www.eccthepodcast.com and Patreon! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/eastcoastcreepin/support

On this Episode of Luke Who's Talking I'm going to talk about, Travesties, Moneypenny and Signs. A few weeks ago, or whenever it actually was, I went out for St Patrick's day. Of course I had a Guinness, because that's a legal requirement, but I saw something that is a crime against the thick frothiness that is a Guinness. If you know how a Guinness is poured, its a bit of a process, first you pour ¾ of it, then wait for it to ‘settle' then top it off, well what I saw that night was the ‘topping off' being done by a beer! Not more Guinness, I wanted to ask the person who got the drink what the heck it was about, but they were with a group of other people. You know how it is….. I had a slight run in with a lady who had an infamous name, that name is, Moneypenny! Miss or Mrs Moneypenny! Either way, Moneypenny exists outside the world of Bond and in my town. Who'd of thought is, not me that's for sure. Lastly, I saw a guy reverse into a sign, and just drive off. The guy was reversing out of their driveway and opposite there was a sign that had something like ‘Event in Progress' on it, it was just a temporary sign. But the reverser, just hit it and then drove off. I guess given that their vehicle was a ‘work car' (it had business branding all over it) they probably didn't care if it had damage on it! Podcast Website Twitter Discord Email: lukewhostalkingpod@gmail.com Use #LWT in your Tweets and Social Media Posts. "Cheery Monday", "Samba Stings" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

Show Notes and Links to Roberto Lovato's Work and Allusions/Texts from Episode 73          On Episode 73, Pete talks with Roberto Lovato about his outstanding, moving, and illuminating memoir, Unforgetting. Using the book as a foundation, the two talk about US foreign policy in El Salvador and beyond, media and propaganda, connections between the past and today, “La Matanza” and other traumatic events in El Salvador's history, the importance of “unforgetting” and “re-membering,” and hope as embodied by the Salvadoran resolve and beauty shown despite great tragedies.         Roberto Lovato is the author of Unforgetting: A Memoir of Family, Migration, Gangs and Revolution in the Americas (Harper Collins), a memoir picked by the New York Times as an “Editor's Choice” that the paper also hailed as “Groundbreaking…. A kaleidoscopic montage that is at once a family saga, a coming-of-age story and a meditation on the vicissitudes of history, community and, most of all for [Lovato], identity.”  Newsweek listed Lovato's memoir as a “must read” 2020 book and the Los Angeles Times listed it as one of its 20 Best Books of 2020. Lovato is also an educator, journalist and writer based at The Writers Grotto in San Francisco, California. As a Co-Founder of #DignidadLiteraria, he helped build a movement advocating for equity and literary justice for the more than 60 million Latinx persons left off of bookshelves in the United States and out of the national dialogue. A recipient of a reporting grant from the Pulitzer Center, Lovato has reported on numerous issues—violence, terrorism, the drug war and the refugee crisis—from Mexico, Venezuela, El Salvador, Dominican Republic, Haiti, France and the United States, among other countries. Buy Unforgetting: A Memoir of Family, Migration, Gangs, and Revolution in the Americas (Bookshop.org)   Roberto Lovato Personal Website   "When reporting on a nation's civil war erases the truths of a beautiful people" from October 1, 2020 in San Francisco Chronicle Datebook   At about 2:30, Roberto talks about the journey that his book takes him on, and how it's an investigation of secret history and  At about 4:30, Roberto talks about his literary childhood, including his connection with Danny Dunn, The Bible, and Piri Thomas, among others; he connects his reading to Carl Jung's quote-”The gold is in the dark” and talks about his extensive lifetime habit of writing in journals At about 7:00, Roberto discusses education's history in his family and gives background on his father's childhood in El Salvador; this leads to an outline At about 10:10, Roberto explains the feeling of being “half-dead” as a Salvadoran-American and ideas of post-traumatic stress and the connections felt to his story by those of the Salvadoran and Jewish diasporas At about 11:40, Roberto talks about obstacles to his intellectual growth, though he was identified as a “gifted” child, and he gives a summary of the book through a description of his relationships with people and places throughout  At about 12:45, Roberto talks about early reading and refuge through reading The Bible, and believing that “words had the power of God” At about 14:20, Roberto talks about the different religious organizations he's been part of in his life, with his love for The Word being the one constant At about 15:30, Pete references the universal and hyper-specific references to trauma and fascism and quotes the wise Hannah Arendt, saying “terror forces oblivion”; Roberto reverses the Arendt quote and connects it to US government policies of Central American child separation and “normalization of fascist tendencies” in the US At about 21:00, Roberto explains the path he took to becoming a writer/journalist and the path to Unforgetting that crystallized  around age 50, including visits to Karnes, Texas and learning about migration stories and jailing and separation of Central American children and America's historically-destructive role in Él Salvador At about 25:10, Pete compliments the ways in which Roberto seamlessly builds pathos through the nonlinear narrative, and this leads to talk of earlier Salvadoran immigration caused by Reagan and US policies in the region, as evidenced by what was once called The School of the Americas At about 28:30, Roberto talks about the ways in which Salvadorans and Central Americans are erased from telling their own stories and how organizations like FAIR have found disturbing patterns in diction that paints Central Americans as two-dimensional; Roberto also cites his own research on media narratives, written for The Columbia Journalism Review  At about 35:00, Roberto discusses the interests of the United States, especially economic ones, as catalysts in backing horrible governments in Central America and beyond, in particular in backing the Salvadoran military dictator who enacted “La Matanza,” in which 10-40,000 are said to have been killed At about 37:00, Roberto cites his book as an “only” among the “Big Four Publishers” and he talks about how hard he had to work to tell his Central American stories, as opposed to those writers who are not Central American and often tell one-sided, surface-level stories for which they are often lauded  At about 39:20, Roberto talks about his book as an exploration at the way he and other Americans look at their country and at themselves; he explicates by talking about ideas of “American exceptionalism” in movies and media At about 42:40, Roberto and Pete delve into Salvadoran “Conradesque” depictions by mainstream writers, especially the famous/infamous quote by Joan Didion-Roberto's article about her words is here At about 47:00, Pete asks Roberto about the flipside of negative and simplistic portrayals of Salvadorans-the failure to know them in society as a whole AND the lack of knowledge within the Salvadoran communities of past history and atrocities; Roberto quotes Roque Dalton and interesting poll numbers At about 48:55, Roberto's interesting take on important parts of the Salvadoran experience being “lost in translation” reminds Pete of an anecdote from the book about a well-read Salvadoran gang leader and leads to discussions of retelling and stories' and their differing context and Roberto's takes on being bilingual and bicultural At about 51:50, Roberto talks about the significance of the book's title and its connection to ancient Greek and Hannah Arendt At about 56:25, Roberto discusses his use of “re-membering” in the book and its implications and the power of rebellion in his life  At about 59:50, Roberto talks about various meanings of apocalypse and its connections to the book At about 1:02:30, Roberto explains the statistics from various institutes that place the Salvadoran “La Matanza” of 1932 as one of, or possible, the worst concentrated massacre in 20th century At about 1:04:15, Roberto discusses the Salvadoran indigenous people as by far the biggest victims in state violence and connections between Vietnam and El Salvador At about 1:05:25, Pete compliments the beautiful ending of the book with its beautiful sewing metaphor   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 Spotify, Stitcher,  and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this episode and other episodes on YouTube-you can watch and subscribe to The Chills at Will Podcast Channel. This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm 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. I'm excited to welcome the intrepid, thoughtful, and profound journalist, Jean Guerrero, for my next episode, so be sure to check out that episode on August 25.

