Podcasts about Virginia Woolf

In ‘A Room of One's Own', Virginia Woolf writes about how radical it feels to read the sentences: ‘Chloe liked Olivia. They shared a laboratory together…'. Woolf probably didn't know the work of her contemporary Jean Rhys, but if she had read ‘A Voyage in the Dark' (1934), she might well have marvelled at, and even envied, its radical realism. Rhys' story of a young woman who moves from the Caribbean to England and enters a world of financial and sexual exploitation was drawn from experiences unavailable to Woolf. In this episode, James is joined by the biographer Miranda Seymour to discuss Rhys's virtuosity of technique and detachment, her extraordinary ear for dialogue and the places where her mastery of realist method gave way to modernism. Non-subscribers will only hear an extract from the episode. To listen in full, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applecrwaor Other podcast apps: https://lrb.me/closereadingswaor Read more in the LRB: Mary-Kay Wilmers on Jean Rhys: https://lrb.me/waorep701 Carole Angier on Rhys's letters: https://lrb.me/waorep702 Learn more about your ad choices. Visit megaphone.fm/adchoices

On the latest episode of Nobody's Ever Asked Me That, Nick Dawson sits down with Goran Stolevski, the Macedonian-Australian writer-director whose films You Won't Be Alone, Of An Age and Housekeeping for Beginners are arguably the best first three features by any filmmaker in recent memory. Over the course of a strikingly frank conversation, Stolevski talks about why writing a shitty script is a quicker road to filmmaking success, why he won't be making Monopoly: The Movie, his revisionist take on Virginia Woolf's A Room of One's Own, why the apocalypse will not feature anyone who looks like Pedro Pascal, why he wishes he didn't want to make movies, and much more. Nobody's Ever Asked Me That now has a Substack, so head there to check out all of our past episodes, plus subscribe to get access to exclusive audio and video content!

It's another jam-packed edition of The Interviews, folks! This episode sees Chris Hewitt sit down on Zoom with Haley Bennett and Jack Whitehall, stars of Virginia Woolf's Night & Day, for a discussion that turns into a thinly-veiled attempt to secure a Nando's Black Card. [1:10 - 14:10 approx] Chris also has a lovely chat with the great Cary Elwes about his one-two punch of Dead Man's Wire, now on Sky Cinema, and the TV show M.I.A., now on Paramount+. [15:54 - 27:57 approx] And finally, you get a chunky excerpt from our brand new spoilerific chat with Curry Barker, the director of the year's hottest movie, the horror movie turned cultural juggernaut, Obsession, as he reflects on his changed circumstances, getting a voicemail from Taron Egerton, and more. [29:34 - 41:35 approx]

Van Gogh et ses crises, Kurt Cobain et sa dépression, Virginia Woolf et ses troubles bipolaires… Depuis des siècles, l'image de l'artiste torturé fascine. Comme si le génie créatif allait de pair avec la souffrance, comme si être brillant avait un prix. Mais ce lien entre maladie mentale et créativité peut être expliqué scientifiquement. Est-ce vrai ? Comment cela se fait-il qu'il y ait un lien ? Écoutez la suite de cet épisode de "Maintenant Vous Savez". Un podcast Bababam Originals, écrit et réalisé par Laura Taouchanov. À écouter aussi : Qu'est-ce que le rire prodromique, la "maladie du Joker" ? Qu'est-ce que la maladie du Nobel ? La pédophilie est-elle vraiment une maladie ? Retrouvez tous les épisodes de ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"Maintenant vous savez".⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Suivez Bababam sur ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Classic adaptation of Broadway success.

En este episodio recordamos que hace 60 años se estrenaba una de las mejores radiografías sobre el fracaso matrimonial que nos ha mostrado el cine como es “¿Quién teme a Virginia Woolf?”, la película dirigida por Mike Nichols y protagonizada por Elizaberth Taylor y Richard Burton. Y hace 120 años también venía al mundo el gran Billy Wilder al que hemos dedicado esta semana el capítulo de nuestra “Enciclopedia curiosa del cine”. Charlamos con el director Sergio Oskman sobre películas de terror y en nuestra sección de cine de aventuras viajamos en una alfombra mágica a un mundo de fantasía y exotismo oriental con “El ladrón de Bagdad”.

Simi Cheema talks to actors Haley Bennet and Jack Whitehall about their new film, Virginia Woolf's Night and Day.  Based on Virginia Woolf's funniest novel, Night & Day is an un-romantic comedy about the passionate astronomer, Katharine Hilbery who does everything she can to avoid romantic love and marriage.   Her bold challenge to Edwardian patriarchy is set against the suffragette movement and advances in science and technology.   Fun and contemporary in tone, this refreshing film showcases a star-studded ensemble of humorous performances. Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

Writer Katie da Cunha Lewin on how physical spaces shape creative work, why the perfect writing room is a myth, and the rituals and routines that sustain a writing life. We discuss Why the perfect writing space is largely a myth (and why that can set you free). How physical environments quietly shape creative practice and identity. What our fascination with visiting writers' houses reveals. The cultural baggage around “the writer's room,” and who it quietly excludes. The way motherhood compresses time and forces a new kind of creative discipline. A concept of psychological distance between domestic life and creative work. When creative rituals help (and when writers thrive without them). How to begin designing a writing space that actually works for you. What it takes to find the story inside a work of nonfiction. Why putting yourself on the page makes nonfiction stronger. Resources & Links

If this week's Empire Podcast doesn't give you a Buzz, it might at least give you a... wonderful sense of warmth and well-being, as all-round acting legends Tom Hanks and Tim Allen chat to Chris Hewitt about returning as Woody and Buzz Lightyear for Toy Story 5, and their surprising plans to keep working together. [47:02 — 1:01:44 approx] Either side of that, Chris is joined in the podbooth by Helen O'Hara and James Dyer to discuss the strange phenomenon of minor celebrities being asked to lend their voices to animated movies; movies that could have a sequel if you added an 'S' to their title, a la Aliens; look at the week's movie news, including a discussion of the final Spider-Man: Brand New Day trailer; discover Helen's hatred for a major Hollywood star; and review Toy Story 5 and Virginia Woolf's Night & Day. To podfinity and beyond!

Virginia Woolf's Night and Day is out today in cinemas. It's billed as an unromantic-comedy set in the early 20th century and tells the story of young aristocrat Katharine Hilbery, who dreams of studying astronomy at university, but society's expectation is that she should marry. Anita Rani is joined by Haley Bennett who plays the determined lead character and Anna Snaith, Professor of Twentieth-Century Literature in the English Department, King's College, London.Andy Burnham has won in the Makerfield by-election, paving the way for a leadership challenge to Sir Keir Starmer. Baroness Harriet Harman, currently the Prime Minister's Adviser on Women and Girls, spoke this morning about the need for there to be a woman in that likely contest. Anita asks the BBC's Chief Political Correspondent Henry Zeffman why there are currently none in the running.With only men allowed to ascend the throne and only a Princess on offer, Japan's Parliament has drafted a bill with some solutions. Could the country ever see a female emperor and what would this look like? Anita speaks to BBC Tokyo Correspondent Kurumi Mori and Professor of Japanese Studies at the University of Sheffield, Jennifer Coates. A new study from the University of Copenhagen in Denmark has raised questions about whether each additional hour to an eight-hour working day of bending forward, walking and standing may increase the risk of pregnancy loss in the first trimester. This is an observational study and does not prove cause and effect. BBC health reporter Michelle Roberts explains.Eli Davies has embarked on a nostalgic and cultural exploration of the single woman's kitchen, unpacking women's complicated history with domesticity and how their choice to couple up may shape mealtimes and their relationships with food, cooking habits and self-care. Eli's book The Spinster Cookbook: Culture, Politics and Pleasure in the Single Woman's Kitchen is also a story of rebellion, explaining how cooking for one as a woman can become an act of care, defiance, pleasure, and self-expression.

Writer Stephanie Merritt and Telegraph film critic Robbie Collin join Tom to review Anish Kapoor's immersive exhibition at the Hayward Gallery in London, which includes huge red sculptures, black holes and boundless mirrors that challenge perspectives. They also discuss The End Of Everything by M. John Harrison, a post-apocalyptic novel where the nature of the crisis remains unclear. And they review Virginia Woolf's Night and Day – a film adaptation of her novel with a cast including Haley Bennett, Timothy Spall, Jennifer Saunders and Lily Allen. Plus, Toy Story 5 director Andrew Stanton talks about the latest film in the franchise, and as a co-writer for all the films in the series he talks about how they've changed over the years.Presenter: Tom Sutcliffe Producer: Claire Bartleet

The Take is now on Patreon: www.patreon.com/kermodeandmayo    Become a Vanguardista or an Ultra Vanguardista to get video episodes of Take Two every week, plus member-only chat rooms, polls and submissions to influence the show, behind-the-scenes photos and videos, the monthly Redactor's Roundup newsletter, and access to a new fortnightly LIVE show—a raucous, unfiltered lunchtime special with the Good Doctors, new features, and live chat so you can heckle, vote, and have your questions read out in real time.    The box office big beast this week is Toy Story 5, and we're bringing you Mark's verdict on this fifth instalment of the beloved Pixar franchise. It's been a Take favourite since it first hit screens in the 90s and has never let us down so far, but can it really live up to the hype for the fifth film in a row?     Plus we've got two more reviews from this weekend's cinema slate. First up, Welsh language drama Effi o Blaenau, which recasts a Greek tragedy plot in working-class Cardiff. And from gritty modern drama to glossy period drama, there's Virginia Woolf's Night and Day - an ‘unromantic comedy' based on a comic novel by modernist literature's most famous feminist.   It also brings us to our guest this week…     It's Timothy Spall, who will be chatting to Simon about playing the film's crusty old patriarch, Mr. Hilbery. One of our most respected and versatile British actors, Spall has played everyone from Winston Churchill to Wormtail, and has made several celebrated films with Mike Leigh (famously, the friendliest of all directors). This one is a meaty chat not to be missed.     Mark will be playing Mr Punchline in this week's Laughter Lift - unfortunately unlikely to make it any funnier. Lots and lots of correspondence from you lot too, including a thorough Disclosure Day debrief. Don't miss it!     You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo.    EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee!    A Sony Music Entertainment production.        Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts      To advertise on this show contact: podcastadsales@sonymusic.com  Timecodes:  00:07:09 Effi O Blaenau review  00:14:50 Box Office Top Ten  00:24:56 Timothy Spall interview  00:39:57 Virginia Woolf's Night and Day review  00:47:33 Laughter Lift  00:54:36 Toy Story 5 review    Learn more about your ad choices. Visit podcastchoices.com/adchoices

