Podcasts about Warren Wilson College

The Author Events Series presents Paul Muldoon  | Joy in Service on Rue Tagore: Poems  REGISTER In Conversation with Daisy Fried  Since his 1973 debut, New Weather, Paul Muldoon has created some of the most original and memorable poetry of the past half century. Joy in Service on Rue Tagore sees him writing with the same verve and distinction that have consistently won him the highest accolades. Here, from artichokes to zinc, Muldoon navigates an alphabet of image and history, through barleymen and Irish slavers to the last running wolf in Ulster. The search involves the accumulated bric-a-brac of a life, and a reckoning along the way of gains against loss. In the poet's skillful hands, ancient maps are unfurled and brought into focus--the aggregation of Imperial Rome and the dismantling of Standard Oil, the pogroms of a Ukrainian ravine and of a Belfast shipyard. Through modern medicine and warfare, disaster and repair, these poems are electric in their energy, while profoundly humane in their line of inquiry. Paul Muldoon was born in County Armagh in 1951. He now lives in New York. A former radio and television producer for the BBC in Belfast, he has taught at Princeton University for thirty-five years. He is the author of fourteen previous collections of poetry, including Moy Sand and Gravel, for which he won the 2003 Pulitzer Prize. Daisy Fried is the author of five books of poetry: My Destination (forthcoming next year from Flood Editions and Carcanet Press), The Year the City Emptied, Women's Poetry: Poems and Advice, My Brother is Getting Arrested Again, a finalist for the National Book Critics Circle, and She Didn't Mean to Do It. She has been awarded Guggenheim, Hodder and Pew Fellowships. A core faculty member in the MFA Program for Writers at Warren Wilson College, and an occasional poetry critic for the New York Times, Poetry Foundation and elsewhere, she has lived in Philadelphia for decades, but will be moving to San Francisco at the end of the summer.  The 2024/25 Author Events Series is presented by Comcast. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 5/14/2025)

Get to know the Spotfin Chub! This beautiful, sometimes shimmery blue fish is endemic/unique to the Tennessee River basin in the Southeast United States and the only species in its genus. After listening, you'll know all about it's cool bedrock/crevice spawning habits, how the impacts of Hurricane Helene are still at play, and tips for interacting with this fish and other cool native species along the increasingly popular Blue Ridge Snorkel Trail. Our guests are Luke Etchison from North Carolina's Wildlife Resources Commission and Pat Ciccotto from Warren Wilson College.

In this episode of The Nonprofit Insider Podcast, I have a one-on-one with Pat Addabbo. Pat is the Executive Director of Oregon Adaptive Sports (OAS). Under his leadership, OAS has tripled its revenue, expanded its reach, and become a leader in adaptive recreation—providing life-changing outdoor experiences for people of all abilities.Tune in as we discuss:Pat's journey from Warren Wilson College to leading one of the top adaptive sports nonprofits in the Pacific NorthwestHow OAS is redefining access to outdoor adventures for individuals with disabilitiesThe ups and downs of being a leader of people...and the communityThe evolving landscape of adaptive recreation and what the future holdsWhat he wants to be remembered by as a nonprofit leaderPat's passion for inclusive outdoor experiences is infectious, and his insights on nonprofit leadership are invaluable for anyone looking to drive meaningful impact.Ready to be inspired? Listen now:

In this episode of High Theory, Jason Schneiderman talks about Nothingism. A term of his own coinage, a tongue-in-cheek manifesto, nothingism is an invitation to refuse the values of digital culture in favor of the values of print. You can read more about poetry at the end of print culture in Jason's new book, entitled Nothingism (Michigan UP, 2025). In the episode Jaason refers to M.B. Parkes's book Pause and Effect An Introduction to the History of Punctuation in the West and the poetry of his teacher Agha Shahid Ali. Jason Schneiderman is a poet and teacher. He is the author of five poetry collections, most recently Self Portrait of Icarus as a Country on Fire (Red Hen, 2024). He also edited an anthology of queer theory for first year writing courses called Queer: A Reader for Writers (Oxford, 2016). He works as a Professor of English at CUNY's BMCC and in the MFA Program for Writers at Warren Wilson College. The image for this episode was made by Saronik Bosu. It shows a blue blur on a pink floral print background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of High Theory, Jason Schneiderman talks about Nothingism. A term of his own coinage, a tongue-in-cheek manifesto, nothingism is an invitation to refuse the values of digital culture in favor of the values of print. You can read more about poetry at the end of print culture in Jason's new book, entitled Nothingism (Michigan UP, 2025). In the episode Jaason refers to M.B. Parkes's book Pause and Effect An Introduction to the History of Punctuation in the West and the poetry of his teacher Agha Shahid Ali. Jason Schneiderman is a poet and teacher. He is the author of five poetry collections, most recently Self Portrait of Icarus as a Country on Fire (Red Hen, 2024). He also edited an anthology of queer theory for first year writing courses called Queer: A Reader for Writers (Oxford, 2016). He works as a Professor of English at CUNY's BMCC and in the MFA Program for Writers at Warren Wilson College. The image for this episode was made by Saronik Bosu. It shows a blue blur on a pink floral print background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Jason Schneiderman talks about Nothingism. A term of his own coinage, a tongue-in-cheek manifesto, nothingism is an invitation to refuse the values of digital culture in favor of the values of print. You can read more about poetry at the end of print culture in Jason's new book, entitled Nothingism (Michigan UP, 2025). In the episode Jaason refers to M.B. Parkes's book Pause and Effect An Introduction to the History of Punctuation in the West and the poetry of his teacher Agha Shahid Ali. Jason Schneiderman is a poet and teacher. He is the author of five poetry collections, most recently Self Portrait of Icarus as a Country on Fire (Red Hen, 2024). He also edited an anthology of queer theory for first year writing courses called Queer: A Reader for Writers (Oxford, 2016). He works as a Professor of English at CUNY's BMCC and in the MFA Program for Writers at Warren Wilson College. The image for this episode was made by Saronik Bosu. It shows a blue blur on a pink floral print background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In this episode of High Theory, Jason Schneiderman talks about Nothingism. A term of his own coinage, a tongue-in-cheek manifesto, nothingism is an invitation to refuse the values of digital culture in favor of the values of print. You can read more about poetry at the end of print culture in Jason's new book, entitled Nothingism (Michigan UP, 2025). In the episode Jaason refers to M.B. Parkes's book Pause and Effect An Introduction to the History of Punctuation in the West and the poetry of his teacher Agha Shahid Ali. Jason Schneiderman is a poet and teacher. He is the author of five poetry collections, most recently Self Portrait of Icarus as a Country on Fire (Red Hen, 2024). He also edited an anthology of queer theory for first year writing courses called Queer: A Reader for Writers (Oxford, 2016). He works as a Professor of English at CUNY's BMCC and in the MFA Program for Writers at Warren Wilson College. The image for this episode was made by Saronik Bosu. It shows a blue blur on a pink floral print background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Today, we discuss all things sustainable agriculture with Joshua Earl Arnold. Joshua is a Professor of Sustainable Agriculture at Warren Wilson College where he educates his students on subjects such as entomology, agriculture, agroecology, and soil science. As someone that considers himself a “science, practice, and movement” agroecologist, Joshua is here to offer his unique perspective on urban agriculture as a whole. Joshua discovered his fascination with food systems during his undergraduate studies at UC Berkeley – specifically the sociology of how people interact with these systems. This interest ultimately led him to study insects and their role in agricultural ecosystems… In this episode, you will learn about: The challenges that urban farmers face. How the cost of water and insects can interfere with farming practices. How urban farmers can work together to create “an economy of scale”. Why soil-less systems may be a viable solution to urban farming issues. Want to learn more about Joshua and his outlook on sustainable agriculture? Click here now! Episode also available on Apple Podcasts: https://apple.co/3bO8R6q