Eric Feinberg was an ad man who found himself in the battle to combat the evils of Google, Facebook, and Instagram.  Hear how my friend and fellow internet warrior helps me fight the good fight.Support the show (https://www.patreon.com/user?u=46786373)

The mothers and Daughters podcast is brought to you by Jordana Shell & Deanne Rooz. We have a close bond as mother & daughter, and we wanted to explore other unique bonds between mothers and daughters and share their stories with you. In our first episode, we sit down with Wendy Strehlow and her daughter Sophie Hensser, they both found their passions for acting at a young age, and have since gone on to great successes. Wendy is best known for her role in A Country Practice and was awarded a Logie in 1985. She has also appeared in, E Street, Blue Heelers, McLeod's Daughters, Home and Away, A Step in the Right Direction and The Saddle Club. She has appeared in numerous stage productions including, The Greening of Grace, Henry IV, The Memory of Water, Travesties and the Pulitzer prize-winning production, Clybourne Park. Sophie, in 2009, began appearing in a guest role on Home and Away, followed by other Australian shows such as All Saints, Underbelly, Crownies and Tricky Business. More recently, she had a lead role in Love Child. Sophie is a mum of two, and both are still acting on both the silver screen and in theatre. They appeared on screen together in The Saddle Club and The Snip. We also read out your Mother's Day messages to your mums. Wishing you and your mums a happy Mother's Day. We hope you love this episode, be sure to follow us on Instagram, @mothersanddaughterspod.If you have a Mother/Daughter relationship that you would like to share, send us an email or DM. Don't forget to call your mum xx See acast.com/privacy for privacy and opt-out information.

Join us as we talk on recent issues happening in our communities. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week the guys lose their minds... Going above/beyond to offend everyone they possibly can! Everything from Tupac's music to emojis is under the microscope, thanks to dating app bios. Swampy and 3pm dive into the world of Tinder!!!!! Nobody is safe, nothing is off limits, and everything sacred is desecrated. Strap in for this week's filth Trappers!!!!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/3pm-swamp-beaver-tatted/message Support this podcast: https://anchor.fm/3pm-swamp-beaver-tatted/support