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Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

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Entrevista con León Sigifredo Ciro Ríos, docente de la UAM autor del libro Palabras al margen by LA PATRIA

Netscout advierte sobre fraudes digitales por el Mundial 2026UAM pide liberación de Violeta Núñez y dos activistas en GazaMetro acelera remodelación de la Línea 2 rumbo al MundialMás información en nuestro Podcast#grc

¿Sabías que México tiene 18 denominaciones de origen reconocidas por el Instituto Mexicano de la Propiedad Industrial? En este episodio de Podcast Agricultura exploramos cómo estas figuras jurídicas convirtieron productos del campo mexicano en patrimonio con protección legal en decenas de países. Desde el tequila hasta el mango Ataúlfo, cada nombre lleva territorio adentro.El tequila fue el primero en lograrlo, en 1974. Hoy genera más de 4 mil millones de dólares en exportaciones anuales y llega a más de 120 países. Analizamos cómo ese camino tardó décadas en construirse y qué lecciones dejó para los 17 productos que vinieron después.Hablamos también del mezcal, la raicilla, el café de Veracruz y Chiapas, y el cacao Grijalva. Explicamos qué es técnicamente una denominación de origen, por qué el Estado mexicano es su titular legal y cómo los tratados comerciales internacionales la convierten en una herramienta de política exterior agrícola.Pero este episodio no se queda en los éxitos. Señalamos la cara que pocas veces se discute: los pequeños productores artesanales que quedan fuera del sistema por los costos de certificación, la informalidad y la falta de acceso institucional. La denominación los ampara en papel, pero no siempre los alcanza en la práctica.Si produces en el campo mexicano, comercializas productos agroalimentarios o simplemente quieres entender por qué el nombre de un producto puede valer millones, este episodio es para ti.Escucha Agricultura Profesional:https://open.spotify.com/show/2ZuOW2DhD7PK4SM33gtFWy?si=e33021063a114550--Créditos musicales:INTROMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/kevin-graham/53License code: 62TIV9S8Q1XCM65WOUTROMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/ra/let-good-times-rollLicense code: KUSUTAITXDLYUTHQ--Fuentes consultadas:Instituto Mexicano de la Propiedad Industrial (IMPI). Registro de denominaciones de origen en México.Kouri, Emilio. "La vainilla de Papantla: agricultura, comercio y sociedad rural en el siglo XIX". Signos Históricos, UAM, vol. ii, núm. 3, junio 2000, pp. 105-130.Secretaría de Economía. "México cuenta con 16 denominaciones de origen". Gobierno de México.Fundación UNAM. "Productos mexicanos con denominación de origen". Con referencia al trabajo de Jessica Tolentino Martínez del Instituto de Investigaciones Económicas de la UNAM.Secretaría de Agricultura y Desarrollo Rural (SADER) / Swiss Info. "México produjo 546 toneladas de vainilla entera de 2017 a 2021". Incluye datos de exportaciones y valor comercial.

Cerramos la entrevista con Juan José Solís, Director de la Fundación UAM. Hemos platicado ya acerca de lo que hace la Fundación para apoyar a los alumnos y alumnas de la Universidad Autónoma Metropolitana; ahora aprovechamos para que nos explique por qué la UAM es una de las mejores universidades en México y en Latinoamérica. Además, experiencias como profesor que lo dejarán pensando si debe seguir pagando la universidad de sus muchachos.#losdiosesdelmarketing es una producción de Básico FM con Agustín Gutiérrez y Alberto Cruz.

Ahora la biografía de Juan José Solís, que tiene una historia también extraordinaria. Comunicólogo de la UAM, que inició en el mundo de los periódicos, pasó a la radio, luego a Comunicación Social. Como los comunicólogos tienen carreras bastante diversas, esto lo llevó... a TV Azteca, y luego a BIVA, para escribir sobre temas financieros para la CEO.BONUS: ¿cómo deben ser las carreras del futuro? ¡Escúchelo cuanto antes!#LosDiosesdelMarketing es una producción de Básico FM, con Agustín Gutiérrez y Alberto Cruz.

#LosDioses251 se pone académico. ¡Juan José Solís, Director de la Fundación UAM, nos dirá cómo se arma un plan de comunicación (y recaudación): campañas, alianzas, negociaciones y medios digitales. También: ¿cómo un comunicólogo llega al mundo financiero? ¡Escúchelo cuanto antes! #LosDiosesDelMarketing es una producción de la Univers... digo, de @Basico FM, con Alberto Cruz y Agustín Gutiérrez, ambos egresados del secreto mejor guardado del país: la Universidad Autónoma Metropolitana.

Entrevista con Pablo Cuartas, director del programa de Ciencias Políticas de la UAM by LA PATRIA

Emisión del miércoles 15 de Abril de 2026 La presidenta Claudia Sheinbaum presentó ayer el comité técnico-científico, conformado por expertos de la UNAM, el IPN, la UAM y otros centros de investigación, que en dos meses determinará si México puede avanzar en la extracción de gas no convencional —el que está atrapado en rocas compactas en estados como Tamaulipas, Nuevo León y Coahuila— mediante fracking de “bajo impacto”. Su fallo definirá una de sus propuestas más controvertidas, indicar el camino a seguir para aprovechar un recurso que no se ha explotado por consideraciones ambientales. "Deja que tus oídos te abran los ojos." #RuizHealyTimes #AbriendoLaConversación www.ruizhealytimes.com

Expertos analizarán extracción de gas no convencional Alerta el rector de la UAM que México debe reducir su dependencia de gas  Liberan lobo gris mexicano en ChihuahuaMás información en nuestro podcast#grc

Iglesia crítica iniciativa sobre eutanasiaAutobús sin frenos provoca accidente en EdomexEstampida deja decenas de muertos en HaitíMás información en nuestro Podcast#grc

W tym odcinku podcastu „Czytamy po rosyjsku” przenosimy się do Kazachstanu — kraju, który coraz wyraźniej zaznacza swoją obecność na mapie współczesnego świata, a jednocześnie wciąż pozostaje w Polsce stosunkowo mało rozpoznany.Rozmówcami Bartosza Gołąbka są Assel Sagimbekova Podlecka oraz Mateusz Podlecki. Razem rozmawiamy o kulturze, języku i tożsamości Kazachstanu, a także o tym, jak dziś opowiada on sam siebie — między tradycją a nowoczesnością.Odcinek ukazuje się w czasie Nauryzu — święta wiosny obchodzonego w wielu krajach Azji Centralnej — co nadaje tej rozmowie dodatkowy wymiar symboliczny: nowego początku, odrodzenia i wspólnoty.

Conversamos con personeros de la UAM sobre charlas gratuitas en materiaeducativaUna producción de Noticias Monumental

Prof. Jacek Kowalski z UAM w Poznaniu relacjonuje, że Forum Troski o Ostrów Tumski – z udziałem prezydenta Karola Nawrockiego i ministrów z Kancelarii Prezydenta – przede wszystkim „wydźwignęło” temat, który dotąd pozostawał zbyt mało obecny w debacie ogólnopolskiej. Zwraca uwagę, że prezydent nie może ingerować w działania samorządu, ale jako patron pomników historii ma mandat, by włączyć się w ochronę miejsca kluczowego dla początków państwa polskiego.Pan prezydent nie ma bezpośredniego wpływu na to, co się dzieje w Poznaniu, ale jest z urzędu patronem pomnika historii– mówi prof. Kowalski.W jego ocenie spotkanie było ważne także dlatego, że umożliwiło rozmowę z przedstawicielami służb konserwatorskich i wysłuchanie głosów spoza Poznania. To – jak podkreśla – pomaga nadać sprawie ciężar, którego wcześniej brakowało.To było spotkanie, które wydźwignęło temat Ostrowa Tumskiego na wyższy poziom– zaznacza Kowalski.

In this installment of CW Talks, we revisit a topic that was discussed on a panel at last year's Carbon Fiber Conference, held in Wichita, Kansas. The discussion revolved around high-rate manufacturing for aerospace, next-generation aerospace and the growing trend around urban air mobility (UAM). We recently sat down with one of the panelists, Mitchell Smith, technology leader at ST Engineering MRAS (Baltimore, Md.), to continue the conversation.

Zapraszam na komentarz prof. Radosława Fiedlera z UAM. Zapoznaj się z warunkami oprocentowania wolnych środków w OANDA TMS Brokers: https://go.tms.pl/bezpaszportuUM Inwestuj w fundusze ETF z OANDA TMS Brokers: https://go.tms.pl/bezpaszportuETF

Irańskie media reżimowe potwierdziły, że ajatollah Ali Chamenei został zabity. Ataki Iranu na cele bliskowschodnie. Zapraszam na komentarz prof. Radosława Fiedlera z UAM. Zapoznaj się z warunkami oprocentowania wolnych środków w OANDA TMS Brokers: https://go.tms.pl/bezpaszportuUM Inwestuj w fundusze ETF z OANDA TMS Brokers: https://go.tms.pl/bezpaszportuETF

La transferencia de conocimientos del laboratorio a la empresa es fundamental para el desarrollo económico y la competitividad de un país. Este proceso transforma los hallazgos científicos en aplicaciones comerciales, productos o servicios. Desde comienzos de siglo, han aparecido miles de empresas al amparo de universidades y centros de investigación para comercializar tecnología y productos avanzados. Pero solo unas pocas consiguen sobrevivir. La mayoría perece en lo que se conoce como el valle de la muerte, el periodo entre el desarrollo inicial del producto y la generación de ingresos sostenibles. Y con ellas se pierden muchos proyectos prometedores antes de tener la oportunidad de triunfar. Hemos hablado con Miguel Ángel Llamas, CEO de la start-up Crazy Science.Álvaro Martínez del Pozo ha dedicado su sección a las tubulinas, proteínas que conforman el esqueleto de las células y participan en el transporte intracelular, la motilidad y la división celular. Jesús Pérez Gil nos ha hablado de los fagos, virus que infectan bacterias y que pueden ser un arma eficaz en las infecciones causadas por bacterias superresistentes a los antibióticos. Con María González Dionis hemos conocido una curiosa familia de pequeños dinosaurios, cubiertos de plumas y emparentados lejanamente con las aves actuales: los "Alvarezsaurus". Adeline Marcos nos ha informado del proyecto europeo RECLAIM, centrado en temas de democracia y gobernanza, con el objetivo de aportar nuevas herramientas para combatir los bulos y la desinformación. Con testimonios de Luis Bouza, vicedecano de Investigación y Transferencia de la Facultad de Derecho de la UAM. Escuchar audio