This special episode of Girls On Film comes to you from Vue West End, Leicester Square. At our Q&A screening of VIRGINIA WOOLF'S NIGHT & DAY host, Anna Smith is joined by the film's director Tina Gharavi, lead actor Haley Bennett and writer-producer Justine Waddell. Justine talks about her ‘free adaptation' of Woolf's 1910 novel and shining a light on Edwardian England's forgotten female scientists. Tina expresses gratitude for the film's dream cast – which in addition to Haley Bennett, includes Jennifer Saunders, Timothy Spall, Jack Whitehall, Lily Allen, Misia Butler, Elyas M'Barek and Sally Phillips. She also reflects on the joys of shooting in North East England and the challenges of balancing playfulness and experimentation with the demands of script, budget and schedule. Haley speaks of finding inspiration in her character, Katharine Hilbery's big dreams and belief in her own instincts. Set against the backdrop of the suffragette movement the film brings into sharp focus the choices and limitations faced by early twentieth century women but also their determination to break down barriers and create new pathways. Other films mentioned in this episode: ELOISE AT THE PLAZA SIXTEEN CANDLES THE BREAKFAST CLUB A huge thank you to Vue Lumière for partnering on this episode. VIRGINIA WOOLF'S NIGHT & DAY is in UK cinemas from Friday 19 June 2026. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Sign up to the Girls On Film newsletter here: http://eepurl.com/iEKaM-/ Or email girlsonfilmsocial@gmail.com to be signed up. Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Nicki Glossop Audio Editor: Heather Dempsey Social Media: Dr Jade Evans and Ruby Bradshaw Partners for this episode were Vue Lumière © HLA Agency #girlsonfilmpodcast #annasmith #womeninfilm #NightAndDayFilm #VirginiaWoolfsNightandDay #virginiawoolf #haleybennett #sallyphillips #jennifersaunders #misiabutler #elyas_m'barek #lilyallen #jackwhitehall #suffragettes #astronomers

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RENCONTRES - Catherine Schwaab reçoit : Marie Mahé, auteur et metteure en scène de "Viril(e )s", Benoît Solès, acteur, auteur et metteur en scène, "22 minutes, le pardon peut-il changer une vie ?", François Kasbi, auteur de "Mes chéries" Maria de Medeiros, actrice, metteur en scène. À propos du livre : « Mes chéries: Femmes écrivains » paru aux éditions PARIS "L'homme de sa vie, la femme de ses rêves - et une fois de plus, la vie gâche le scénario" : Joseph L. Mankiewicz a en partie raison, il a juste oublié... les livres. Qui corrigent, parfois, la vie. Parfois en effet, "la femme de ses rêves" - c'est-à-dire l'écrivain femme qui nous comble - existe. Elle a écrit. François Kasbi s'en souvient. Voici ses souvenirs de lectures de ces « femmes de ses rêves ». Qui ont construit, habité... ses rêves - et sa vie. Et, bientôt (nous l'espérons) : la vôtre. Quelles femmes écrivains ? Une centaine d'évocations ou portraits : des connues, voire classiques (Virginia Woolf, Elsa Morante, Sylvia Plath, Anna Akhmatova, Clarice Lispector, Elfriede Jelinek, Nathalie Sarraute, etc. ), des méconnues (les plus nombreuses, bien sûr : Maile Meloy, Soledad Puertolas, Sheila Heti, Eimar McBride, Ann Beattie, etc. ), des reconnues (Camille Laurens, Dominique Aury, Joan Didion, Catherine Cusset, etc.). Tantôt le charme est convoqué, tantôt le génie, parfois les deux - mais, tout le temps : la littérature.

Zapraszam do arcydzielnej "Pani Dalloway" Virginii Woolf. ▶️ Słuchaj dalej

It's a Listener Choice special as the team tackle three very different culinary favourites. Sam champions custard in all its forms, from medieval recipes to modern puddings. Allie investigates the mischievous history of Sicily's “Chancellor's Buttocks” pastry. And Neil celebrates the crumpet, exploring the history of those hole-filled griddle cakes that have become a staple of the British tea table.Sources/ Useful linksCustardThere's a very good overview of custard by Neil on the British Food History Podcast website along with a recipe for proper custard.The history of Birds Custard How to make pastry cream (Crème pâtissière)Two Fifteenth Century Cookbooks by Thomas Austin (1888)Cooking and Dining in Medieval England by Peter Brears (2012)Dumas on Food (Translated by Alan and Jane Davidson) by Alexandre Dumas (1979)A Room of One's Own by Virginia Woolf (1935)The Tale of the Custard Dragon by Ogden Nash (1936) - a cute poem about a cowardly dragon called custard.Laurel and Hardy - The Battle of the Century (1927) - The Pie FightDr Who ‘Fish Fingers and Custard' on YouTubeRhubarb and Custard (the 1970s cartoon) on YouTubeCustard Pie song by Led ZeppelinByron's letters, including references to custard and other food-related observations, can be accessed via Peter Cochran's edition of Byron's Correspondence.Allie's talk on Byron and baked rosewater custards, hosted with Sam Hirst, is available here.Chancellor's ButtocksSimeti, M.T. (1989) Pomp and Sustenance: Twenty-Five Centuries of Sicilian Food. "Palermo's Secret Dessert Scene" (Saveur) – an introduction to Palermo's historic pastry culture, including fedde del cancelliere (Chancellor's Buttocks).Cavalli, Rita, “Fedde del monastero, il dolce delle monache di Palermo che si prendevano gioco del fondoschiena del Primo Ministro”, FIRSTonline (17 February 2024): FIRSTonline article on the Fedde del Cancelliere and Palermo's convent confectionery traditionsCrumpetsNeil's crumpets recipe from British Food: A HistoryNeil's muffins recipe with table of crumpet-muffin recipes showing the fluidity between the twoKnead to Know: A History of Baking by Neil Buttery (2024)English Bread & Yeast Cookery by Elizabeth David (1977)The Art of Cookery Made Plain and Easy by Hannah Glasse (1747)Crumpets with Potted Shrimps on FoodismWant to make the dripping crumpets of Rebecca? Pre-order Allie's A Gothic Cookbook, out this October, published by The History Press.Don't forget Allie will be exploring food and feasting in the works of the Brontë sisters and other classic gothic writers at an in-person event at the Brontë Parsonage Museum on 18 July 2026.Allie will also be presenting an online talk on Gothic feasts with Morbid Anatomy on 26 October 2026.Join Sam, Neil and Allie in person for a live recording of A is for Apple at Ludlow Food Festival on 11 September 2026.Allie will be appearing at the Bury St Edmunds Literature Festival on 11 October 2026, where she will be in conversation with author Kate Young.The Serve It Forth Food History Festival returns online on 18 October 2026. Keep an eye on social media for further announcements.This is the final episode of Season C of A is for Apple. Thank you to everyone who listened, shared episodes, and sent in suggestions for our Listener Choice special.We look forward to welcoming you back for Season D. Until then, happy cooking, happy reading, and thank you for joining us on this alphabetical adventure through food and drink culture.

TL;DRToday we open the doors. Crossroads Publishing Group—a hybrid publisher of serious nonfiction in Chattanooga—announces the Crossroads Commons, our founding membership. Three tiers; fifty lifetime Founder spots, ever.• Join the Commons → crossroadspublishing.group/commons• Publish with us → crossroadspublishing.group/engagements• The catalog → crossroadspublishing.group/catalog• Questions → chad@crossroadspublishing.groupMost small presses spend their first year trying to look like a big press. We're not doing that. A hybrid publisher of serious nonfiction, based in Chattanooga, founded this year, built around the idea that books are occasions for community—and that the press's job is to take that seriously.The Long StoryA few weeks ago I made a decision about how Crossroads Publishing Group would set itself apart: a real commitment to relationship. Then, on a mountain bike trail a few days ago, the bigger version of the idea arrived. It's not just relationship—one-on-one, editor and author. It's community. And once you see it, you can't unsee it: leadership books end at community. Recovery books end at community. Theology, parenting, loneliness, climate—trace the actual argument and the topic turns out to be the doorway in. Community is the thing itself.So I'm building the press to take that seriously, not as a marketing line, but as operating structure. Today's episode lays out the whole thing.Five structural commitments:* Every Crossroads author gets a direct-purchase URL for their community—their people buy from the press, their royalty is higher, and the relationship stays out of the algorithm.* Every book launches with an event in the author's community, wherever they live.* Every Crossroads author appears on The Difficulty.* Authors meet each other—the catalog becomes a community of minds, not a list of titles.* Readers get a structured way to belong to the press: the Crossroads Commons, open today.The Commons, three tiers:* Reader — $200/year. Every new title shipped to your door on publication day. A quarterly Circle Letter. 20% off direct orders. Your name in the colophon of every title shipped during your membership year.* Patron — $500/year. Everything above, plus a signed limited-edition hardcover each year (printed exclusively for Patrons), an invitation to the annual Crossroads gathering, private author Q&As at every launch, and 30% off.* Founder — $1,000, one time, lifetime. Limited to the first 50, ever. All Patron benefits in perpetuity, your name permanently in the colophon of every title we publish during your lifetime, and one annual meal or coffee with me. When the 50 are filled, that door closes forever.The Commons isn't a subscription to this podcast, The Difficulty stays free, always. It's membership in the press itself. And you shouldn't join from obligation or scarcity pressure. Join because the editorial direction and the community we're forming matter to you, and you want to be part of the early conversation.→ Join the Crossroads CommonsThe four doors, if you're wondering which is yours:* Authors — from a $750 Legacy Audit to the full Compile to Publish engagement (print + ebook + audiobook, six to eight months): crossroadspublishing.group/engagements* Readers — the Circle: crossroadspublishing.group/circle* Writers developing a manuscript in community — the First Draft Cohort, applications open July 13, inaugural class begins September 14.* Just want a book? — crossroadspublishing.group/catalog — William James's The Varieties of Religious Experience is in print now; Virginia Woolf's A Room of One's Own is next (and I'm narrating the audiobook myself)This is your moment to step in.—Chad This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Tip-top footie star Peter Crouch joins us live from L.A. and tells us all about recording an episode of That Peter Crouch Podcast from a giant pair of underpants above the Coachella Valley.Comedy connoisseur Jack Whitehall has us chuckling along to news of his new film Virginia Woolf's Night and Day.Catch TFI Unplugged on Channel 4 at 11:05pm on Friday nights and on the Virgin Radio UK YouTube channel! Hosted on Acast. See acast.com/privacy for more information.