Discipline (Four Way Books, 2024), Debra Spark's latest novel was inspired by the life of Walt Kuhn, who introduced Americans to modern art, and also by an infamous east coast boarding school that was forcibly shut down in 2014. The novel twists and turns through the lives of an artist and his wife, a teenager forced to attend a horrifying boarding school, the artist and his wife's lonely daughter after their deaths, and a divorced art appraiser studying the works of the dead artist. Discipline addresses teenagers whose lives are molded by thoughtless adults and women who struggle with loneliness or are taken advantage of by the unscrupulous. It's a coming-of-age story, a mystery about an art theft, but this gorgeous novel is also about family, ambition, and suffering. DEBRA SPARK is the author of five novels, two collections of short stories, and two books of essays on fiction writing. Her most recent books are the novel Unknown Caller and the essay collection And Then Something Happened. With Deborah Joy Corey, she co-edited Breaking Bread, a book of food essays by Maine writers to raise funds for a hunger nonprofit. Her short work has appeared in Agni, AWP Writers' Chronicle, the Boston Globe, the Cincinnati Review, the Chicago Tribune, Epoch, Esquire, Five Points, Food and Wine, Harvard Review, Huffington Post, Maine Magazine, Narrative, New England Travel and Life, the New England Review, the New York Times, Ploughshares, salon.com, the San Francisco Chronicle, the Washington Post, Yankee, and Yale Alumni Quarterly, among other places. In addition to writing book reviews, fiction, articles, and essays, she spent a decade writing about home, art, and design for Maine Home+Design, Decor Maine, Down East, Dwell, Elysian, Interiors Boston, New England Home, and Yankee. She writes a monthly book review column of French books in English translation for Frenchly.us. She has been the recipient of several awards including Maine's 2017 READ ME series, a National Endowment for the Arts fellowship, a Bunting Institute fellowship from Radcliffe College, Wisconsin Institute Fellowship, Pushcart Prize, Michigan Literary Fiction Award, and John Zacharis/Ploughshares award for best first book. A graduate of Yale University and the Iowa Writers' Workshop, she is a professor at Colby College and teaches in the MFA Program for Writers at Warren Wilson College. When she's not working, Spark exercises, studies French, spends time with friends and family, bakes gluten-free, and belongs to a cookbook book club. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Discipline (Four Way Books, 2024), Debra Spark's latest novel was inspired by the life of Walt Kuhn, who introduced Americans to modern art, and also by an infamous east coast boarding school that was forcibly shut down in 2014. The novel twists and turns through the lives of an artist and his wife, a teenager forced to attend a horrifying boarding school, the artist and his wife's lonely daughter after their deaths, and a divorced art appraiser studying the works of the dead artist. Discipline addresses teenagers whose lives are molded by thoughtless adults and women who struggle with loneliness or are taken advantage of by the unscrupulous. It's a coming-of-age story, a mystery about an art theft, but this gorgeous novel is also about family, ambition, and suffering. DEBRA SPARK is the author of five novels, two collections of short stories, and two books of essays on fiction writing. Her most recent books are the novel Unknown Caller and the essay collection And Then Something Happened. With Deborah Joy Corey, she co-edited Breaking Bread, a book of food essays by Maine writers to raise funds for a hunger nonprofit. Her short work has appeared in Agni, AWP Writers' Chronicle, the Boston Globe, the Cincinnati Review, the Chicago Tribune, Epoch, Esquire, Five Points, Food and Wine, Harvard Review, Huffington Post, Maine Magazine, Narrative, New England Travel and Life, the New England Review, the New York Times, Ploughshares, salon.com, the San Francisco Chronicle, the Washington Post, Yankee, and Yale Alumni Quarterly, among other places. In addition to writing book reviews, fiction, articles, and essays, she spent a decade writing about home, art, and design for Maine Home+Design, Decor Maine, Down East, Dwell, Elysian, Interiors Boston, New England Home, and Yankee. She writes a monthly book review column of French books in English translation for Frenchly.us. She has been the recipient of several awards including Maine's 2017 READ ME series, a National Endowment for the Arts fellowship, a Bunting Institute fellowship from Radcliffe College, Wisconsin Institute Fellowship, Pushcart Prize, Michigan Literary Fiction Award, and John Zacharis/Ploughshares award for best first book. A graduate of Yale University and the Iowa Writers' Workshop, she is a professor at Colby College and teaches in the MFA Program for Writers at Warren Wilson College. When she's not working, Spark exercises, studies French, spends time with friends and family, bakes gluten-free, and belongs to a cookbook book club. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On the women who've designated themselves as voices for the Earth and prioritizing joy amidst the truths of our times.  (0:00) - Introduction to Mallory McDuff and the Podcast (1:52) - Hannah Herman's Connection to Mallory McDuff (4:49) - The Power of Climate Storytelling (6:20) - Colette Pichon Battle's Story (12:03) - Ayanna Elizabeth Johnson's Focus on Ocean Justice (24:50) - Mari Copeny's Activism in Flint, Michigan (36:11) - Kendra Pinto's Fight Against Fracking in New Mexico (44:55) - Conclusion and Call to Action Mallory McDuff discovered the field of Environmental Education as a Peace Corps volunteer in the Central African Republic, where she saw the critical importance of integrating local communities in conservation. She's the author of four books examining the intersection of spirituality and the climate crisis: Natural Saints (OUP, 2010), Sacred Acts (New Society Press, 2012), Our Last Best Act: Planning for the End of Our Lives to Protect the People and Places We Love (Broadleaf Books, 2021), and Love Your Mother: 50 States, 50 Stories, and 50 Women United for Climate Justice (Broadleaf Books, 2023).     She also co-authored a book for practitioners Conservation Education and Outreach Techniques (OUP, 2015) and written more than 50 essays for the New York Times, Washington Post, WIRED, Newsweek, and more.    In this episode, we discuss Love Your Mother.   Much of her writing draws on her life at Warren Wilson College, where she lives with her two daughters. In her classes, students collaborate with diverse community partners—from youth to senior citizens—to teach and learn together using the forests, farms, and fields of the campus.