La transferencia de conocimientos del laboratorio a la empresa es fundamental para el desarrollo económico y la competitividad de un país. Este proceso transforma los hallazgos científicos en aplicaciones comerciales, productos o servicios. Desde comienzos de siglo, han aparecido miles de empresas al amparo de universidades y centros de investigación para comercializar tecnología y productos avanzados. Pero solo unas pocas consiguen sobrevivir. La mayoría perece en lo que se conoce como el valle de la muerte, el periodo entre el desarrollo inicial del producto y la generación de ingresos sostenibles. Y con ellas se pierden muchos proyectos prometedores antes de tener la oportunidad de triunfar. Hemos hablado con Miguel Ángel Llamas, CEO de la start-up Crazy Science.Álvaro Martínez del Pozo ha dedicado su sección a las tubulinas, proteínas que conforman el esqueleto de las células y participan en el transporte intracelular, la motilidad y la división celular. Jesús Pérez Gil nos ha hablado de los fagos, virus que infectan bacterias y que pueden ser un arma eficaz en las infecciones causadas por bacterias superresistentes a los antibióticos. Con María González Dionis hemos conocido una curiosa familia de pequeños dinosaurios, cubiertos de plumas y emparentados lejanamente con las aves actuales: los "Alvarezsaurus". Adeline Marcos nos ha informado del proyecto europeo RECLAIM, centrado en temas de democracia y gobernanza, con el objetivo de aportar nuevas herramientas para combatir los bulos y la desinformación. Con testimonios de Luis Bouza, vicedecano de Investigación y Transferencia de la Facultad de Derecho de la UAM. Escuchar audio

canal.march.esLa sesión se desarrolla en inglés (con subtítulos orientativos en español). El filósofo político e historiador de las ideas británico John Gray (South Shields, Reino Unido, 1948) dialoga con el catedrático emérito de Ciencia Política (UAM) y académico Fernando Vallespín en esta nueva sesión de Diálogos cosmopolitas, la nueva serie de entrevistas a destacadas personalidades internacionales en los diferentes ámbitos de la cultura. John Gray ha sido profesor en las universidades de Essex y Oxford, y catedrático de Pensamiento Europeo de la London School of Economics. Colabora en medios como The Guardian, The Times Literary Supplement y The New Statesman, y en español ha publicado, entre otros ensayos, Las dos caras del liberalismo, Perros de paja, Misa negra y Los nuevos leviatanes.Más información de este acto canal.march.es

En Capital Intereconomía, la tertulia Capital reunió a Carlos Tobías, abogado; Carlos Arenas, doctor en Economía; y Javier Sastre, profesor de ESIC Business & Marketing School, para analizar la actualidad política, económica y social. El debate puso el foco en Aragón, donde el avance de Vox y sus exigencias fiscales al Gobierno de Azcón tensionan el equilibrio político y amenazan proyectos de energías renovables clave para España. También se abordó el freno a la huelga ferroviaria tras el anuncio de más fondos para seguridad e infraestructuras, así como el preocupante aumento del absentismo laboral, que se ha duplicado en la última década en el sector de la construcción. La mirada internacional llegó con la entrevista Capital a Susanne Gratius, profesora titular de Relaciones Internacionales en la UAM, quien analizó el riesgo real de colapso económico y energético en Cuba. Gratius advirtió del impacto de la falta de combustible, el bloqueo de Estados Unidos y la paralización del tráfico aéreo, además de valorar si la isla camina hacia un escenario similar al de Venezuela, el margen para una negociación con Washington y el papel que puede desempeñar Europa. El programa se completó con el análisis de preapertura de los mercados de Pablo García, director de DIVACONS-Alphavalue, que ofreció las claves financieras para arrancar la jornada bursátil.

- 올댓카 : 로보택시와 인간택시의 갈등 - 핫클릭 : 택시 배회영업 수수료 금지 등 (김연지 미디어펜 기자) - 전문카 : 미래 모빌리티 UAM (이독실 과학평론가)

canal.march.es En un momento de profundas transformaciones tecnológicas, sociales y culturales, la política contemporánea parece adentrarse en un terreno marcado por el malestar en los sistemas democráticos y el consecuente auge de tendencias autoritarias. En la primera conferencia del ciclo “Una nueva era geopolítica”, el catedrático emérito de Ciencia Política (UAM) y académico, Fernando Vallespín, analiza la hipótesis de estar ante el cambio hacia una sociedad y una política posliberal. Más información de este acto canal.march.es

canal.march.esEn un momento de profundas transformaciones tecnológicas, sociales y culturales, la política contemporánea parece adentrarse en un terreno marcado por el malestar en los sistemas democráticos y el consecuente auge de tendencias autoritarias. En la primera conferencia del ciclo “Una nueva era geopolítica”, el catedrático emérito de Ciencia Política (UAM) y académico, Fernando Vallespín, analiza la hipótesis de estar ante el cambio hacia una sociedad y una política posliberal.Más información de este acto canal.march.es

Sindicato de la UAM emplaza a huelga para el 1 de febrero Denuncian rezago de Conagua en canal de aguas negras en EdomexBuitres, clave para evitar contaminación ambientalMás información en nuestro podcast

Today we discuss arguably the most important topic facing our working forests, that of the excess supply of small-diameter timber. Shaun and Brady are joined by Dr. Matthew Pelkki, Director of the Center for Forest Business at the University of Arkansas at Monticello. He discusses the consequences of not finding market outlets for this material, both economic and ecological, and walks us through several alternative futures that could help in dealing with this wicked problem that will require multiple solutions to ultimately bring our forests back in balance in the near and longer term. The purpose is to provide the listener with items that they promote to their policymakers and legislators to help smooth the expansion of existing and creation of new end use markets that utilize already developed technologies that are ready to scale.  For More on UAM''s Center for Forest Business, please click the link below.  https://www.uamont.edu/academics/CFANR/acfb.html

El sábado 17 de enero, por la tarde, la presidenta Sheinbaum se reunió con ocho economistas de la UNAM y de la UAM con el fin de discutir los temas más relevantes que enfrenta el país como son la inversión pública y privada, los esquemas fiscales, el clima de negocios y la falta de créditos para PYMES así como la necesidad de otorgar incentivos a la innovación. La reunión es importante por varias razones, en primer lugar se les pide opinión a los economistas, un gremio que fue muy criticado en el sexenio pasado; en segundo, esta puede ser la base de un equipo de consulta de largo plazo y tercero puede ser un espacio para generar políticas públicas.Una conversación con David Villarreal, presidente de la Asociación de Egresados de Economía de la Universidad de Colima.Visita la sección de Finanzas de El Sol de México para estar al día del contexto económico. Hosted on Acast. See acast.com/privacy for more information.

La UNAM tiene una oferta cultural concentrada principalmente en la Ciudad de México, pero va más allá e incluso atraviesa fronteras. Se dedica a la producción, investigación, conservación, preservación y difusión de todo tipo de material cultural. Con Paola Morán, nuestra invitada, se hace un recorrido por diversos programas y recintos culturales de la UNAM.Paola Morán Leyva. Editora y gestora cultural. Egresada de Relaciones Internacionales en la Facultad de Ciencias Políticas y Sociales de la UNAM. Estudió una Maestría en Historiografía en la UAM. Actualmente es la Secretaria Técnica de Vinculación de la Coordinación de Difusión Cultural de la UNAM.

Entrevista con Paola Morán donde se abordan temas como: cómo establecer espacios culturales que sobrevivan al vendaval político, el papel que ha jugado la UNAM en esto, la oferta de la Coordinación Cultural y cómo mejorar las dinámicas culturales entre instituciones, gobierno y la sociedad. Dentro de la entrevista se presenta un audio de José Vasconcelos, de un programa de televisión de 1957, donde destaca el papel del locutor o conductor en los medios de difusión.Paola Morán Leyva. Editora y gestora cultural. Egresada de Relaciones Internacionales de la Facultad de Ciencias Políticas y Sociales UNAM, estudió una Maestría en Historiografía en la UAM. Actualmente es la Secretaria Técnica de Vinculación de la Coordinación de Difusión Cultural de la UNAM.