A musical retelling of the iconic 1925 novella reimagines Virginia Woolf's characters for the stage, putting Clarissa and Sally's love story at the center. With an eclectic chamber-pop score and a heartfelt book, this refreshing musical brings golden-age romance to the 21st century.Website

Guest hosted by Picturehouse's very own pod producer Kobi Omenaka, The Love Of Cinema podcast discusses the best new releases, with a little help from some of our favourite film critics and the occasional special guest from the world of cinema. Recorded live at South By South West: London.  This month we're joined by guest film critics Clarisse Loughrey and Sean Wilson to discuss discuss some of the best new films coming to Picturehosue Cinemas, including: The Last Viking, Blue Heron, Virginia Woolf's Night & Day and Time and Water  Rate and subscribe on Apple Podcasts. Rate and follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

Sʹinspirant dʹun essai de Virginia Woolf paru en 1938 sur la guerre et la place des femmes dans la société dʹalors, la chorégraphe Maud Blandel imagine "Same old Songs", un spectacle puissant et galvanisant pour un trio de danseuses. A découvrir à lʹArsenic de Lausanne jusquʹau 13 juin, puis à Genève, salle de lʹADC du 18 au 21 mars 2027. Maud Blandel répond au micro de Thierry Sartoretti.

Den russiske forfatteren Anton Tsjekhov (1860-1904) innleder modernismen i russisk litteratur med sine noveller, lenge før Virginia Woolf og James Joyce gjør det samme i engelsk språkdrakt. Men på hvilken måte kommer dette fram i tekstene? Lytt, og finn ut! Samtale mellom Oda Cornelia Knudsen og Lise Knudsen.

A coletiva das artistas Ayla de Oliveira, Carla Duncan, Dayane Tropicaos, Elisa Arruda, iahra, Maria Lynch, Marina Quintanilha e Marlene Stamm esteve em cartaz no Museu de Arte Contemporânea de Nitérói. Na reportagem, a curadora Luiza Testa fala sobre o papel social das mulheres na perspectiva de “Um Teto” e a visitante Caroline Vitória comenta sobre o que mais a impressionou na mostra.Reportagem: Julie DrummondEdição: Thiago Kropf

Elles sont grandes dames ou simples bourgeoises, débutantes ou femmes du monde. Elles vivent à la Renaissance, en pleine Révolution française, au début ou à la fin du XIXe siècle. Le plus souvent, elles sont éclipsées par leur père, par leur frère, par leur mari, voire par leur créature. Mais leur point commun n'est pas leur sexe ; c'est le courage avec lequel elles s'élancent dans le vide pour découvrir en vol des espaces inconnus. traduction par Maxime Rovere

Quando uma escritora que admiras escreve sobre o marido que também admiravas (Paul Auster), a conversa ganha outra profundidade. O seu novo livro de memórias, “Fantasmas”, fala sobre a história de amor de ambos, e muito mais. Queridos ouvintes, sejam bem‑vindos a este episódio em homenagem ao casal e aos livros que partilharam com o mundo.When a writer you admire writes about the husband you also admired (Paul Auster), the conversation gains a different depth. Her new memoir, Ghost Stories, revisits their love story, and much more. Dear listeners, welcome to this episode in honor of the couple and the books they shared with the world.Siri's books:The Blindfold (De Olhos Vendados);The Enchantment of Lily Dahl (Fantasias de Uma Mulher);What I Loved (Aquilo que Eu Amava);The Sorrows of an American (Elegia para um Americano);The Summer Without Men (Verão Sem Homens);The Blazing World (O Mundo Ardente);Memories of the Future (Recordações do Futuro);Ghost Stories (Fantasmas).Outros livros referidos (mentioned books):Paul Auster's:New York trilogy:City of Glass (Cidade de Vidro);Ghosts (Fantasmas);The Locked Room (O Quarto Fechado).Moon Palace;Brooklyn Follies (As Loucuras de Brooklyn);Oracle Night;4321;Winter Journal (Diário de Inverno);The Invention of Solitude (A Invenção da Solidão);Sunset Park;Oracle Night.The year of Magical Thinking (O Ano do Pensamento Mágico), Joan Didion;Middlemarch, George Eliot;To The Lighthouse, Virginia Woolf.O que ofereci (I gifted Siri with):This is a Love Story, Jessica Soffer.Os livros aqui:www.wook.pt

Sabah gözlerinizi açtığımızda, kimse konuşmadan kafamızın içinde başlayan o sesi düşünelim. Peki bu ses gerçekten bize mi ait? Antik Yunan'dan nörobilime, Sokrates'ten Virginia Woolf'a uzanan bu bölümde iç sesimizin izini sürüyoruz. Tanrının sesi mi, beynin provasının mı, yoksa yıllar içinde içselleştirdiğimiz başkalarının sesi mi? Cevap sandığımızdan çok daha karmaşık. Yazan: Seray Soylu Ses Kurgu: Metin Bozkurt Video Kurgu & Görsel Tasarım: Umut Coşkun Yapımcı: Podbee Media Tüm bölümler ve daha fazlasına Podbee app ve podbeemedia.com'dan ücretsiz olarak ulaşabilirsiniz. ----- Podbee Sunar ----- Bu podcast reklam içermektedir.

Hoy Bob ha lanzado su mirada sobre el calor en las aulas ("¿qué pretenden, que el colegio sea un spa para la chavalada?" se ha preguntado, con toda la ironía), y ha pedido a los oyentes que nos lean las últimas frases que han subrayado de libros. Y la audiencia del Hoy por Hoy ha respondido recordando, por ejemplo, el discurso de Federico García Lorca en la inauguración de la Biblioteca de Fuentevaqueros, o las palabras de Virginia Woolf en Una habitación propia: hay que pedir pan, pero también cultura. De todo hay hambre, como llevan meses demostrando los profesores en huelga en Valencia y Cataluña. También de entornos donde aprender y estudiar deje de ser un suplicio por culpa del calor. 

Today, I'm thrilled to announce my interview with legendary playwright Sarah Ruhl. Tune in to hear some of the stories of her legendary career, including her experience breaking the fourth wall in EURYDICE, telling her own story in LETTERS FROM MAX, watching the audience response to IN THE NEXT ROOM, teaching at the Yale School of Drama, addressing addiction in BECKY NURSE OF SALEM, exploring Virginia Woolf's portrayal of gender in ORLANDO, the advice she got from Paula Vogel, doing research to create the three parts of PASSION PLAY, exploring Chekhov's writing when adapting THE THREE SISTERS, how a writing exercise led to HOW TO TRANSCEND A HAPPY MARRIAGE, passing the torch to Philip Howze, turning MELANCHOLY PLAY into a musical, telling a metatheatrical story in STAGE KISS, and so much more. Don't miss this wide-ranging conversation with a brilliant writer.

In August 1923, halfway through writing ‘Mrs Dalloway', Virginia Woolf recorded a new idea in her diary: she would ‘dig out beautiful caves' behind her characters, and ‘the caves shall connect, and each comes to daylight at the present moment'. This was Woolf's ‘tunnelling process', a transformative approach that led to the novel's celebrated modernist innovations, with its depiction a group of circulating consciousnesses in London over the course of one day. But underlying these innovations are the techniques of 19th-century realism, and in this episode James Wood explores what Woolf owes to Dickens and Flaubert, and the ways she breaks down these certainties to arrive at the ultimate unknowability of character. Non-subscribers will only hear an extract from the episode. To listen in full, and to all our other Close Readings series, sign up: Apple Podcasts: https://lrb.me/applecrwaor Other podcast apps: https://lrb.me/closereadingswaor Read more the LRB: Jacqueline Rose on Woolf: https://lrb.me/realismep601 Gillian Beer on Woolf‘s essays: https://lrb.me/realismep602 David Trotter on ‘Mrs Dalloway': https://lrb.me/realismep603 Learn more about your ad choices. Visit megaphone.fm/adchoices

"Whatever happens, stay alive.Don't die before you're dead.Don't lose yourself, don't lose hope, don't loose direction. Stay alive, with yourself, with every cell of your body, with every fiber of your skin. Stay alive, learn, study, think, read, build, invent, create, speak, write, dream, design.Stay alive, stay alive inside you, stay alive also outside, fill yourself with colors of the world, fill yourself with peace, fill yourself with hope.Stay alive with joy. There is only one thing you should not waste in life,and that's life itself..."Virginia Woolf