******Support the channel******Patreon: https://www.patreon.com/thedissenterPayPal: paypal.me/thedissenterPayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuyPayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9lPayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpzPayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9mPayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ******Follow me on******Website: https://www.thedissenter.net/The Dissenter Goodreads list: https://shorturl.at/7BMoBFacebook: https://www.facebook.com/thedissenteryt/Twitter: https://x.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Todd May is Professor of Philosophy at Warren Wilson College. He is a political philosopher who writes on topics of anarchism, poststructuralism, and post-structuralist anarchism. He is the author of eighteen books of philosophy, most recently Should We Go Extinct?:  A Philosophical Dilemma for Our Unbearable Times. In this episode, we focus on “Should We Go Extinct?”. We start by framing the debate between people who are in favor and against human extinction, and we talk about the different kinds of extinction, and arguments in favor and against human extinction. We also discuss the value that humanity brings to the world, as well as the harms. We talk about antinatalism, longtermism, and Dr. May's own position.--A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, JERRY MULLER, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, FILIP FORS CONNOLLY, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, DIEGO LONDOÑO CORREA, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, EDWARD HALL, HEDIN BRØNNER, DOUGLAS FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, PAUL-GEORGE ARNAUD, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, AMAURI MARTÍNEZ, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, IGOR N, JEFF MCMAHAN, JAKE ZUEHL, BARNABAS RADICS, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, GEORGE CHORIATIS, VALENTIN STEINMANN, PER KRAULIS, ALEXANDER HUBBARD, BR, MASOUD ALIMOHAMMADI, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, STARRY, MAURO JÚNIOR, 航 豊川, TONY BARRETT, BENJAMIN GELBART, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, AND TED FARRIS!A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, AL NICK ORTIZ, NICK GOLDEN, AND CHRISTINE GLASS!AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER, SERGIU CODREANU, BOGDAN KANIVETS, ROSEY, AND GREGORY HASTINGS!

In this engaging episode, Jenn takes us on a personal journey from her early days at Warren Wilson College to her transformative experiences with AmeriCorps, and ultimately into the dynamic world of nonprofit fundraising. She opens up about how these formative chapters shaped her passion for service and provided the foundation for her career in the sector.During our conversation, Jenn dives into several compelling topics, including:Debunking Fundraising Myths: Jen discusses the biggest myth about nonprofit fundraising and shares what it truly takes to succeed in this field.The Value of Relationships: She explains why strong, authentic relationships are the cornerstone of effective fundraising and long-term nonprofit success.The Significance of CFRE: As a Certified Fundraising Executive (CFRE), Jenn outlines what this credential means for her career and why it matters for nonprofits.Asheville's Resilience Post-Helene: Jenn also reflects on how Asheville and the surrounding areas have been faring since Hurricane Helene, providing a unique perspective on recovery and community resilience.Join us as we unpack the highs and lows of nonprofit fundraising, and gain actionable insights from a leader who's navigated the challenges and celebrated the triumphs along the way.Visit Conversing Carolina at https://conservingcarolina.org/Call to Action: Don't miss this inspiring conversation! Subscribe now and share your thoughts with us on social media.