Today we discuss arguably the most important topic facing our working forests, that of the excess supply of small-diameter timber. Shaun and Brady are joined by Dr. Matthew Pelkki, Director of the Center for Forest Business at the University of Arkansas at Monticello. He discusses the consequences of not finding market outlets for this material, both economic and ecological, and walks us through several alternative futures that could help in dealing with this wicked problem that will require multiple solutions to ultimately bring our forests back in balance in the near and longer term. The purpose is to provide the listener with items that they promote to their policymakers and legislators to help smooth the expansion of existing and creation of new end use markets that utilize already developed technologies that are ready to scale.  For More on UAM''s Center for Forest Business, please click the link below.  https://www.uamont.edu/academics/CFANR/acfb.html  

Sismo de 6.5 dejó afectaciones en 24 municipios de Guerrero  Más de 60 mil alumnos de la UAM regresan a clases este lunesLa Rosca de Reyes, una tradición con raíces en la antigua RomaMás información en nuestro podcast 

In this episode, we are joined by Dr. Kristy McAndrew from Mississippi State University. Dr. McAndrew will walk us through the ins and outs of Brown spot needle blight, a fungal disease that infects pine needles, leading to premature needle loss, stunted growth, and long-term stress that increases a tree's vulnerability to other pests and pathogens, and provide an update on Emerald Ash Borer presence in the region.  Dr. McAndrew is a forest health specialist at Mississippi State University in the Forestry Department. Kristy has a Bachelor of Science in Forestry and a Bachelor of Science in Fisheries & Wildlife, both from the University of Missouri in Columbia, MO, and also completed a Master's and PhD at Mississippi State University in the Department of Biochemistry, Molecular Biology, Entomology, and Plant Pathology.  For more on brown spot needle blight, see this recent article and publication from the Arkansas Division of Agriculture. www.uaex.uada.edu/media-resources/news/2025/august/08-18-2025-ark-UAM-needle-blight.aspx If you have questions, feel free to contact us at timberuniversity@gmail.com

Alta ocupación hotelera en playas mexicanas este Fin de Año  Feminicidios bajan en CDMX, pero hay más procesados  Milei va por minería en zonas cercanas a glaciaresMás información en nuestro Podcast

Chimalhuacán solo ha pagado 36% de su deuda heredada SEP y Conahcyt firman acuerdo para impulsar formaciónMaría Angélica Buendía nueva rectora de UAM Xochimilco  Más información en nuestro podcast  

Autonomy may scale in agriculture long before it does in defense or UAM, and today's guest makes a compelling case why. We speak with Edward Barraclough, founder and CEO of Drone-Hand, about applying autonomous drones and on-device AI to the realities of livestock operations across Australia, New Zealand, North America, and beyond.Edward explains why ranching is the perfect proving ground for autonomy: massive land areas, urgent labor shortages, permissive operating environments, and ROI that's measured in days - not years. We explore how drones are already replacing helicopters on million-acre cattle stations, why biological data creates one of the deepest moats in autonomy, the role of trust and repeatability for producers, and how CASA's regulatory evolution compares to FAA and EASA. It's a rare look at autonomy where economics, biology, and geography collide.

VivaAerobus y Volaris avanzan en actualización de seguridad en sus AirbusExplosión por pirotecnia en Pesquería, NL, deja tres muertos y seis heridosMás información en nuestro Podcast

Ahora mal sin bien: reconocidos científicos de la UAM, no se les ocurra llevar ideas allá por Palenque porque de plano nos carga el pintor, mejor guardemos el secreto

UAM regresa a clases y arranca nuevo ciclo académicoDesbordamiento de arroyo en Tlajomulco deja graves dañosAlarmante informe global sobre defensores ambientalesMás información en nuestro podcast

Nuevo tren Querétaro–Irapuato, apuesta por el desarrollo regional  Investigan presunto maltrato animal en Santa Catarina  Más información en nuestro Podcast