The rise of Artificial Intelligence has sent shockwaves through the literary world, with the impact being felt by both publishers and creative types. In this episode, Jacke talks to writer and entrepreneur Eric Burgess about the rise of AI, what it means for authors, and his company Credtent, which looks for areas where AI and Creativity can work together--ethically, legally, and profitably. PLUS Jacke talks to Virginia Woolf expert Mark Hussey (Mrs Dalloway: Biography of a Novel) about his choice for the last book he will ever read. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠patreon.com/literature⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠historyofliterature.com/donate⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

When the HMS Dreadnought was launched in 1906 it completely revolutionized naval warfare. It made all previous ships obsolete and helped spur an arms race between Britain and Germany. For many the Dreadnought was symbol of the militarism that was sweeping Europe before World War One. Then in 1910 the ship was targeted by pranksters, who managed to get access to Dreadnought by impersonating Abyssinian (Ethiopian) royalty. The pranksters wore gaudy theatre costumes and blackface make-up. Despite this, they still somehow managed to fool the Dreadnought's officers. In the years since the prank many have debated it's significance. Some have argued that the prank was anti-authoritarian and anti-imperialist, but does that give the pranksters too much credit? Was the Dreadnought Hoax little more than a racist stunt meant to build the clout of England's most infamous hoaxer? Tune-in and find out how Virginia Woolf, Dreadnought Operettas, and Beelzebub all play a role in the story.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Leo Woodall stars in the film Tuner, about a young piano prodigy who turns to crime, in cinemas on the 29th May.The classical music world has been paying tribute to the soprano Dame Felicity Lott, who died on Friday at the age of 79. Critic David Benedict joins us to discuss her life in music.Ronald Firbank is considered a pioneering queer voice of modernist fiction, but he's often overlooked. Sir Alan Hollinghurst and the poet and critic Jack Parlett join us to assess his literary impact and his legacy, a century on from his death.Mary Astell championed women's education and spoke out against what she saw as the tyranny of marriage in the early 18th century. But despite her impact she's in danger of being forgotten. Now a new play imagines her in conversation with another famous feminist philosopher, Virginia Woolf, encountering each other in a celestial waiting room. We speak to the playwright, Shelagh Stephenson about her play Astell & Woolf, playing now at Newcastle's Live Theatre.Presenter: Samira Ahmed Producer: Harry Graham

As the History of Literature Podcast Tour rolls through literary England, Jacke and Emma are revisiting some past episodes with connections to what they're seeing and doing. Today, they're in Bath, which naturally means spending some time with Jane Austen. In this episode, which first ran in April 2023, Jacke considers Austen's Persuasion, a novel of missed opportunities and second chances. Why did Harold Bloom call this "the perfect novel"? And why did Virginia Woolf say, "In Persuasion, Jane Austen is beginning to discover that the world is larger, more mysterious, and more romantic than she supposed"? (This is the final episode of the tour: new episodes will resume next Monday!) Help support the show at ⁠⁠⁠patreon.com/literature⁠⁠⁠ or ⁠⁠⁠historyofliterature.com/donate⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

From landmark releases to hidden treasures, director Mark Cousins on his 16-hour epic The Story of Documentary Film, which is screening at the Cannes Film Festival this week. A hundred years since Virginia Woolf published her essay On Being Ill, writer Darcey Steinke is presenting a newly commissioned work in response at the Charleston Festival this week. She joins us alongside poet and BBC New Generation Thinker Jade Cuttle to discuss the challenges of writing about pain and sickness, as well as the most visceral examples in literature.And with a raft of stage musical productions inspired by films opening around the country, Tony and Olivier Award-winning director John Tiffany, whose production Once is at Pitlochry Festival Theatre later this month and critic David Benedict discuss why certain scripts are deserving of multiple incarnations. Presenter: Kirsty Wark Producer: Mark Crossan

durée : 00:59:44 - Le Book Club - par : Marie Richeux - L'écrivain et poète franco-palestinien Karim Kattan a accepté de se prêter à l'exercice à la fois enthousiasmant et frustrant du choix de cinq livres à partager avec les auditeurs. Un voyage littéraire où se côtoient Colette, Virginia Woolf, Isabella Hammad, Chrétien de Troye et Loránd Gáspár. - réalisation : Vivien Demeyère - invités : Karim Kattan Écrivain

This is a preview of a premium episode. To the listen to the full thing, head over to our Substack: https://designbetterpodcast.com/p/mason-currey At several points in his life, Eli imagined what it would take to become a full-time artist — a photographer or illustrator free from client work. What he didn't realize was that he already had an example of a different path right in front of him: his father, a practicing physician whose published poetry earned recognition from luminaries like John Ashbery. Mason Currey's most recent book explores these alternate paths. He's the author of Daily Rituals, the beloved book that catalogued the working habits of nearly 200 artists, writers, and composers. His new book, Making Art and Making a Living, goes deeper — into the financial realities, the schemes, the compromises, and the surprising strategies that creatives have used to keep their work alive across centuries. What he found is both humbling and strangely reassuring. Virginia Woolf had inherited investments. Kafka had insurance. Chantal Akerman had a cash register she skimmed from. John Cage had Italian game show winnings. And yet, running through all of it is the same question that Mason has been asking about his own life since the day he sat down to write a novel and couldn't: How am I going to pay for this? In this conversation, Mason walks us through the four funding models his book explores — family money, day jobs, patronage, and schemes — and what the lives of creatives from Kafka to Murakami can teach us about building a practice that actually lasts. Bio Mason Currey is the author of the Daily Rituals books, featuring brief profiles of the day-to-day working lives of more than 300 brilliant minds. His latest book, Making Art and Making a Living, was published by Celadon Books on March 31, 2026. Currey lives in Los Angeles and writes Subtle Maneuvers, a twice-monthly newsletter on the creative process. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. New premium subscriber benefit coming soon: we're launching a private Slack community…join now so you get access when it launches! And get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes. Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid

Send us Fan MailPiper Ferrari of Roman Candle joins us on IUF to break down the band's debut full-length Unadulterated, out now via Sumerian Records. Born out of a moment where the band nearly called it quits, this record feels less like a debut and more like survival — raw, unfiltered, and emotionally uncompromising. We get into that turning point, the chaos that shaped the album, and how tracks like “Nothing Is Original” set the tone for everything that followed.From confronting OCD and religious trauma on “Can We Watch Something Happy?” to pulling lyrical influence from voices like Sylvia Plath and Virginia Woolf, Piper opens up about writing without filters and treating lyrics as poetry. We also touch on creative control behind the self-produced record, navigating identity in hardcore, and balancing intensity with catharsis — all while building something entirely their own. Unadulterated is out now worldwide.Stay connected with Roman Candle, visit: https://sumerianrecords.com/collections/roman-candle and https://www.instagram.com/romancandlex/Stay connected with IUF, visit: https://interviewunderfire.com/

Três mulheres, três tempos… Neste episódio, Gabi e Andreia atravessam diferentes décadas para acompanhar histórias que se entrelaçam pela literatura, pela memória e pelos silêncios do cotidiano. Sim, estamos falando de As Horas, de Michael Cunningham: o romance que reinventa Mrs. Dalloway e de sua adaptação cinematográfica dirigida por Stephen Daldry, que transforma essa estrutura fragmentada em uma experiência. Entre uma escritora em processo criativo, uma dona de casa sufocada por sua própria vida e uma editora revisitando o passado, discutimos como o filme traduz a sensibilidade do livro e amplia suas camadas de dor, desejo e conexão — sempre orbitando a presença marcante de Virginia Woolf, cuja obra pulsa através de todas essas narrativas. Então, faça uma pausa no tempo, prepare um café e venha ouvir!

Isn't interesting that around the same time that the narrative of the quintessential serpentine representation of the divine, dark feminine, chaos embodied, Tiamat's evisceration by Marduk, the male storm God par excellence gained mythological dominance, Hammurabi hammers the "law" into his stone, thus enshrining the role of the conscious, analytic, externally-oriented & physicalist mind as more important or "holier" than the feminine, subconscious, interiorized, symbolic & archetypical mind? Isn't also interesting that after this mythological narrative gained dominance, and after this major historical event, the religious traditions of the late neolithic era and up the present day have been shifting further and further away from Goddess worship (i.e an immanence-oriented, world embracing, embodied approach to religion) in favor of the more transcendentalist, world hating, body-denying, struggle-oriented "father sky" idea? In this talk, after we explore some ideas about Sanskrit as a gendered language and the widespread implications of that, and after we make a few claims about shifting our discussions on gender to a more interiorized, psychological place, and certainly after some long digressions on feminist theories of the 19th century (Virginia Woolf, Vivekananda etc.), we turn to one of the most important things we could ever discuss as a śākta (I.e, goddess oriented) community: what is a woman? And more importantly: in what sense is God a woman?Really, this lecture is just three hours of us unpacking the rishikā, Ariana Grande's mahavākya: God Is A Woman.Support the showLectures happen live every Monday at 7pm PST and again at Friday 11am PST Use this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrM

Sağduyu programının bu bölümünde, Medyascope programcısı Tarık Çelenk ve Hülya Adak, Türk edebiyatının en önemli isimlerinden biri olan Halide Edip Adıvar'ı farklı ve az bilinen yönleriyle ele alıyor. Programda, Halide Edip'in yalnızca romanlarıyla değil; uluslararası entelektüel ilişkileri, Londra, Paris, Amerika ve Hindistan yılları, Batı ile kurduğu entelektüel bağlar, Türkiye'nin modernleşmesine dair eleştirileri ve kadın, toplum ve medeniyet üzerine fikirleri detaylı şekilde tartışılıyor. Halide Edip'in Virginia Woolf, Arnold Toynbee, Bertrand Russell ve Mahatma Gandhi gibi dünya çapında isimlerle kurduğu ilişkiler, Türkiye'nin uluslararası entelektüel tarihi açısından da önemli bir perspektif sunuyor. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Project Narrative Podcast, Jim Phelan and Alison Booth discuss Grace Paley’s “A Conversation with My Father,” first published in the New Review in 1972 and then republished in her 1974 collection, Enormous Changes at the Last Minute. Alison Booth is the Brown-Forman Professor in the Department of English at the University of Virginia. In addition to narrative theory, Booth has expertise in the digital humanities, Victorian fiction, women writers of the 19th and 20th centuries, travel writing, and biography. For nearly a decade, Booth served as the Faculty Director of the University of Virginia’s Scholars’ Lab, currently called the Digital Humanities Center, and in 2005, she served as President of the International Society for the Study of Narrative. Booth’s books include Greatness Engendered: George Eliot and Virginia Woolf, How to Make it as a Woman, and Homes and Haunts: Touring Writers’ Shrines and Countries. Booth’s projects in digital humanities include Collective Biographies of Women, an extensive database built from an online bibliography of more than 1,250 such collective biographies.

APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight, host Isabel Li speaks with actresses Amielynn Abellera and Kristin Villanueva, who respectively play Nurse Perlah and Nurse Princess on the HBO Max medical drama, The Pitt. Abellera and Villanueva talk about their Filipino heritage and backgrounds and how they represent Filipina healthcare professionals on the show. See also: Filipinos on the Frontline Amielynn Abellera: Instagram Kristin Villanueva: Instagram Transcript [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.  00:00:52 Isabel Li  Thank you for tuning in to Apex Express. Last Thursday, season 2 of the HBO Max medical drama The Pitt released its season 2 finale, including a hectic season following medical professionals in the emergency room and giving a realistic depiction of real-world issues in hospitals. I'm Isabel Li, one of the hosts here on APEX Express, and I'm so honored to be joined by two members of that cast tonight who play the two Filipina nurses on The Pitt. They were recently awarded the Actor Award for Outstanding Performance by an Ensemble in a Drama Series.  00:01:28 Isabel Li  First, let's hear from actress Amielynn Abellera, who plays Nurse Perla, a Muslim Filipina nurse on the show.  00:01:36 Isabel Li  Hi Amielynn, what an honor it is to be speaking to you today. Welcome to Apex Express.  00:01:41 Amielynn Abellera  Thank you. Thank you for having me. I'm excited to be speaking with you, too.  00:01:45 Isabel Li  So many of our listeners might know you from the HBO Max show, The Pitt, which I have so very much enjoyed. This is actually the first medical show that I have watched, and I really, really admire, like, all of the ensemble casts and, you know, everything coming to life. And you play the Muslim Filipina nurse, Perlah Alawi. We'll talk more about your performance and your character in a little bit, but first, this is a question that I ask all my guests: Can you tell us, how do you identify? And is there a story that you think really encapsulates your identity?  00:02:17 Amielynn Abellera  Gosh, I identify as Amielynn Dumac Abellera. She, her, hers. I'm a Filipino American, daughter of two immigrants. And I'm so thrilled and happy to be talking to you and to sharing my experience of my life.  00:02:42 Isabel Li  Absolutely. Of course, The Pitt is a medical show. And is it true that you come from a medical background yourself? Like I heard that you were a psychobiology major in undergrad.  00:02:51 Amielynn Abellera  Yeah, I was pursuing medicine for a long time. I studied pre-med in undergrad at Santa Clara University, majoring in psychobiology, which is psychology with basically a minor in biology. I really wanted to get into neuroscience and or be an oncologist. And I was pursuing that all the way till I graduated and applying to medical school and getting interviews. But ever since I was a kid, for as long as I can remember, I was really also passionate about acting and theater and film and television and being on stage. But it was really just seen as a hobby in my mind and in sort of my environment's mind. I never really prioritized it as a career, and it was never seen as a possible career. Um, so I just had it on the back burner. And, you know, I was getting, getting closer and closer to medical school and getting more and more anxious that I would regret not pursuing acting. And so sort of after waffling for many years, I decided to audition for a master's in fine arts and acting. And that was because I didn't really have any formal training in acting. I didn't study it in undergrad or, you know, in my younger years. It was just all through life experience and being in plays and art and everything like that. And so I thought if I get into one of these programs, maybe that means I have something to offer. And I was going to take that as the sign that I needed to give myself a chance. And so I got into two programs, and I was thrilled. And I moved to LA to attend the University of Southern California's MFA program. And the rest is history. Here I am.  00:04:47 Isabel Li  Wow. How does being a former pre-med influence your current role as a nurse on the show? Do you remember any like terms from science classes that you're like, oh, wow, I remember that in those lines.  00:05:00 Amielynn Abellera  Yeah, yeah, totally. And you know, I spent a lot of time in hospitals and clinics and my dad is a former family practitioner. He had his own medical practice and my mom is a nurse practitioner and she worked in the CCU in the hospital for many years. So I was really familiar with how nurses interacted with patients and hearing the terminology and the medical language a lot.  So it is a cool throwback and always a really, I love how it's so familiar to me 'cause it's, I still have to work at it quite a bit when, you know, when it's all coming at me and I have to have it down for when we're filming, but I'm not as, as intimidated by it as I probably would be if I didn't have a background.  00:05:50 Isabel Li  And out of curiosity, when you got the audition for the pit, did you have to sort of immerse yourself back into that realm of science and that medical background in order to bring out that character when you were  first being introduced to Nurse Perlah?  00:06:04 Amielynn Abellera  Yeah, a little bit. And I feel that with any role, you kind of, before you go in for the audition or even when you're now filming or you have a part, you just have to kind of get into that world, obviously and really put yourself in the actual experience of what this person's going through. And it did help me to be able to use my imagination so vividly from my previous experience of being in an OR and being in a hospital.  I remember when I was doing an internship when I was sort of in the break between graduating undergrad and pursuing medical school, I remember watching a C-section. And I remember — I remember the doctors talking, the surgeons talking, the anesthetic going in, the blood everywhere, the scalpels, the blood pressures, the oxymeter dropping. So, it really — I think back to the real-life fear that I had in all of those those procedures and I just, you know, bring it to Nurse Perlah.  00:07:16 Isabel Li  It's incredible. I want to start off by talking about, for Nurse Perlah specifically, that Perlah's identity is a Filipina and a Muslim nurse.  What did you do to prepare for a role that is so specific in terms of these cultural representations?  00:07:33 Amielynn Abellera  Sure. Thank you for asking that. I am thrilled that Perlah is on television. She is a Filipino American Muslim woman nurse. And I have never seen that. And it's just rarely ever seen on mainstream media. So, in preparing for it, I mean, truly, I had two weeks before we started filming by the time I got the role. And it was go time already. So I didn't have a ton of time, but I did my best to sort of deep dive into learning about the Muslim faith, trying to reach out to different Filipino American Muslims in my community to kind of just hear their experience. And, you know, I quickly learned that it would be impossible for me to sort of understand the full experience completely. And so I just kind of, I realized that the only question that I needed to answer for myself going into filming as Perlah was, is there anything about the Muslim way of life that would influence or adjust or be a part of their nursing or would it shift it at all? And or how would it affect their job?  And, you know, after talking to several Filipino American Muslim nurses, there, there wasn't anything that it would do to either to shift or do anything to get in the way of their patient care. They are, it's still their priority just to care relentlessly for this patient and have as much empathy as possible. And to be honest, I'm still learning as I go along with playing Perlah and as scripts come in and I still ask a lot of questions of how would Perlah specifically understand this procedure or understand this text or understand what she's doing and just keep asking questions.  00:09:30 Isabel Li  And the majority of The Pitt itself takes place on a hospital set. I'm wondering if you had a vision of what Perlah does outside of the hospital?  00:09:39 Amielynn Abellera  Well, I think Perlah is, she's been at this hospital, PTMC, pretty much, this was her first job, she really wanted to work there in this urban setting.  And she's been there probably for over eight years or something, like through COVID. I think she is a single mom and she has two children who are both under the age of 10. So I think she's exhausted, but she loves nursing. She loves her kids. And she is just, she knows how to compartmentalize and work hard and like protect herself. She knows how to leave, at least she thinks she knows how to leave the job at the door in order to go home and be with her children.  00:10:24 Isabel Li  Uh-huh. And is this something, also, I'm just curious, like, is this something that you had to imagine yourself or did some of the writers sort of drop some hints during production?  00:10:35 Amielynn Abellera  I mean, a little bit of both, I think. There are only some hints in the script in the pilot and the first season where it's dropping like, oh, she has some kids and she's exhausted and kind of eye-rolling — Yeah, and pets — And sort of eye-rolling exhausted by what's happening at home. And it's, I am a mother of a five and a half year old. She's almost six right now. So I sort of understand that exhaustion, but like deep love for my child. But it's like, I'm happy to go to work and have them at school, but I'm also missing them. It's just this like journey of a mother. So it was a bit of me sort of creating that backstory, but also just from the hints of the writers.  00:11:23 Isabel Li  Definitely. I think something that's so special about The Pitt as a medical show is its accuracy in depicting the very hectic lives of healthcare professionals, especially in an emergency room setting. So Nurse Perlah is often mediating like some sort of communication and really emphasizing medical jargon or reading off data. What was it like memorizing all of these different lines and delivering it in a way that felt authentic to the way that healthcare professionals might?  00:11:50 Amielynn Abellera  Sure. Oh my gosh. It's really challenging. I think as soon as I get the scripts, and again, thank goodness I have a sort of familiarity with having a little bit of a medical background, but you know, that was years ago. So anytime I get a script, I immediately go to the hard stuff and get that in my brain as soon as possible. And a trick that I do is, as soon as I have it memorized, I'm just saying it all day and doing things with my hands. Like I do it when I'm folding laundry. I do it when I'm washing dishes. I do it when I'm cooking. I'm doing it when I'm driving, just because as soon as it's second nature, and that's the thing about healthcare professionals, they're constantly, like they're not thinking about what they're saying. They're, it's so awesomely competent in their brain, that is not difficult. That's actually like them just having a conversation.  So I love trying to get to that point and showing how Perlah is just so competent in all of that stuff and doesn't even have to think about it while putting in an IV.  00:13:00 Isabel Li  Absolutely. Oh my gosh. And I think like a lot of our listeners, maybe if they watch The Pitt and a lot of audience members really enjoy the lighthearted moments that you share with Princess, also another Filipina nurse played by Kristin Villanueva, especially that Nurse Perlah code-switches with her using Tagalog as a language.  Can you tell our listeners what that code-switching feels like to you and how you relate to Tagalog as a language?  00:13:25 Amielynn Abellera  Yeah, totally. Thank you for asking. I, as Amielynn Abellera, the actor, I grew up, I was born and raised in Stockton, California, and my parents spoke Tagalog and Ilocano at home all the time. And unfortunately, they didn't teach me. So I'm actually not fluent in Tagalog at home.  I'm that Filipino American who later in life got voracious about wanting to embrace her heritage and learn it like in her adult life. And I think that translates with Perlah. I do, I think that Perlah is also, was also born and raised in the United States to two Filipinos who came from Mindanao. And even though she had the ear for it, I think that she's learning it later in life. And I think she absolutely is so happy to have, Princess as her buddy because she can practice.  Um, because I think like the only way to learn is to constantly be talking every day. And I think Perlah does that. I think she finds any opportunity to celebrate joyfully her heritage by speaking the language with Princess. I think they both do. So it's really close to, to my own personal experience with Tagalog because right now I am learning Tagalog on my own, taking lessons and things like that in order to teach my daughter as well, just to have it in our life more. But I think that is also what Perlah is doing.  00:14:58 Isabel Li  Yeah. And for you specifically, how and when did you start learning Tagalog?  00:15:03 Amielynn Abellera  Yeah, I think it really is. Like I said, my parents came in the '70s to Stockton, California, as a doctor and a nurse. And, you know, that generation, at that time, their priority was assimilation, so they didn't really teach me. And our Filipino-ness was a little bit second place, in terms of, not in a negative way, but it just was, it took a little bit of second priority as opposed to assimilating to our environment in Stockton, California. And so, however, whatever seeds were planted in there to not really pursue Tagalog or pursue, to learn and be curious about my Filipino heritage, that was sort of the majority of my childhood and into my college years. And it wasn't until, I think, college and beyond when I started to Honestly, I think it was when I was exposed to Filipino cultural night in university, at Santa Clara University, where, all of a sudden, I was with all these other Filipino-Americans who had such a voracious sort of celebration and wanting to learn like the dances, the language, the style, the textiles, the clothing, the music, and they would study it and we would, they would just be so passionate about it.  And that really was an experience for me of, oh my gosh, I didn't, it wasn't like I was neglecting it on purpose. It's just, that wasn't in my life. So when that was happening for me, I slowly, slowly really wanted to start learning the language and started taking lessons probably in my twenties. And then, you know, but again, it's a lifelong process to learn another language. It's challenging. Um, and I wish, I wish I was, I wish I was at the level of Perlah where she has a buddy all the time to practice, practice, practice. But I don't have that in my home or in my workplace right now, except with Princess at the hospital.  00:17:28 Isabel Li  Gotcha, gotcha. And currently, at the time of this interview, season two of The Pitt is in progress, and you had some really emotionally nuanced moments in the 12 o'clock episode. I'm not going to spoil it too much, but when Perlah reacts to losing a long-term patient, I'm wondering for you, as an actress, can you tell us about how you're able to switch from some, you know, more lighthearted scenes to moments that really emphasize the darker, heavier aspects of being in medicine, like death and disease.  How do you portray and balance that?  00:18:02 Amielynn Abellera  Sure. Yeah. Thank you for asking. I think nurses are amazing in that way where I don't know if it's a blessing or a curse to be able to compartmentalize such extremes of feeling and experiences of loss of patients on the hour, every hour, and being able to move on to sort of uplift and help other patients on the hour, every hour. But I think Perlah, as such an experienced, competent nurse, has learned how to switch it on, switch it off, but I do feel that something that episode 206 was trying to shine a light on is what of that armor has cracks or what of that armor isn't as strong for certain patients or she or what of that armor is, uh, what if that punch… I'm not able to recover as easily as I usually am? So, um, and I think that must happen all the time with healthcare professionals of what they have to do. I think they have to experience losing loved ones and patients and friends who are patients all the time. And how is it that they get back up to be there for the next one?  So I was– it was ultimately challenging, but I'm so glad that that episode showed that dynamic.  00:19:34 Isabel Li  Speaking of a hospital setting, I imagine it's quite a unique set to be one, and The Pitt definitely emphasizes the realism of being in a hospital. Like, we see lots of different types of medical equipment, hand sanitizer, very relevant, pressing things that make us feel like we're almost, like, engaging with the show in a sense. How do you describe that set?  00:19:56 Amielynn Abellera  To me, I really feel like it's a real hospital. Everything pretty much works almost like the real thing, but it doesn't, right? So like the water fountain looks, smells, feels like a real water fountain and it is until it just doesn't shoot out water, right? Like everything is so amazing.  And I think that's what Nina Ruscio, our set designer wanted to build and working with all the executives was they wanted to build this entire whole hospital to really immerse us in the reality of it. And there, a lot of times there are real needles that we have to close up on, but then when we do something actually, we switch it out for a dull needle. So it is, it's really very, this balance and like a real scalpel that needs to look so sharp, but then as soon as it's, actually near the skin, it is a dull scalpel, and then that's also a prosthetic. So sometimes I can't tell what's real and not real. I just kind of…I just have to jump in and kind of engage with it. And then if it's the real thing, not be freaked out. So yeah, but it's, it's, it's a part of the…It's so, it's so incredibly fun.   I'm so fascinated by this hospital that I basically go to work to like a real nurse at 5:00 in the morning every day for a 12-hour shift. And I put on the scrubs, and then I take off the scrubs. So I kind of feel like so much like a real nurse, but also not.  00:21:42 Isabel Li  How do you think The Pitt has influenced you as an actress? After being on this show, have your goals as an actress changed? What do you see yourself doing in the future?  00:21:52 Amielynn Abellera  Yeah, So, I mean, I am really in a dream right now. It feels…like I probably had this dream of, you know, really being invited on a show from its initial season, initial episode, and being a part of a team from the very beginning, originating a role that is representing so many different cultural dimensions, like across the board. And also the show being so successful and having an impact globally, not only for healthcare workers, but, you know, the diversity that is the reality of the world.  So it's hard to think ahead. I kind of just want this to last as long as possible for Nurse Perlah and for Amielynn. And, you know, I've learned to be in my acting career just putting one foot in front of the other and trusting that where it's going will lead to the next piece in my universe. And I– the moment I try to plan something or want something to happen, it will not happen. I think I just have to trust the journey and how the universe will put what's meant to be in front of me.  00:23:17 Isabel Li  And as an actress, what are you the most passionate about doing in any role that you play?  00:23:23 Amielynn Abellera  Well, I love the human experience. I love what that did to me as a young artist and as a young kid and what that ignited in me watching like an actor go through it and it'd be so real and me be so moved. And I love being that vehicle for other audience members. And as the actor, I can feel if I'm hitting a stride with it. And it's a really exhilarating process. And it just reignites why I love being an actor.  00:24:06 Isabel Li  For all the listeners who have watched The Pitt, or for those of our listeners who have yet to watch The Pitt, and they definitely will after hearing this episode — what do you want the listeners or the audience members to take away from watching The Pitt, from seeing you as Nurse Perlah in it?  00:24:23 Amielynn Abellera  Yeah, well, first off, I hope you go home and turn on your HBO Max and watch The Pitt to all of you who haven't seen it yet. And I hope you enjoy it. And I just hope that you watch it and are entertained, but also you walk away with learning something about humanity and our healthcare workers and also laughing and crying and being fascinated as much as we are behind the scenes. We're really having such an excellent time creating this show. And we're so thrilled that audience members love it as much as we love making it.  So I hope you have that same exhilaration and elation as we all do here.  00:25:10 Isabel Li  I'll put a link to your social media on kpfa.org so our listeners can follow you there. And thank you so much, Amielynn, for joining me on Apex Express today.  00:25:20 Amielynn Abellera  Well, thank you for having me. I'm excited to talk to you and to share my story. And thank you for listening.  