In this introductory episode to their new series on the Parables of Jesus, Tony Arsenal and Jesse Schwamb explore the profound theological significance of Christ's parables. Far from being mere teaching tools to simplify complex ideas, parables serve a dual purpose in God's redemptive plan: revealing spiritual truth to those with "ears to hear" while concealing these same truths from those without spiritual illumination. This episode lays the groundwork for understanding how parables function as divine teaching devices that embody core Reformed doctrines like election and illumination. As the hosts prepare to journey through all the parables in the Gospels, they invite listeners to consider the blessing of being granted spiritual understanding and the privilege of receiving the "secrets of the kingdom" through Christ's distinctive teaching method. Key Takeaways Parables are more than illustrations—they are comparisons that reveal kingdom truths to those with spiritual ears to hear while concealing truth from those without spiritual illumination. Jesus intentionally taught in parables not to simplify his teaching but partly to fulfill Isaiah's prophecy about those who hear but do not understand, confirming the spiritual condition of his hearers. The ability to understand parables is itself evidence of God's sovereign grace and election, as Jesus states in Matthew 13:16: "Blessed are your eyes for they see and your ears for they hear." Parables vary in form and function—some are clearly allegorical while others make a single point, requiring each to be approached on its own terms. Proper interpretation requires context—understanding both the original audience and the question or situation that prompted Jesus to use a particular parable. Parables function like Nathan's confrontation of David—they draw hearers in through narrative before revealing uncomfortable truths about themselves. Studying parables requires spiritual humility—recognizing that our understanding comes not from intellectual capacity but from the Spirit's illumination. Understanding Parables as Revelation, Not Just Illustration The hosts emphasize that parables are fundamentally different from mere illustrations or fables. While modern readers often assume Jesus used parables to simplify complex spiritual truths, the opposite is frequently true. As Tony explains, "A parable fundamentally is a comparison between two things... The word parable comes from the Greek of casting alongside." This distinction is crucial because it changes how we approach interpretation. Rather than breaking down each element as an allegorical component, we should first understand what reality Jesus is comparing the parable to. The parables function as a form of divine revelation—showing us kingdom realities through narrative comparison, but only those with spiritual insight can truly grasp their meaning. This is why Jesus quotes Isaiah and explains that he speaks in parables partly because "seeing they do not see and hearing they do not hear nor do they understand" (Matthew 13:13). The Doctrine of Election Embedded in Parabolic Teaching Perhaps the most profound insight from this episode is how the very form of Jesus' teaching—not just its content—embodies the doctrine of election. Jesse notes that "every parable then implicitly teaches a doctrine of election," because they reveal spiritual truth to some while concealing it from others. This isn't arbitrary but reflects spiritual realities. The hosts connect this to Jesus' words in Matthew 13:16: "Blessed are your eyes for they see and your ears for they hear." This blessing comes not from intellectual capacity or moral superiority but from God's sovereign grace. Tony describes this as "the blessing in our salvation and in our election that we are enabled to hear and perceive and receive the very voice and word of God into our spirit unto our salvation." The parables thus become a "microcosm" of Reformed doctrines like election, regeneration, and illumination. When believers understand Jesus' parables, they're experiencing the practical outworking of these doctrines in real time. Memorable Quotes "The parables are not just to illustrate a point, they're to reveal a spiritual point or spiritual points to those who have ears to hear, to those who've been illuminated by the spirit." - Tony Arsenal "Jesus is giving this message essentially to all who will listen to him... And so this is like, I love the way that he uses that quote in a slightly different way, but still to express the same root cause, which is some of you here because of your depravity will not be able to hear what I'm saying. But for those to whom it has been granted to come in who are ushered into the kingdom, this kingdom language will make sense." - Jesse Schwamb "But blessed are your eyes for they see and your ears for they hear. There's a blessing in our salvation and in our election that we are enabled to hear and perceive and receive the very voice and word of God into our spirit unto our salvation." - Tony Arsenal About the Hosts Tony Arsenal and Jesse Schwamb are the regular hosts of The Reformed Brotherhood podcast, where they explore Reformed theology and its application to Christian living. With a conversational style that balances depth and accessibility, they seek to make complex theological concepts understandable without sacrificing nuance or biblical fidelity. Transcript [00:00:45] Introduction and New Series Announcement [00:00:45] Jesse Schwamb: Welcome to episode 460 of The Reformed Brotherhood. I'm Jesse. [00:00:54] Tony Arsenal: And I'm Tony. And this is the podcast with ears to hear. Hey brother. [00:00:59] Jesse Schwamb: Hey brother. New series Time, new series. Time for the next seven years that, that's probably correct. It's gonna be a long one. New beginnings are so great, aren't they? And it is. [00:01:10] Jesse Schwamb: We've been hopefully this, well, it's definitely gonna live up to all the hype that we've been presenting about this. It's gonna be good. Everybody's gonna love it. And like I said, it's a topic we haven't done before. It's certainly not in this format. [00:01:23] Tony Arsenal: Yeah. Yeah. And you know what, just, um, as a side note, if you are a listener, which you must be, if you're hearing this, uh, this is a great time to introduce someone to the podcast. [00:01:33] Tony Arsenal: True. Uh, one, because this series is gonna be lit as the kids say, and, uh, it's a new series, so you don't have to have any background. You don't have to have any previous knowledge of the show or of who these two weird guys are to jump in and we're gonna. [00:01:53] Tony Arsenal: Talk about the Bible, which is amazing and awesome. And who doesn't love to talk about the Bible. [00:01:58] Jesse Schwamb: Yeah, that's correct. That's what makes these so good. That's how I know, and I could say confidently that this is gonna be all the hype and more. All right, so before we get to affirmations and denials, all the good ProGo, that's part and parcel of our normal episode content. [00:02:12] Jesse Schwamb: Do you want to tell everybody what we're gonna be talking about? [00:02:16] Tony Arsenal: Yeah, I'm excited. [00:02:17] Introducing the Parables Series [00:02:17] Tony Arsenal: So we are gonna work our way through, and this is why I say it's gonna take seven years. We are gonna work our way through all of the parables. Parables, [00:02:25] Jesse Schwamb: the [00:02:25] Tony Arsenal: gospels and just so, um, the Gospel of John doesn't feel left out. [00:02:30] Tony Arsenal: We're gonna talk through some of the I am statements and some of that stuff when we get to John. 'cause John doesn't have a lot of parables. Uh, so we're gonna spend time in the synoptic gospels. We're gonna just walk through the parables one by one. We're taking an episode, sometimes maybe two, sometimes 10, depending on how long the parable is and how deep we get into it. [00:02:47] Tony Arsenal: We're just gonna work our way through. We're gonna take our time. We're gonna enjoy it. So again, this is a great time to start. It's kinda the ground floor on this and you thing. This could really be its own podcast all by itself, right? Uh, so invite a friend, invite some whole bunch of friends. Start a Sunday school class listening to this. [00:03:04] Tony Arsenal: No, don't do that. But people have done that before. But, uh, grab your bibles, get a decent commentary to help prep for the next episode, and, uh, let's, let's do it. I'm super excited. [00:03:14] Jesse Schwamb: When I say para, you say Abel Para, is that how it works? Para? Yeah. I don't know. You can't really divide it. Pairable. If you jam it together, yes. [00:03:24] Jesse Schwamb: You get some of that. You can say, when I say pair, you say Abel p [00:03:27] Tony Arsenal: Abel. [00:03:31] Jesse Schwamb: And you can expect a lot more of that in this series. But before we get into all this good juicy stuff about parables, and by the way, this is like an introductory episode, that doesn't mean that you can just skip it, doesn't mean it's not gonna be good. We gotta set some things up. We wanna talk about parables general generally, but before we have that good general conversation, let's get into our own tradition, which is either affirming with something or denying against something. [00:03:54] Affirmations and Denials [00:03:54] Jesse Schwamb: And so, Tony, what do you got for all of us? [00:03:58] Tony Arsenal: Mine is kind of a, an ecclesial, ecclesiastical denial. Mm-hmm. Um, this is sort of niche, but I feel like our audience may have heard about it. And there's this dust up that I, I noticed online, uh, really just this last week. Um, it's kind of a specific thing. There is a church, uh, I'm not sure where the church is. [00:04:18] Tony Arsenal: It's a PCA church, I believe it's called Mosaic. The pastor of the church, the teaching elder, one of the teaching elders just announced that he was, uh, leaving his ministry to, uh, join the Roman Catholic Church, which, yes, there's its own denial built into that. We are good old Protestant reformed folks, and I personally would, would stick with the original Westminster on the, the Pope being antichrist. [00:04:45] Tony Arsenal: But, um, that's not the denial. The denial is that in this particular church. For some unknown reason. Uh, the pastor who has now since a announced that he was leaving to, uh, to convert to Roman Catholicism, continued to preach the sermon and then administered the Lord's supper, even though he in the eyes, I think of most. [00:05:08] Tony Arsenal: Reformed folk and certainly historically in the eyes of the reformed position was basically apostate, uh, right in front of the congregation's eyes. Now, I don't know that I would necessarily put it that strongly. I think there are plenty of genuine born again Christians who find themselves in, in the Roman Catholic, uh, church. [00:05:27] Tony Arsenal: Uh, but to allow someone who is one resigning the ministry right in front of your eyes. Um, and then resigning to basically leave for another tradition that, that the PCA would not recognize, would not share ecclesiastical, uh, credentials with or accept their ordination or any of those things. Um, to then just allow him to admit, you know, to administer the Lord's Supper, I think is just a drastic miscarriage of, uh, ecclesiastical justice. [00:05:54] Tony Arsenal: I dunno if that's the right word. So I'm just denying this like. It shows that on a couple things like this, this. Church this session, who obviously knew this was coming. Um, this session does either, does not take seriously the differences between Roman Catholic theology and Protestant theology, particularly reformed theology, or they don't take seriously the, the gravity of the Lord's supper and who should and shouldn't be administering it. [00:06:22] Tony Arsenal: They can't take both of those things seriously and have a fully or biblical position on it. So there's a good opportunity for us to think through our ecclesiology, to think through our sacrament and how this applies. It just really doesn't sit well and it's not sitting well with a lot of people online, obviously. [00:06:37] Tony Arsenal: Um, and I'm sure there'll be all sorts of, like letters of concern sent to presbytery and, and all that stuff, and, and it'll all shake out in the wash eventually, but just, it just wasn't good. Just doesn't sit right. [00:06:48] Jesse Schwamb: You know, it strikes me of all the denominations. I'm not saying this pejoratively. I just think it is kind of interesting and funny to me that the Presbyterians love a letter writing campaign. [00:06:56] Jesse Schwamb: Like that's kind of the jam, the love, a good letter writing campaign. [00:07:00] Tony Arsenal: It's true, although it's, it's actually functional in Presbyterianism because That's right. That's how you voice your concern. It's not a, not a, a rage letter into the void. It actually goes somewhere and gets recorded and has to be addressed at presbytery if you have standing. [00:07:17] Tony Arsenal: So there's, there's a good reason to do that, and I'm sure that that will be done. I'm sure there are many. Probably ministers in the PCA who are aware of this, who are either actually considering filing charges or um, or writing such letters of complaints. And there's all sorts of mechanisms in the PCA to, to adjudicate and resolve and to investigate these kinds of things. [00:07:37] Jesse Schwamb: And I'd like to, if you're, if you're a true Presbyterian and, and in this instance, I'm not making light of this instance, but this instance are others, you. Feel compelled by a strong conviction to write such a letter that really you should do it with a quill, an ink. Like that's the ultimate way. I think handwritten with like a nice fountain pen. [00:07:54] Jesse Schwamb: There's not, yeah. I mean, you know what I'm saying? Like that's, that is a weighty letter right there. Like it's cut to Paul being like, I write this postscript in my own hand with these big letters. Yeah, it's like, you know, some original Presbyterian letter writing right there. [00:08:07] Tony Arsenal: And then you gotta seal it with wax with your signe ring. [00:08:10] Tony Arsenal: So, and send it by a carrier, by a messenger series of me messengers. [00:08:14] Jesse Schwamb: Think if you receive any letter in the mail, handwritten to you. Like for real, somebody painstakingly going through in script like spencerian script, you know, if you're using English characters writing up and then sealing that bad boy with wax, you're gonna be like, this is important. [00:08:30] Jesse Schwamb: Yeah, this, even if it's just like, Hey, what's up? Yeah, you're gonna be like, look at this incredible, weighty document I've received. [00:08:36] Tony Arsenal: It's true. It's very true. I love it. Well, that's all I have to say about that to channel a little Forrest Gump there. Uh, Jesse, what are you affirming or denying tonight? [00:08:44] Jesse Schwamb: I'm also going to deny against, so this denial is like classic. [00:08:49] Jesse Schwamb: It's routine, but I got a different spin on it this time, so I'm denying against. The full corruption of sin, how it appears everywhere, how even unbelievers speak of it, almost unwittingly, but very commonly with great acceptance. And the particularity of this denial comes in the form of allergies, which you and I are talking about a lot of times. [00:09:09] Jesse Schwamb: But I was just thinking about this week because I had to do some allergy testing, which is a, a super fun experience. But it just got me think again, like very plainly about what allergies are. And how an allergy occurs when your immune system, like the part of your body responsible for protecting your body that God has made when your immune system mistakes like a non-harmful substance like pollen or a food or some kind of animal dander for a threat, and then reacts by producing these antibodies like primarily the immunoglobulin E. [00:09:36] Jesse Schwamb: So here's what strikes me as so funny about this in a, in a way that we must laugh. Because of our, our parents, our first parents who made a horrible decision