00:25:27 Isabel Li  That was actress Amielynn Abellera, who plays Nurse Perlah, one of the Filipina nurses on The Pitt. And we're about to hear from one more actress from the show. But before that, here's a music break with 7000 Miles by Ruby Ibarra.  00:25:59 [MUSIC: 7000 Miles by Ruby Ibarra]  00:30:07 Isabel Li  And that was the song 7,000 Miles by Ruby Avara here on KPFA.  00:30:11 Isabel Li  Thanks for tuning in to Apex Express tonight, where our next guest is the actress Kristin Villanueva, who plays Nurse Princess De La Cruz, another Filipina nurse on the HBO Max medical show, The Pitt. Hi Kristin, welcome to APEX Express.  00:30:29 Kristin Villanueva  Hi Isabel, thanks for having me.  00:30:32 Isabel Li  Absolutely. My first question for you is, how do you identify and what's your story?  00:30:37 Kristin Villanueva  I am Filipino American. I was born and raised in Manila, Philippines, and I moved to the Washington DC area when I was 15.  00:30:47 Isabel Li  How did you get into becoming an actress?  00:30:50 Kristin Villanueva  Kind of by accident. When I moved to the States and I was at my new high school. I joined the drama program just because we didn't have that in my school in the Philippines and that was something I've always been interested in. So yeah, I auditioned and I didn't know that the drama teacher was a very serious one. Like, you either join the drama club or you play softball, you can't have both. So yeah, that's how I got introduced.  00:31:27 Isabel Li  And at a young age, what kinds of films or movies really inspired you to pursue drama?  00:31:33 Kristin Villanueva  I don't think it inspired me to pursue drama, but my choice of movies, my favorite movies when I was younger is, I would say, is a little bit peculiar for an eight-year-old, for a 10-year-old. But I remember watching Kramer vs. Kramer with Dustin Hoffman and Meryl Streep and it having such an effect in my little eight-year-old self. I was so moved by it. And also Legends of the Fall with Anthony Hopkins, Aidan Quinn and Brad Pitt.  And like, what does a 10-year-old Filipino girl have anything in common with these turn of the century, 19th century, you know, Montana cowboys? You know, it's just so random, but for some reason I just fell in love with it. Maybe I just fell in love with Brad Pitt, but, yeah, those heavy dramas had an impact in me, even though I didn't know exactly what it was.  00:32:35 Isabel Li  So you play Nurse Princess on the HBO Max medical show The Pitt, and which, at the time of this interview, we're, you know, getting towards the finale of season two very, very quickly. I've really been enjoying season two. And first of all, congratulations on winning Outstanding Performance by an ensemble in a drama series. That's so incredible.  00:32:54 Kristin Villanueva  Thank you so much. Yeah, it's been a wild ride.  00:32:57 Isabel Li  Yeah. Can I just say, Princess is such an energetic and confident character, and it's really fun watching you play a healthcare professional in such a hectic setting of an emergency room. What do you do to get in character of Princess?  00:33:11 Kristin Villanueva  Ooh, that's a great question. She has such a vibrant energy when she's at the ED, and I don't need a lot to prep myself to get to that level because I'm just excited to be at the Warner Brothers lot, and being on set and being with very kind people. So it doesn't take a lot to get in that mindset. Maybe if it's a 5.30am call, maybe I need a little bit more coffee to get there. But in terms of my emotion and excitement and energy, I don't need to do that much because, yeah, it kind of, it's parallel in my real life and in Princess's life of just doing what they both want to do. But in terms of, I would say, the difference is, I wish I had Princess's confidence in my life more. You know, she's very confident in everything that she does. You know, she knows she's good, and she isn't shy to show it. Because I think when she shows it, it's not to show. It's just to do, you know? Um, so I wish I have more and more of that in my life.  00:34:35 Isabel Li  For you, what's the most challenging part of playing Princess?  00:34:39 Kristin Villanueva  I would say, well, first, the lines, the medical jargon and the technicality of things. So, thankfully, we have amazing med techs that are always right next to us, correcting us, you know, making us feel more confident, guiding us, answering all our questions. So, yeah, making sure that I look like I know what I'm doing. So that would be, I would say, the hardest part.  00:35:08 Isabel Li  Yeah, and on that note, like in many of her moments, Princess is so often mediating communication for medical information in so many different ways. How do you prepare for a role like that where you have to, I mean, you mentioned some things about needing to like look and act the part and you have some people helping you, but what are some other things that you do to really have you, you know, help practice sounding like a healthcare professional?  00:35:35 Kristin Villanueva  First, I Google everything. And then I make sure I'm able to explain it in my own words, so whatever the procedure is. Don't ask me anything now, because once I'm done filming, it leaves my brain. So yes, I research everything. And then when it comes to memorization, if it's, the nurses have a lot of numbers. We may not have a lot of the long words, Latin words, medicine words that the doctors do, but we have to say a lot of different numbers, you know, BP 160 over 20 and all of that. So what I do is I would record the other people's lines, make leave a space for my lines and just play it all day, every day. When I'm walking the dog, when I'm doing dishes, when I'm folding laundry. So I can get it in my body while I'm doing different things. Because I notice that if I'm just sitting down and memorizing my lines, and then I get to set the next day, and all of a sudden, you know, I'm given all these choreography and I'm moving, or they change the choreography in the middle, that gets really tricky. So doing my lines while moving helps a lot. And then of course, the things that I can Google as much as I can, but then I take advantage of having, like I said, the med techs on set. Then I ask them about their emotional experiences behind procedures. So things I start with, okay, is this procedure an everyday thing? How often do you see it? How often do you deal with it? And then from there, I ask if it's something interesting that it's like they've only heard of but never actually seen in practice. What would you do? They say, if you're not busy, you run to that room and watch it, that kind of thing. And if it's an emotional scene, then I ask them, how do you deal with these things? Then I get to hear their experiences and how they cope with it after the shift.  00:37:53 Isabel Li  Did you know anything about medicine or the emergency room before this role?  00:37:59 Kristin Villanueva  No, I think I'm one of those very rare Filipinos that don't really have a lot of healthcare professionals in their families. I do have a cousin who's a radiologist and my husband's side of family. There are a lot of nurses and that's my mother-in-law included, but no, I have zero.  00:38:20 Isabel Li  Oh, wow. So I watched some of your other interviews and I found it really interesting that you had talked about like telling your agent not to submit you to roles on nurses, on projects, unless it was specifically featured.  Can you tell us more about that and how you navigate like the Filipino representation in medical shows, especially in The Pitt as an actress yourself?  00:38:41 Kristin Villanueva  Sure. I was getting a lot of, I wouldn't say a lot, but I would often get auditions for nurses in medical shows or non-medical shows. And I've played them before and I've been very grateful for those experiences. One of them was a movie opposite Susan Sarandon.  So Susan Sarandon was also playing a nurse. So all of my scenes was with her. So those are very cool experiences. But because I've played them a number of times, then I told my agents at one point, hey, unless, like you said, the nurse part is more featured or has more lines other than yes, doctor, then sure, I would audition because I've done it.  And I also didn't want to perpetuate that sad practice of, you know, okay, let's have one Filipino or one Asian nurse and check that box off.  Because it does feel that way. And it's just not the real world. So when The Pitt came and I saw the breakdown, it's a heftier breakdown for the part of Nurse Princess. I mean, and just looking at her name, Princess de la Cruz, I was like, somebody did the research. I'm like, all right, okay, I'll put myself on tape for this.  00:39:59 Isabel Li  Yeah, and I love how Princess as a character is written to be such a crucial part of the team. Very competent, very quick on her feet. Are there any ways where you, yourself, got to influence how Princess was portrayed, maybe beyond the scripts or, you know, in any ways that you could add to that character?  00:40:19 Kristin Villanueva  I think so? I'm not sure, but I have noticed that in season two, on the scripts, Princess's, looks, eye rolls, stares were now written. Whereas before, I was just doing it. So yes, I think so. Because I didn't have a lot of lines. I still don't have a lot of lines, but that doesn't mean she doesn't have an opinion. And yeah, I was just being truthful in all those moments. So if I feel like something's off or, you know, I don't think Princess has a good poker face. So that made its way into the script recently.  00:41:05 Isabel Li  Oh, I see. Well, the show primarily takes place in a hospital setting. But for you, when you're playing Princess, do you imagine what she does, like, outside of the hospital? Like, who is she outside of work?  00:41:16 Kristin Villanueva  I think when there is an after party or somebody's birthday, someone's baptism, or, I think she's the same. I think she's a work hard, party harder kind of girl. But I can also see her turning everything off and having a lot of deep, quiet solo time that she doesn't talk about much often.  00:41:44 Isabel Li  Yeah, something so cool about Princess is the fact that she can apparently speak six languages. But I wanted to talk about the fact that you, as Princess, code-switched to Tagalog in many scenes, especially with Amielynn Abellera, who plays Nurse Perlah. For you, can you tell our listeners how it feels for you switching from English to Tagalog?  00:42:05 Kristin Villanueva  Well, first off, the first word that comes to mind is it's fun. You know, you get to use that skill or use that — used to be a very familiar part of myself again. But I also feel extremely vulnerable because I don't get to do that often. I don't think I've, maybe I've acted once in Tagalog, but I can't remember any other significant roles where I was able to do that. So to do that on The Pitt is, yeah, it's pretty vulnerable just in terms of sharing that part of myself that I haven't shared really acting-wise.  But it's also fun. Because it comes naturally. And I get to there's so many nuances that I would think only Filipinos would get, but it's also so gratifying to hear from from other folks who are not Filipinos that get it. You know, even though they don't understand, um, the Filipino jokes, but they have their own — they have their own version in their own culture. So it's — it's really fun to hear that.  00:43:18 Isabel Li  Just out of curiosity for you, how do you relate to Tagalog as a language? Do you speak it often?  00:43:24 Kristin Villanueva  I don't speak it often, unfortunately. I do still speak it with my family, and we Zoom once, twice a week. But other than that, no, I don't speak it often.  And it's kind of sad, because I feel like some words are leaving my memory. But yeah.  00:43:45 Isabel Li  Yeah, wow. So when they're written in the script, do you translate, or are they already words in Tagalog that you already know?  00:43:54 Kristin Villanueva  When they're written in the script, they're written in English. And season one, I used to translate it for myself. And then season two, we have a coach who gave us a lot more options. But what's wonderful about working with the writers is they're not precious with their own phrases.  They defer to us to translate it as close to the gist of, let's say it's a joke, but if I were to translate it in Tagalog, word per word, it's not going to land the same way as it would in American, in English. Do you know what I mean? So they much rather have us say it in whatever's parallel in Tagalog. So yeah. And I applaud the writers for doing that, 'cause that's one of my pet peeves sometimes when I'm, you know, watching other shows, translation of, it's not quite that, you know, or it's too literal. If it's too literal, then it's, that's not how we talk.  00:44:59 Isabel Li  Right. And putting that in the context of Princess as a character, who is a polyglot, there are some moments where she speaks French and does sign language.  00:45:08 Isabel Li  How did you navigate these multilingual exchanges communicating in different languages, essentially. Oh, I look forward to it. I look forward to them so badly. It's one of the things I got really excited about auditioning for the part, 'cause it was written in her breakdown that she speaks six languages. Um, I personally don't, but I am so enamored by polyglots. Like if I were to meet someone who can speak three languages plus, I'm just, I follow them like a puppy. I don't know, I just find it so sexy and intriguing. And it's like something that I aspire to be, but just haven't had the time to do it. So yes, I look forward to them.  00:45:52 Isabel Li  Yeah, and how do you practice? Like, did you have to practice some French and some ASL?  00:45:57 Kristin Villanueva  Oh, um, for the French, since there's only one line, we didn't hire a coach, but we did hire, um, coaches for ASL. Oh, yeah, I just practiced the hell out of them. Um, but there's also that nuance of, um, how fluent or how good is your pronunciation for someone who doesn't speak it all the time, you know? You got to, like, factor that in as well. But, yes, I just practice it all the time.  00:46:24 Isabel Li  Gotcha. And speaking of that, I love how Princess and Perlah add some lighthearted humor and back and forths and gossip throughout the series. How do you switch from humorous moments to more serious ones?  00:46:36 Kristin Villanueva  I mean, you don't really think about it in life, right? Like one minute you're crying and then something happens and then you find it hilarious. You just go with the flow on set. You don't really ever plan, okay, this beat is a funny beat, and this one is a dramatic beat. You don't. As long as you keep it honest, those colors would come out naturally.  00:47:02 Isabel Li  The Pitt is very current. Like there are so many current events and everyday sort of issues mirrored in the series. What is your experience working with a set and a story that feels like it is very much set in the everyday?  00:47:21 Kristin Villanueva  It hasn't been an issue. It's never– if anything, sometimes it's tougher because you can't escape the real world, right? It's not like when I get to do a Shakespeare comedy, there's a reprieve from, you know, the sad current events that are happening. So yeah, that's– I would say that's the only downside, but there's a lot more upside to that, which is you get to present and work through real life situations. You know, that I'm happy that a TV show like The Pitt, you know, something that's made for entertainment can actually dive into these really serious topics. And what I love about The Pitt is that I don't think it's preachy. I don't think it tackles headlines of the day in a way that it makes you want to turn the TV off. If anything, it shows how, it shows the repercussions on the everyday people. And hopefully audiences that don't have anything to do, like I'll give you an example, like for nurses strikes, right? If you see that on the headline and you don't work, you're not a healthcare worker, you'll probably just, you know, skip that video or not read that article because you think it doesn't affect you.  But hopefully by watching The Pitt, you'll see, oh no, it will affect me if God forbid I have to go to the hospital, if my loved one has to go to the hospital and you don't get seen for 10 hours, or there were mistakes in, the medicine, or it's just not top care that you think you deserve. It's not because the nurses or the doctors or the staff are bad. They're understaffed, period. Right? They haven't had a day off in 12 days. So no, it's a privilege to be able to do a show, have a job that actually reflects what's happening in real life.  00:49:40 Isabel Li  Yeah, thank you for sharing about that. And finally, I want to touch upon your work in general. As an actress, would you say there's something that you're most passionate about doing?  00:49:50 Kristin Villanueva  Ooh. Are we talking about material or medium? Because I would say everything. I do miss doing plays. I haven't done a play since, my gosh, I think pre-COVID. So it's been a while. So I really love doing plays. I have more experience in theater than TV and film combined. A really good material is so inspiring to do, whether it be a classic like Chekhov or any new contemporary plays. You know, there's so many playwrights, those plays I want to do so badly. There's something electric about working on a brand new play when the playwright is in the room. But also, it's also really amazing to work on juicy Shakespearean tragedies. You know, when I get to play Shakespeare ingenues, in those three hours, you've lived a lifetime. You know, usually in a Shakespearean comedy, you meet the ingenue before they fall in love. And then they fall in love, and then they get their hearts broken. And then by the end, they're kind of this new person who's a little bit more learned, but not the same 16-year-old that you met three hours ago. So getting to do those parts are a complete joy.  00:51:29 Isabel Li  I'm wondering, do you have a dream role that you'd like to play in the future? Like either in theater or in film? Who would it be and who would you like to work with?  00:51:37 Kristin Villanueva  I love this question. My imagination just starts going everywhere. Yes. My dream role for the theater would be Martha from Edward Albee's Who's Afraid of Virginia Woolf? I got to do that play a few years ago, but as Honey, as one of the other characters. But I would love to play Martha someday. Another theater role would be Arkadina from The Seagull or Nina, but I think I've aged out of Nina. And in terms for like TV, gosh, I'm obsessed with Narcos, obsessed. And I've always, I've written a part from, if Narcos was ever to do a season about the Philippines, I have a role that I wrote for myself. Cause I don't, you know, you look at my face, like, my face is too round and I'm too short and I smile too much for a show like Narcos or The Wire, which are, like, one of my top, top favorite TV shows.  And I don't have a part for them 'cause I don't look the part, but I found a way to write myself in Narcos season, I don't know, season five Philippines.  00:53:09 Isabel Li  One last question for you. These are such incredible answers. Thank you so much for sharing. One last question for you. Out of your entire acting career right now, what has been the most rewarding moment for you?  00:53:22 Kristin Villanueva  I mean, besides The Pitt, mainly because of the reach and mainly because a lot of Filipino nurses have become so happy just to be seen and represented. And that means so, so much, another role that I am most proud of is this play — I wouldn't even say play — it's more of a performance art piece called The Courtroom. The theater company called Waterwell produced it in New York. And The Courtroom is about a Filipino immigrant to the US who accidentally voted when she was still only on a green card. So she wasn't supposed to vote, but she did not do it maliciously. So the play is about her filing appeal after appeal to stay in the U.S. and not be deported. So I was pretty proud of that. We used, the lines were straight out of the court transcripts. And yeah, I wish we could do it again, especially with, you know, the current climate.  00:54:38 Isabel Li  Yeah, definitely. Well, thank you so much, Kristin, for sharing her story and all of your various experiences. Do you have anything else you'd like to share with our listeners?  00:54:47 Kristin Villanueva  Oh, just thank you so much for watching The Pitt and, you know, for all the nice words about the show. And I hope you keep watching.  00:55:00 Isabel Li  And that was Kristin Villanueva, who plays Nurse Princess De La Cruz on The Pitt, which just released its season 2 finale last week at this time.  Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our two guests tonight, Kristin and Amielynn. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:55:31 Isabel Li  Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala-Shekar and Swati Rayasam. Tonight's show is produced and edited by me, Isabel Li. Have a great evening and thanks so much for listening.  The post APEX Express – 4.23.26 – Nurses of The Pitt appeared first on KPFA.