and we like them, would make the same decision every day and twice in the Lord's day. And that is that this seems like, of course, such a clear sign of the corruption of sin impounded in our created order because it seems a really distasteful and suboptimal for human beings to have this kind of response to pollen. [00:10:03] Jesse Schwamb: When they were intended to work and care in a garden. So obviously I think we can say, Hey, like the fact that allergies exist and that it's your body making a mistake. [00:10:13] Tony Arsenal: Yeah. [00:10:13] Jesse Schwamb: It's like the ultimate, like cellular level of the ubiquity of sin. And so as I was speaking with my doctor and going through the, the testing, it's just so funny how like we all talk about this. [00:10:25] Jesse Schwamb: It's like, yeah, it's, it's a really over-indexed reaction. It doesn't make any sense. It's not the way the world is supposed to be, but nobody's saying how is the world supposed to be? Do you know what I mean? Like, but we just take it for granted that that kind of inflammation that comes from like your dog or like these particles in the air of plants, just trying to do a plant stew and reproduce and pollinate that, that could cause like really dramatic and debilitating. [00:10:49] Jesse Schwamb: Responses is just exceptional to me, and I think it's exceptional and exceptional to all of us because at some deep level we recognize that, as Paul says, like the earth, the entire world is groaning. It's groaning for that eschatological release and redemption that can only come from Christ. And our runny noses in our hay fever all prove that to some degree. [00:11:09] Jesse Schwamb: So denying against allergies, but denying against as well that ubiquity of corruption and sin in our world. [00:11:15] Tony Arsenal: Yeah, I just have this image in my head of Adam and Eve, you know, they're expelled outta the garden and they, they're working the ground. And then Adam sneezes. Yes. And Eve is like, did your head just explode? [00:11:28] Tony Arsenal: And he's like, I don't know. That would've been a, probably a pretty terrifying experience actually. [00:11:33] Jesse Schwamb: Yeah, that's that's true. So imagine like you and I have talked about this before, because you have young children, adorable. Young children, and we've talked about like the first of everything, like when you're a child, you get sick for the first time, or you get the flu or you vomit for the first time. [00:11:45] Jesse Schwamb: Like you have no idea what's going on in your body, but imagine that. But being an adult. [00:11:49] Tony Arsenal: Yeah, where you can process what's going on, but don't have a framework for it. [00:11:52] Jesse Schwamb: Yes, exactly. So like [00:11:54] Tony Arsenal: that's like, that's like my worst nightmare I think. [00:11:55] Jesse Schwamb: Yeah. It's like, to your point, 'cause there, there are a lot of experiences you have as an adults, even health wise that are still super strange and weird. [00:12:01] Jesse Schwamb: But [00:12:02] Tony Arsenal: yeah, [00:12:02] Jesse Schwamb: you have some rubric for them, but that's kind of exactly what I was thinking. What if this toiling over your labor is partly because it's horrible now because you have itchy, watery eyes or you get hives. Yeah. And before you were like, I could just lay in the grass and be totally fine. And now I can't even walk by ragweed without getting a headache or having some kind of weird fatigue. [00:12:23] Jesse Schwamb: Like I have to believe that that was, that part of this transition was all of these things. Like, now your body's gonna overreact to stuff where I, I, God put us in a place where that wouldn't be the case at all. [00:12:35] Tony Arsenal: Yeah. Sometimes I think about like the first. Time that Adam was like sore or like hurt himself. [00:12:42] Tony Arsenal: True. Like the, just the, just the terror and fear that must have come with it. And sin is serious stuff. Like it's serious effects and sad, sad, sad stuff. But yeah, allergies are the worst. I, uh, I suffered really badly with, uh, seasonal allergies. When I was a a kid I had to do allergy shots and everything and it's makes no sense. [00:13:03] Tony Arsenal: There's no rhyme or reason to it, and your allergies change. So like you could be going your whole life, being able to eat strawberries and then all of a sudden you can't. Right? And it's, and you don't know until it happens. So [00:13:14] Jesse Schwamb: what's up with that? [00:13:15] Tony Arsenal: No good. [00:13:16] Jesse Schwamb: What's up with that? So again, imagine that little experience is a microcosmic example of what happens to Adam and Eve. [00:13:24] Jesse Schwamb: You know, like all these things change. Like you're, you're right. Suddenly your body isn't the same. It's not just because you're growing older, but because guess what? Sins everywhere. And guess what, where sin is, even in the midst of who you are as physically constructed and the environment in which you live, all, all totally change. [00:13:40] Jesse Schwamb: So that, that's enough of my rants on allergies. I know the, I know the loved ones out there hear me. It's also remarkable to me that almost everybody has an allergy of some kind. It's very, it's very rare if you don't have any allergies whatsoever. And probably those times when you think you're sick and you don't have allergies could be that you actually have them. [00:13:57] Jesse Schwamb: So it's just wild. Wild. [00:14:02] Tony Arsenal: Agreed. Agreed. [00:14:03] Theological Discussion on Parables [00:14:03] Tony Arsenal: Well, Jesse, without further ado, I'm not, I, maybe we should have further ado, but let's get into it. Let's talk about some parable stuff. [00:14:13] Jesse Schwamb: Yeah, let's do it again. When I say pair, you say able pair. [00:14:17] Tony Arsenal: Able. [00:14:20] Jesse Schwamb: When I say [00:14:21] Tony Arsenal: para you say bowl. [00:14:24] Jesse Schwamb: That's what I was trying to go with before. [00:14:26] Jesse Schwamb: It's a little bit more, yeah, but you gotta like cross over like we both gotta say like that middle syllable kind of. Otherwise it's, it sounds like I'm just saying bowl. And [00:14:34] Tony Arsenal: yeah, there's no good way to chant that. Yeah, we're work. This is why Jesse and I are not cheerleaders. [00:14:39] Jesse Schwamb: We're, we're work shopping everybody. [00:14:40] Jesse Schwamb: But I agree with you. Enough of us talking about affirmations, the denials in this case, the double double denial. Let's talk about parables. So the beauty of this whole series is there's gonna be so much great stuff to talk about, and I think this is a decent topic for us to cover because. Really, if you think about it, the parables of Jesus have captivated people for the entirety of the scriptures. [00:15:06] Jesse Schwamb: As long, as long as they were recorded and have been read and processed and studied together. And, uh, you know, there's stuff I'm sure that we will just gloss over. We don't need to get into in terms of like, is it pure allegory? Is it always allegory? Is it, there's lots of interpretation here. I think this is gonna be our way of processing together and moving through some of these and speaking them out and trying to learn principally. [00:15:28] Jesse Schwamb: Predominantly what they're teaching us. But I say all that because characters like the prodigal son, like Good Samaritan, Pharisees, and tax collector, those actually have become well known even outside the church. [00:15:40] Tony Arsenal: Yeah. And [00:15:40] Jesse Schwamb: then sometimes inside the church there's over familiarity with all of these, and that leads to its own kind of misunderstanding. [00:15:46] Jesse Schwamb: So, and I think as well. I'm hoping that myself, you and our listeners will be able to hear them in a new way, and maybe if we can try to do this without again, being parabolic, is that we can kind of recreate some of the trauma. In these stories. 'cause Jesus is, is pressing upon very certain things and there's certainly a lot of trauma that his original audiences would've taken away from what he was saying here. [00:16:13] Jesse Schwamb: Yeah. Even just starting with what is a parable and why is Jesus telling them? So I presume that's actually the best place for us to begin is what's the deal with the parables and why is this? Is this Jesus preferred way of teaching about the kingdom of God. [00:16:30] Tony Arsenal: Yeah, and I think, you know, it bears saying too that like not all the parables are alike. [00:16:35] Tony Arsenal: Like true. We can't, this is why I'm excited about this series. You know, it's always good to talk through the bible and, and or to talk through systematic theology, but what really excites me is when we do a series like this, kind of like the Scott's Confession series, like it gives us a reason. To think through a lot of different disciplines and flex like exercise and stretch and flex a lot of different kinds of intellectual muscles. [00:17:00] Tony Arsenal: So there's gonna be some exegetical work we have to do. There's gonna be some hermeneutical work we're gonna have to do, probably have to do some historical work about how the parables have been interpreted in different ways. Yes, and and I think, so, I think it's important to say like, not every parable is exactly the same. [00:17:14] Tony Arsenal: And this is where I think like when you read, sometimes you read books about the, the parables of Christ. Like you, you'll hear one guy say. Well, a parable is not an allegory. Then you'll hear another guy say like, well, parables might have allegorical elements to it. Right. Now if one guy say like, well, a parable has one main point, and you'll have another guy say like, well, no, actually, like parables can have multiple points and multiple shades of meaning. [00:17:37] Tony Arsenal: And I think the answer to why you have this variance in the commentaries is 'cause sometimes the parables are alleg. [00:17:44] Jesse Schwamb: Right. And [00:17:44] Tony Arsenal: sometimes they're not allegorical. Sometimes they have one main point. Sometimes there's multiple points. So I think it's important for us to just acknowledge like we're gonna have to come to each parable, um, on its own and on its own terms. [00:17:57] Tony Arsenal: But there are some general principles that I think we can talk about what parables are. So parables in general are. Figurative stories or figurative accounts that are used to illustrate, I think primarily used to illustrate a single main point. And there may be some subpoints, but they, they're generally intended to, uh, to illustrate something by way of a, of a narrative, a fictional narrative that, uh, helps the reader. [00:18:27] Tony Arsenal: Uh, or the hearer is just, it's also important that these were primarily heard, these are heard parables, so there are even times where the phrasing of the language is important in the parable. Um, they're helping the, the hearer to understand spiritual truth. And this is where I think it's it's key, is that this is not just. [00:18:48] Tony Arsenal: When we're talking about the parables of Christ, right? There's people tell parables, there's all sorts of different teachers that have used parables. Um, I, I do parables on the show from time to time where I'll tell like a little made up story about a, you know, a situation. I'll say like, pretend, you know, let's imagine you have this guy and he's doing this thing that's a form of a parable when I'm using. [00:19:08] Tony Arsenal: I'm not, it's not like a makeup made up story. It's not asaps fables. We're not talking about like talking foxes and hens and stuff, but it's illustrating a point. But the parables of Christ are not just to illustrate a point, they're to reveal a spiritual point or spiritual points to those who have ears to hear, to those who've been illuminated by the spirit. [00:19:29] Tony Arsenal: And I just wanna read this. Uh, this is just God's providence, um, in action. I, um, I've fallen behind on my reading in The Daily Dad, which is a Ryan Holiday book. This was the reading that came up today, even though it's not the correct reading for the day. Uh, it's, it's for September 2nd. We're recording this on September, uh, sixth. [00:19:48] Tony Arsenal: Uh, and the title is, this is How You Teach Them. And the first line says, if the Bible has any indication, Jesus rarely seemed to come out and say what he meant. He preferred instead to employ parables and stories and little anecdotes that make you think. He tells stories of the servants and the talents. [00:20:03] Tony Arsenal: He tells stories of the prodigal son and the Good Samaritan. Turns out it's pretty effective to get a point across and make it stick. What what we're gonna learn. Actually that Jesus tells these stories in parables, in part to teach those who have spiritual ears to hear, but in part to mask the truth That's right. [00:20:24] Tony Arsenal: From those who don't have spiritual ears to hear, oh, online [00:20:26] Jesse Schwamb: holiday. [00:20:27] Tony Arsenal: So it's not as simple as like Jesus, using illustration to help make something complicated, clearer, right? Yes. But also, no. So I'm super excited to kind of get into this stuff and talk through it and to, to really dig into the parables themselves. [00:20:42] Tony Arsenal: It's just gonna be a really good exercise at sort of sitting at the feet of our master in his really, his preferred mode of teaching. Um, you know, other than the sermon on the Mount. There's not a lot of like long form, straightforward, didactic teaching like that most of Christ's teaching as recorded in the gospels, comes in the form of these parables in one way or another. [00:21:03] Tony Arsenal: Right. And that's pretty exciting to me. [00:21:05] Jesse Schwamb: Right. And there's so many more parables I think, than we often understand there to be, or at least then that we see in like the headings are Bible, which of course have been put there by our own construction. So anytime you get that. Nice short, metaphorical narrative is really Jesus speaking in a kind of parable form, and I think you're right on. [00:21:25] Jesse Schwamb: For me, it's always highlighting some kind of aspect of the kingdom of God. And I'd say there is generally a hierarchy. There doesn't have to be like a single point, like you said. There could be other points around that. But if you get into this place where like everything has some kind of allegory representation, then the parable seems to die of the death of like a million paper cuts, right? [00:21:40] Jesse Schwamb: Because you're trying to figure out all the things and if you have to represent something, everything he says with some kind of. Heavy spiritual principle gets kind of weird very quickly. But in each of these, as you said, what's common in my understanding is it's presenting like a series of events involving like a small number of characters. [00:21:57] Jesse Schwamb: It is bite-sized and sometimes those are people or plants or even like inanimate objects. So like the, yeah, like you said, the breadth and scope of how Jesus uses the metaphor is brilliant teaching, and it's even more brilliant when you get to that level, like you're saying, where it's meant both to illuminate. [00:22:13] Jesse Schwamb: To obfuscate. That is like, to me, the parable is a manifestation of election because it's clear that Jesus is using this. Those who have the ears to hear are the ones whom the Holy Spirit has unstopped, has opened the eyes, has illuminated the hearts and the mind to such a degree that can receive these, and that now these words are resonant. [00:22:32] Jesse Schwamb: So like what a blessing that we can understand them, that God has essentially. Use this parabolic teaching in such a way to bring forward his concept of election in the minds and the hearts of those who are his children. And it's kind of a way, this is kind of like the secret Christian handshake. It's the speakeasy of salvation. [00:22:52] Jesse Schwamb: It's, it's coming into the fold because God has invited you in and given you. The knowledge and ability of which