O que pensar antes de ser anfitriã de uma festa? Neste episódio, Gabi e Andreia caminham pelas ruas de Londres ao longo de um único dia, acompanhando memórias, escolhas e silêncios que ecoam no tempo. Sim, estamos falando de Mrs. Dalloway, de Virginia Woolf — um dos romances mais sensíveis e inovadores da literatura moderna — e de sua adaptação cinematográfica de 1997, dirigida por Marleen Gorris. Como o filme traduz a interioridade da escrita de Woolf e preserva a beleza fragmentada de seus personagens? Venha tentar descobrir! Comentados no episódio Mrs Dalloway, romance de Virginia Woolf Mrs Dalloway (1997 ‧ Romance/Drama ‧ 1h 37m) dirigido por Marleen Gorris Um Teto Todo Seu, ensaio de Virginia Woolf Profissões Para Mulheres e Outros Artigos Feministas, ensaios de Virginia Woolf Possessão, romance de A. S. Byatt Possessão (2002 ‧ Romance/Thriller ‧ 1h 43m), dirigido por Neil LaBute The Crown (2016 ‧ História ‧ 6 temporadas) Downton Abbey (2010 ‧ Drama ‧ 6 temporadas)

Katarina Zhu stars in her own directorial debut, Bunnylovr, which made a splash at Sundance and is now showing in theaters. In it, she grapples with themes of sex, love, and disjointed relationship -- but she doesn't go as dark as Lars von Trier in Nymphomaniac Vol. I --  a movie whose lead, Young Joe, made a teenage Katarina feel seen in ways she hadn't before. And you better believe Jordan was all-ears to learn why. After this conversation, Jordan has one quick thing about some action picks for the big and small screen this weekend. Watch the trailer for BUNNYLOVR Listen next:Emma Seligman on 'Jennifer's Body'Chloe Okuno on 'Black Swan'Jade Halley Bartlett on 'Who's Afraid of Virginia Woolf?'   Watch the trailer for BUNNYLOVR Feeling Seen is hosted by Jordan Crucchiola and is a production of Maximum Fun. You can watch video editions of our new episodes on our YouTube Channel!Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

In tonight's sleep hypnosis with Jessica, we revisit To the Lighthouse by Virginia Woolf, alongside a relaxing body-based hypnosis to help you unwind. As the story continues, your mind will slow and settles, making space for rest and sleep. As always, tonight's episode will start with a relaxing introduction from Jessica, before we sink into tonight's Sleep Hypnosis. If you'd like an extra immersive experience, you can also watch this episode on Spotify, complete with soothing visuals

A new adaptation of Virginia Woolf's The Waves opens at London's Jermyn Street Theatre next week. Hannah chats to playwright Flora Wilson Brown about the appeal of Woolf to young people, the issues with adapting her work and the loss of “scenes” in the modern world. Grab yourself a ticket here: https://www.jermynstreettheatre.co.uk/show/the-waves/ Standard Issue Podcast | creating a magazine for ears, by women for women | Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1908, Virginia Woolf wrote that she hoped to revolutionise the novel and ‘capture multitudes of things at present fugitive'. ‘To the Lighthouse' (1927) marks perhaps her fullest realisation of the novel as philosophical enterprise, and not simply because one of its central characters is engaged with the problem of ‘subject and object and the nature of reality'. In the final episode of their series, Jonathan and James consider different ways of reading Woolf's great novel: as a satirical portrait of her father through Mr Ramsay, as a study of creative expression through Lily Briscoe, or as a mystical, Platonic quest in which form and style respond to philosophical propositions, and the truth of human experience is to be found in movement, conversation and laughter. Get 50% off a 12-month subscription to Close Readings when you use the code 'woolf' at checkout: https://lrb.me/woolfcrpod (Note: this offer is only available on the link above, through our partner Supporting Cast, and not if you subscribe directly in Apple Podcasts, but you can still listen in Apple Podcasts if you subscribe in Supporting Cast.)

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.