to really understand these things. And so most of these little characters seemed realistic and resonant in Jesus' world, and that's why sometimes we do need a little bit of studying and understanding the proper context for all those things. [00:23:12] Jesse Schwamb: I would say as well, like at least one element in those parables is a push. It's in, it's kind of taking it and hyping it up. It's pushing the boundaries of what's plausible, and so you'll find that all of this is made again to illuminate some principle of the kingdom of God. And we should probably go to the thing that you intimated, because when you read that quote from, from Ryan Holiday, I was like, yes, my man. [00:23:34] Jesse Schwamb: Like he's on the right track. Right? There's something about what he's saying that is partially correct, but like you said, a lot of times people mistake the fact that, well, Jesus. Is using this language and these metaphors, these similes, he speaks in parables because they were the best way to get like these uneducated people to understand him. [00:23:57] Jesse Schwamb: Right? But it's actually the exact opposite. And we know this because of perhaps the most famous dialogue and expression and explanation of parables, which comes to us in Matthew 13, 10 through 17, where Jesus explains to his disciples exactly why he uses this mode of teaching. And what he says is. This is why I speak to them of parables because seeing they do not see and hearing, they do not hear they nor do they understand. [00:24:24] Jesse Schwamb: So, so that's perplexing. We should probably camp there for just a second and talk about that. Right, and, and like really unpack like, what is Jesus after here? Then if, like, before we get into like, what do all these things mean, it's almost like saying. We need to understand why they're even set before us and why these in some ways are like a kind of a small stumbling block to others, but then this great stone of appreciation and one to stand on for for others. [00:24:47] Tony Arsenal: Yeah, and I think you know, before we, before we cover that, which I think is a good next spot. A parable is not just an illustration. Like I think that's where a lot of people go a little bit sideways, is they think that this is effectively, like it's a fable. It's like a made up story primarily to like illustrate a point right. [00:25:09] Tony Arsenal: Or an allegory where you know, you're taking individual components and they represent something else. A parable fundamentally is a, is a, a comparison between two things, right? The word parable comes from the Greek of casting alongside, and so the idea is like you're, you're taking. The reality that you're trying to articulate and you're setting up this parable next to it and you're comparing them to it. [00:25:33] Tony Arsenal: And so I like to use the word simile, like that's why Christ says like the kingdom of God is like this. Yes. It's not like I'm gonna explain the kingdom of God to you by using this made up story. Right on. It's I'm gonna compare the kingdom of God to this thing or this story that I'm having, and so we should be. [00:25:49] Tony Arsenal: Rather than trying to like find the principles of the parable, we should be looking at it and going, how does this parable reflect? Or how is this a, um, how is this an explanation? Not in the, like, I, I'm struggling to even explain this here. It's not that the cer, the parable is just illustrating a principle. [00:26:10] Tony Arsenal: It's that the kingdom of God is one thing and the parable reveals that same one thing by way of comparison. Yes. So like. Uh, we'll get into the specifics, obviously, but when the, when the, um, lawyer says, who is my neighbor? Well, it's not just like, well, let's look at the Good Samaritan. And the Good Samaritan represents this, and the Levite represents this, and the priest represents this. [00:26:32] Tony Arsenal: It's a good neighbor, is this thing. It's this story. Compared to whatever you have in your mind of what a good neighbor is. And we're gonna bounce those things up against each other, and that's gonna somehow show us what the, what the reality is. And that's why I think to get back to where we were, that's why I think sometimes the parables actually obscure the truth. [00:26:53] Tony Arsenal: Because if we're not comparing the parable to the reality of something, then we're gonna get the parable wrong. So if we think that, um, the Good Samaritan. Is a parable about social justice and we're, we're looking at it to try to understand how do we treat, you know, the, the poor people in Africa who don't have food or the war torn refugees, you know, coming out of Ukraine. [00:27:19] Tony Arsenal: If we're looking at it primarily as like, I need to learn to be a good neighbor to those who are destitute. Uh, we're not comparing it against what Jesus was comparing it against, right? So, so we have to understand, we have to start in a lot of cases with the question that the parable is a response to, which oftentimes the parable is a response to a question or it's a, it's a principle that's being, um, compare it against if we get that first step wrong, uh, or if we start with our own presuppositions, which is why. [00:27:50] Tony Arsenal: Partially why I think Christ is saying like, the only those who have ears to hear. Like if you don't have a spiritual presupposition, I, I mean that, that might not be the right word, but like if you're not starting from the place of spiritual illumination, not in the weird gnostic sense, but in the, the. [00:28:07] Tony Arsenal: Genuinely Christian illumination of the Holy Spirit and inward testimony of the Holy Spirit. If you're not starting from that perspective, you almost can't get the parables right. So that's why we see like the opponents of Christ in the Bible, the Pharisees, the Sadducees, constantly. They're constantly confused and they're getting it wrong. [00:28:26] Tony Arsenal: And, and even sometimes the disciples, they have to go and ask sometimes too, what is this parable? Wow, that's right. What is, what does this mean? So it's never as simple as, as what's directly on the surface, but it's also not usually as complicated as we would make it be if we were trying to over-interpret the parable, which I think is another risk. [00:28:44] Jesse Schwamb: That's the genius, isn't it? Is that I I like what you're saying. It's that spiritual predisposition that allows us to receive the word and, and when we receive that word, it is a simple word. It's not as if like, we have to elevate ourselves in place of this high learning or education or philosophizing, and that's the beauty of it. [00:29:03] Jesse Schwamb: So it is, again, God's setting apart for himself A, a people a teaching. So. But I think this is, it is a little bit perplexing at first, like that statement from Jesus because it's a bit like somebody coming to you, like your place of work or anywhere else in your family life and asking you explicitly for instruction and, and then you saying something like, listen, I, I'm gonna show you, but you're not gonna be able to see it. [00:29:22] Jesse Schwamb: And you're gonna, I'm gonna tell you, but you're not gonna be able to hear it, and I'm gonna explain it to you, but you're not gonna be able to understand. And you're like, okay. So yeah, what's the point of you talking to me then? So it's clear, like you said that Jesus. Is teaching that the secrets, and that's really, really what these are. [00:29:37] The Secrets of the Kingdom of God [00:29:37] Jesse Schwamb: It's brilliant and beautiful that Jesus would, that the, the son of God and God himself would tell us the secrets of his kingdom. But that again, first of all by saying it's a secret, means it's, it's for somebody to guard and to hold knowledge closely and that it is protected. So he says, teaching like the secrets of the kingdom of God are unknowable through mere human reasoning and intuition. [00:29:56] Jesse Schwamb: Interestingly here though, Jesus is also saying that. He's, it's not like he's saying no one can ever understand the parables, right, or that he intends to hide their truth from all people. [00:30:07] Understanding Parables and God's Sovereign Grace [00:30:07] Jesse Schwamb: Instead, he just explains that in order to highlight God's sovereign grace, God in his mercy has enlightened some to whom it has been given to know the secrets of the kingdom of heaven. [00:30:17] Jesse Schwamb: That's verse 11. So. All of us as his children who have been illuminated can understand the truth of God's kingdom. That is wild and and that is amazing. So that this knowledge goes out and just like we talk about the scripture going out and never returning void, here's a prime example of that very thing that there is a condemnation and not being able to understand. [00:30:37] Jesse Schwamb: That condemnation comes not because you're not intelligent enough, but because as you said, you do not have that predisposition. You do not have that changed heart into the ability to understand these things. [00:30:47] Doctrine of Election and Spiritual Insight [00:30:47] Jesse Schwamb: This is what leads me here to say like every parable then implicitly teaches a doctrine of election. [00:30:53] Jesse Schwamb: Yeah, because all people are outside the kingdom until they enter the Lord's teaching. How do we enter the Lord's teaching by being given ears to hear. How are we understanding that? We have been given ears to hear when these parables speak to us in the spiritual reality as well as in just like you said, like this general kind of like in the way that I presume Ryan Holiday means it. [00:31:12] Jesse Schwamb: The, this is like, he might be exemplifying the fact that these stories. Are a really great form of the ability to communicate complex information or to make you think. [00:31:21] The Power and Purpose of Parables [00:31:21] Jesse Schwamb: So when Jesus says something like The kingdom of God is like a mustard seed, wow, we, you and I will probably spend like two episodes just unpacking that, or we could spend a lot more, that's beautiful that that's how his teaching takes place. [00:31:34] Jesse Schwamb: But of course it's, it's so much. More than that, that those in whom the teaching is effective on a salvation somehow understand it, and their understanding of it becomes first because Christ is implanted within them. Salvation. [00:31:46] Tony Arsenal: Yeah. Yeah. [00:31:48] Parables as More Than Simple Teaching Tools [00:31:48] Tony Arsenal: I think people, and this is what I think like Ryan Holiday's statement reflects, is people think of the parables as a simple teaching tool to break down a complicated subject. [00:32:00] Tony Arsenal: Yes. And so, like if I was trying to explain podcasting to a, like a five-year-old, I would say something like, well, you know. You know how your teacher teaches you during class while a podcast is like if your teacher lived on the internet and you could access your teacher anytime. Like, that might be a weird explanation, but like that's taking a very complicated thing about recording and and RSS feeds and you know, all of these different elements that go into what podcasting is and breaking it down to a simple sub that is not what a parable is. [00:32:30] Tony Arsenal: Right? Right. A parable is not. Just breaking a simple subject down and illustrating it by way of like a, a clever comparison. Um, you know, it's not like someone trying to explain the doctrine of, of the Trinity by using clever analogies or something like that. Even if that were reasonable and impossible. [00:32:50] Tony Arsenal: It's, it's not like that a parable. I like what you're saying about it being kind of like a mini doctrine of election. It's also a mini doctrine of the Bible. Yes. Right. It, it's right on. [00:33:00] The Doctrine of Illumination [00:33:00] Tony Arsenal: It's, it's the doctrine of revelation. In. Preached form in the Ministry of Christ, right? As Christians, we have this text and we affirm that at the same time, uh, what can be known of it and what is necessary for salvation can be known. [00:33:19] Tony Arsenal: By ordinary means like Bart Iman, an avowed atheist who I, I think like all atheists, whether they recognize it or not, hates God. He can read the Bible and understand that what it means is that if you trust Jesus, you'll be saved. You don't need special spiritual insight to understand that that is what the Bible teaches, where the special spiritual. [00:33:42] Tony Arsenal: Insight might not be the right word, but the special spiritual appropriation is that the spirit enables you to receive that unto your salvation. Right? To put your trust in. The reality of that, and we call that doctrine, the doctrine of illumination. And so in, in the sense of parables in Christ's ministry, and this is, this is if you, you know, like what do I always say is just read a little bit more, um, the portion Jesse read it leads way into this prophecy or in this comment, Christ. [00:34:10] Tony Arsenal: Saying he teaches in parable in order to fulfill this prophecy of Isaiah. Basically that like those who are, uh, ate and are apart from God and are resistant to God, these parables there are there in order to confirm that they are. And then it says in verse 16, and this is, this is. [00:34:27] The Blessing of Spiritual Understanding [00:34:27] Tony Arsenal: It always seems like the series that we do ends up with like a theme verse, and this is probably the one verse 16 here, Matthew 1316 says, but blessed are your eyes for they see and your ears for they hear. [00:34:40] Tony Arsenal: And so like there's a blessing. In our salvation and in our election that we are enabled to hear and perceive and re receive the very voice and word of God into our spirit unto our salvation. That is the doctrine of of election. It's also the doctrine of regeneration, the doctrine of sanctification, the doctrine. [00:35:03] Tony Arsenal: I mean, there's all of these different classic reformed doctrines that the parables really are these mic this microcosm of that. Almost like applied in the Ministry of Christ. Right. Which I, I, you know, I've, I've never really thought of it in depth in that way before, but it's absolutely true and it's super exciting to be able to sort of embark on this, uh, on this series journey with, with this group. [00:35:28] Tony Arsenal: I think it's gonna be so good to just dig into these and really, really hear the gospel preached to ourselves through these parables. That's what I'm looking forward to. [00:35:38] Jesse Schwamb: And we're used to being very. Close with the idea that like the message contains the doctrine, the message contains the power. Here we're saying, I think it's both. [00:35:47] Jesse Schwamb: And the mode of that message also contains, the doctrine also contains the power. And I like where you're going with this because I think what we should be reminding ourselves. Is what a blessing it is to have this kind of information conferred to us. [00:36:01] The Role of Parables in Revealing and Concealing Truth [00:36:01] Jesse Schwamb: That again, God has taken, what is the secrets that is his to disclose and his to keep and his to hold, and he's made it available to his children. [00:36:08] Jesse Schwamb: And part of that is for, as you said, like the strengthening of our own faith. It's also for condemnation. So notice that. The hiding of the kingdom through parables is not a consequence of the teaching itself. Again, this goes back to like the mode being as equally important here as the message itself that Christ's teaching is not too difficult to comprehend as an intellectual matter. [00:36:27] Jesse Schwamb: The thing is, like even today, many unbelievers read the gospels and they technically understand what Jesus means in his teaching, especially these parables. The problem is. I would say like moral hardness. It's that lack of spiritual predilection or predisposition. They know what Jesus teaches, but they do not believe. [00:36:47] Jesse Schwamb: And so the challenge before us is as all scripture reading, that we would go before the Holy Spirit and say, holy Spirit, help me to believe. Help me to understand what to believe. And it so doing, do the work of God, which is to believe in him and to believe in His son Jesus Christ and what he's accomplished. [00:37:02] Jesse Schwamb: So the parables are not like creating. Fresh unbelief and sinners instead, like they're confirming the opposition that's already present and apart from Grace, unregenerate perversely use our Lord's teaching to increase their resistance. That's how it's set up. That's how it works. That's why to be on the inside, as it were, not again, because like we've done the right handshake or met all the right standards, but because of the blood of Christ means that the disciples, the first disciples and all the disciples who will follow after them on the other hand. [00:37:33] The Complexity and Nuances of Parables [00:37:33] Jesse Schwamb: We've been granted these eyes to see, and ears to hear Jesus. And then we've been given the secrets of the kingdom. I mean, that's literally what we've been given. And God's mercy has been extended to the disciples who like many in the crowds, once ignorantly and stubbornly rejected God and us just like them as well in both accounts. [00:37:49] Jesse Schwamb: So this is, I think we need to settle on that. You're right, throughout this series, what a blessing. It's not meant to be a great labor or an effort for the child of God. Instead, it's meant to be a way of exploring these fe. Fantastic truths of who God is and what he's done in such a way that draw us in. [00:38:07] Jesse Schwamb: So that whether we're analyzing again, like the the lost coin or the lost sheep, or. Any number of these amazing parables, you'll notice that they draw us in because they don't give us answers in the explicit sense that we're used to. Like didactically instead. Yeah. They cause us to consider, as you've already said, Tony, like what does it mean to be lost? [00:38:26] Jesse Schwamb: What does it mean that the father comes running for this prodigal son? What does it mean that the older brother has a beef with the whole situation? What does it mean when Jesus says that the kingdom of God is like a mustard seed? How much do we know about mustard seeds? And why would he say that? Again, this is a kind of interesting teaching, but that illumination in the midst of it being, I don't wanna say ambiguous, but open-ended to a degree means that the Holy Spirit must come in and give us that kind of grand knowledge. [00:38:55] Jesse Schwamb: But more than that, believe upon what Jesus is saying. I think that's the critical thing, is somebody will say, well, aren't the teaching simple and therefore easy to understand. In a sense, yes. Like factually yes, but in a much greater sense. Absolutely not. And that's why I think it's so beautiful that he quotes Isaiah there because in that original context, you the, you know, you have God delivering a message through Isaiah. [00:39:17] Jesse Schwamb: Uh. The people are very clear. Like, we just don't believe you're a prophet of God. And like what you're saying is ridiculous, right? And we just don't wanna hear you. This is very different than that. This is, Jesus is giving this message essentially to all who will listen to him, not necessarily hear, but all, all who are hear Him, I guess rather, but not necessarily all who are listening with those spiritual ears. [00:39:33] Jesse Schwamb: And so this is like, I love the way that he, he uses that quote in a slightly different way, but still to express the same root cause, which is some of you here. Because of your depravity will not be able to hear what I'm saying. But for those to whom it has been granted to come in who are ushered into the kingdom, this kingdom language will make sense. [00:39:54] Jesse Schwamb: It's like, I'm going to be speaking to you in code and half of you have the key for all the code because the Holy Spirit is your cipher and half of you don't. And you're gonna, you're gonna listen to the same thing, but you will hear very different things. [00:40:06] Tony Arsenal: Yeah. Yeah. And you know, the other thing I think is, is interesting to ponder on this, um. [00:40:12] The Importance of Context in Interpreting Parables [00:40:12] Tony Arsenal: God always accommodates his revelation to his people. And the parables are, are, are like the. Accommodated accommodation. Yeah. Like God accommodates himself to those he chooses to reveal himself to. And in some ways this is, this is, um, the human ministry of Christ is him accommodating himself to those. [00:40:38] Tony Arsenal: What I mean is in the human ministry of the Son, the parables are a way of the son accommodating himself to those he chooses to reveal himself to. So there, there are instances. Where the parable is said, and it is, uh, it's seems to be more or less understood by everybody. Nobody asks the question about like, what does this mean? [00:40:57] Tony Arsenal: Right? And then there are instances where the parable is said, and even the apostles are, or the disciples are like, what does this parable mean? And then there's some interesting ones where like. Christ's enemies understand the parable and, and can understand that the parable is told against them. About them. [00:41:13] Tony Arsenal: Yeah. So there, there's all these different nuances to why Christ used these parables, how simple they were, how complicated they were. Yes. And again, I think that underscores what I said at the top of the show here. It's like you can't treat every parable exactly the same. And that's where you run into trouble. [00:41:28] Tony Arsenal: Like if you're, if you're coming at them, like they're all just simple allegory. Again, like some of them have allegorical elements. I think it's fair to look at the, the prodigal son or the, the prodigal father, however you want to title that. And remember, the titles are not, generally, the titles are not, um, baked into the text itself. [00:41:46] Tony Arsenal: I think it's fair to come to that and look at and go, okay, well, who's the father in this? Who's the son? You know, what does it mean that the older son is this? Is, is there relevance to the fact that there's a party and that the, you know, the older, older, uh, son is not a part of it? There's, there's some legitimacy to that. [00:42:02] Tony Arsenal: And when we look at Christ's own explanation of some of his parables, he uses those kinds, right? The, the good seed is this, the, the seed that fell on the, the side of the road is this, right? The seed that got choked out by the, the, um, thorns is this, but then there are others where it doesn't make sense to pull it apart, element by element. [00:42:21] Tony Arsenal: Mm-hmm. Um, and, and the other thing is there are some things that we're gonna look at that are, um. We're gonna treat as parables that the text doesn't call a parable. And then there are some that you might even look at that sometimes the text calls a parable that we might not even think of as a normal parable, right? [00:42:38] Tony Arsenal: So there's lots of elements. This is gonna be really fun to just dig stuff in and, and sort of pick it, like pull it apart and look at its component parts and constituent parts. Um, so I really do mean it if you, if you're the kind of person who has never picked up a Bible commentary. This would be a good time to, to start because these can get difficult. [00:42:59] Tony Arsenal: They can get complicated. You want to have a trusted guide, and Jesse and I are gonna do our, our work and our research on this. Um, but you want someone who's more of a trusted guide than us. This is gonna be the one time that I might actually say Calvin's commentaries are not the most helpful. And the reason for that is not because Calvin's not clear on this stuff. [00:43:17] Tony Arsenal: Calvin Calvin's commentaries on the gospel is, is a harmony of the gospels, right? So sometimes it's tricky when you're reading it to try to find like a specific, uh, passage in Matthew because you're, you, everything's interwoven. So something like Matthew Henry, um, or something like, um, Matthew Poole. Uh, might be helpful if you're willing to spend a little bit of money. [00:43:38] Tony Arsenal: The ESV expository commentary that I've referenced before is a good option. Um, but try to find something that's approachable and usable that is reasonable for you to work through the commentary alongside of us, because you are gonna want to spend time reading these on your own, and you're gonna want to, like I said, you're gonna want to have a trust guide with you. [00:43:55] Tony Arsenal: Even just a good study bible, something like. The Reformation Study Bible or something along those lines would help you work your way through these parables, and I think it's valuable to do that. [00:44:06] Jesse Schwamb: Something you just said sparked this idea in me that the power, or one of the powers maybe of good fiction is that it grabs your attention. [00:44:15] The Impact of Parables on Listeners [00:44:15] Jesse Schwamb: It like brings you into the plot maybe even more than just what I said before about it being resonant, that it actually pulls you into the storyline and it makes you think that it's about other people until it's too late. Yeah. And Jesus has a way of doing this that really only maybe the parable can allow. [00:44:30] Jesse Schwamb: So like in other words, by the time you realize. A parable is like metaphorical, or even in a limited case, it's allegorical form you've already identified with one or more of the characters and you're caught in the trap. So what comes to my mind there is like the one Old Testament narrative, virtually identical, informed to those Jesus told is Nathan's parable of the You lamb. [00:44:52] Jesse Schwamb: So that's in like second Samuel 12, and I was just looking this up as you were, as you were speaking. So in this potentially life and death move for the prophet Nathan confronts King David. Over his adultery with, or depending on how you see it, rape of Bathsheba, and then his subsequent murder of her husband Uriah, by sending him to the front lines of battle. [00:45:10] Jesse Schwamb: So he's killed. And so in this parable that Nathan tells Uriah is like the poor man. Bathsheba is like the Yu a and the rich man obviously represents David. If you, you know what I'm talking about, go back and look at second Samuel 12. And so what's interesting is once David is hooked into that story, he cannot deny that his behavior was unjust as that of the rich man in the story who takes this UAM for himself and he, which he openly. [00:45:38] Jesse Schwamb: Then David openly condemns of course, like the amazing climax of this. And as the reader who has. Of course, like omniscient knowledge in the story, you know, the plot of things, right? You're, you're already crying out, like you're throwing something, you know, across the room saying like, how can you not see this about you? [00:45:53] Jesse Schwamb: And of course the climax comes in when Nathan points the finger at David and declares, you are the man. And that's kind of what. The parables due to us. Yes. They're not always like the same in accusatory toward us, but they do call us out. This is where, again, when we talk about like the scripture reading us, the parable is particularly good at that because sometimes we tend to identify, you know, again, with like one of the particular characters whom we probably shouldn't identify with, or like you said, the parable, the sower. [00:46:22] Jesse Schwamb: Isn't the Christian always quick to be like, I am the virtual grounds? Yeah. You still have to ask like, you know, there is not like a Paul washer way of doing this, but there is like a way of saying like, checking yourself before you wreck yourself there. And so when Jesus's parables have lost some of that shock value in today's world, we maybe need to contemporize them a little bit. [00:46:43] Jesse Schwamb: I, and I think we'll talk about that as we go through it. We're not rewriting them for any reason that that would be completely inappropriate. Think about this though. Like the Jew robbed and left for dead. And you know the story of the Grace Samaritan may need to become like the white evangelical man who is helped by like the black Muslim woman after the senior pastor and the worship leader from the local reformed church passed by like that. [00:47:05] Jesse Schwamb: That might be the frame, which we should put it to try to understand it whenever we face a hostile audience that this indirect rhetoric of compelling stories may help at least some people hear God's world more favorably, and I think that's why you get both like a soft. And a sharp edge with these stories. [00:47:20] Jesse Schwamb: But it's the ability to, to kind of come in on the sneak attack. It's to make you feel welcomed in and to identify with somebody. And then sometimes to find that you're identifying entirely with a character whom Jesus is gonna say, listen, don't be this way, or This is what the kingdom of God is, is not like this. [00:47:35] Jesse Schwamb: Or again, to give you shock value, not for the sake of telling like a good tale that somehow has a twist where it's like everybody was actually. All Dead at the end. Another movie, by the way, I have not seen, but I just know that that's like, I'll never see that movie because, can we say it that the spoiler is, is out on that, right? [00:47:54] Tony Arsenal: Are we, what are we talking about? What movie are we talking about? [00:47:56] Jesse Schwamb: Well, I don't, I don't wanna say it. I didn't [00:47:57] Tony Arsenal: even get it from your description. Oh. [00:47:59] Jesse Schwamb: Like that, that movie where like, he was dead the whole time. [00:48:02] Tony Arsenal: Oh, this, that, that, that movie came out like 30 years ago, Jesse. Oh, seriously? [00:48:06] Jesse Schwamb: Okay. All right. [00:48:06] Tony Arsenal: So Six Sense. [00:48:07] Tony Arsenal: Yeah. That movie came out a long time ago. [00:48:10] Jesse Schwamb: So it's not like the parables are the sixth sense, and it's like, let me get you like a really cool twist. Right. Or like hook at the end. I, and I think in part it is to disarm you and to draw you in in such a way that we might honestly consider what's happening there. [00:48:22] Jesse Schwamb: And that's how it reads us. [00:48:24] Tony Arsenal: Yeah. Yeah. And I, I think that's a good point. And, and. It bears saying there are all sorts of parables all throughout the Bible. It's not just Jesus that teaches these, and they do have this similar effect that they, they draw you in. Um, oftentimes you identify it preliminarily, you identify with the wrong person, and it's not until you. [00:48:45] Tony Arsenal: Or you don't identify with anyone when you should. Right. Right. And it's not until the sort of punchline or I think that account with Nathan is so spot on because it's the same kind of thing. David did not have ears to hear. [00:48:58] Jesse Schwamb: Right. Until he had That's good point. Ears [00:49:00] Tony Arsenal: to hear. [00:49:00] Jesse Schwamb: Good point. [00:49:01] Tony Arsenal: And he heard the point of the parable. [00:49:03] Tony Arsenal: He understood the point of the parable and he didn't understand that the parable was about him, right? It's like the ultimate, I don't know why you're clapping David, I'm talking about you moment. Um, I'm just have this picture of Paul washer in like a biblical era robe. Um, so I think that's a enough progam to the series. [00:49:20] Preparing for the Series on Parables [00:49:20] Tony Arsenal: We're super excited we're, we'll cover some of these principles again, because again, different parables have to be interpreted different ways, and some of these principles apply to one and don't to others, and so we'll, we'll tease that out when we get there next week. We're gonna just jump right in. [00:49:34] Tony Arsenal: We're gonna get started with, I think, um, I actually think, you know, in the, the providence of, of the Holy Spirit and the inspiration of the Holy Spirit, and then obviously the providence of God in Christ's ministry, the, the parable that kind of like frames all of the other parables,

In this episode, we are joined by Dr. Kristy McAndrew from Mississippi State University. Dr. McAndrew will walk us through the ins and outs of Brown spot needle blight, a fungal disease that infects pine needles, leading to premature needle loss, stunted growth, and long-term stress that increases a tree's vulnerability to other pests and pathogens, and provide an update on Emerald Ash Borer presence in the region.  Dr. McAndrew is a forest health specialist at Mississippi State University in the Forestry Department. Kristy has a Bachelor of Science in Forestry and a Bachelor of Science in Fisheries & Wildlife, both from the University of Missouri in Columbia, MO, and also completed a Master's and PhD at Mississippi State University in the Department of Biochemistry, Molecular Biology, Entomology, and Plant Pathology.  For more on brown spot needle blight, see this recent article and publication from the Arkansas Division of Agriculture. www.uaex.uada.edu/media-resources/news/2025/august/08-18-2025-ark-UAM-needle-blight.aspx If you have questions, feel free to contact us at timberuniversity@gmail.com  

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Brasil tiene un oscuro pasado colonial muy vinculado a la utilización de mano de obra esclava, tanto indígena como negra, pero en los últimos años se ha convertido en un país referente en lo que a la lucha contra las diversas expresiones de la esclavitud hoy en día, como la explotación de menores, la trata de personas, y un largo etcétera. Hablamos con Nathalia Andrade, graduada en Estudios Internacionales por la UAM, autora de varios artículos en torno a esta cuestión.Escuchar audio

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