As Nazi tanks roll toward Leningrad in August 1941, an unmarried nineteen-year-old ballerina gives birth to twin girls in the soon-to-be besieged city. Bereft of hope, the dancer—once a rising star at the Kirov—slashes her wrists, but her babies survive, rescued by the devoted friend who arrives just too late to save their mother. The friend, too, is a dancer with the Kirov, and her tutelage and self-sacrifice ensure that the girls, Maya and Natasha, become students at the Vaganova Academy after the Siege of Leningrad is broken. We meet the twins as they enter their senior year in 1958. At once inseparable and competitive, Maya and Natasha have developed quite different personalities, with Natasha the leader and future star, Maya her loyal follower. But as they turn seventeen, various factors pull them apart: boys; the changing climate of Khrushchev's USSR; and the approaching end to their schooling, which even in a state-run economy doesn't guarantee anyone a specific place in the world. But it's when the state declares that, in response to recent defections by artists to the West, only one member of any given family can join the Kirov Ballet that Maya and Natasha must confront the reality that one sister's success will come at the cost of the other's. How each of them responds to that challenge drives the rest of this thoroughly engrossing novel. And although neither girl really recognizes it until near the end of the book, the choices each makes are driven at least in part by their determination to fulfill the goals their mother never had the chance to achieve. Weaving together such disparate elements as the Cuban Missile Crisis, the Cold War competition that drove the exchange between the New York City Ballet's visit to Moscow and the Kirov's tour of the United States in 1962, the filming of Sergei Bondarchuk's monumental version of War and Peace, and the difficult yet rewarding training that produces elite dancers, Maya and Natasha (Mariner Books, 2025) explores the eternal bond between sisters while prompting readers to consider just how far they would go to achieve a cherished goal. Elyse Durham, a graduate of the MFA Program for Writers at Warren Wilson College, lives in Kalamazoo, Michigan, with her husband, who is a Greek Orthodox priest. Maya & Natasha is her debut novel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

As Nazi tanks roll toward Leningrad in August 1941, an unmarried nineteen-year-old ballerina gives birth to twin girls in the soon-to-be besieged city. Bereft of hope, the dancer—once a rising star at the Kirov—slashes her wrists, but her babies survive, rescued by the devoted friend who arrives just too late to save their mother. The friend, too, is a dancer with the Kirov, and her tutelage and self-sacrifice ensure that the girls, Maya and Natasha, become students at the Vaganova Academy after the Siege of Leningrad is broken. We meet the twins as they enter their senior year in 1958. At once inseparable and competitive, Maya and Natasha have developed quite different personalities, with Natasha the leader and future star, Maya her loyal follower. But as they turn seventeen, various factors pull them apart: boys; the changing climate of Khrushchev's USSR; and the approaching end to their schooling, which even in a state-run economy doesn't guarantee anyone a specific place in the world. But it's when the state declares that, in response to recent defections by artists to the West, only one member of any given family can join the Kirov Ballet that Maya and Natasha must confront the reality that one sister's success will come at the cost of the other's. How each of them responds to that challenge drives the rest of this thoroughly engrossing novel. And although neither girl really recognizes it until near the end of the book, the choices each makes are driven at least in part by their determination to fulfill the goals their mother never had the chance to achieve. Weaving together such disparate elements as the Cuban Missile Crisis, the Cold War competition that drove the exchange between the New York City Ballet's visit to Moscow and the Kirov's tour of the United States in 1962, the filming of Sergei Bondarchuk's monumental version of War and Peace, and the difficult yet rewarding training that produces elite dancers, Maya and Natasha (Mariner Books, 2025) explores the eternal bond between sisters while prompting readers to consider just how far they would go to achieve a cherished goal. Elyse Durham, a graduate of the MFA Program for Writers at Warren Wilson College, lives in Kalamazoo, Michigan, with her husband, who is a Greek Orthodox priest. Maya & Natasha is her debut novel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

As Nazi tanks roll toward Leningrad in August 1941, an unmarried nineteen-year-old ballerina gives birth to twin girls in the soon-to-be besieged city. Bereft of hope, the dancer—once a rising star at the Kirov—slashes her wrists, but her babies survive, rescued by the devoted friend who arrives just too late to save their mother. The friend, too, is a dancer with the Kirov, and her tutelage and self-sacrifice ensure that the girls, Maya and Natasha, become students at the Vaganova Academy after the Siege of Leningrad is broken. We meet the twins as they enter their senior year in 1958. At once inseparable and competitive, Maya and Natasha have developed quite different personalities, with Natasha the leader and future star, Maya her loyal follower. But as they turn seventeen, various factors pull them apart: boys; the changing climate of Khrushchev's USSR; and the approaching end to their schooling, which even in a state-run economy doesn't guarantee anyone a specific place in the world. But it's when the state declares that, in response to recent defections by artists to the West, only one member of any given family can join the Kirov Ballet that Maya and Natasha must confront the reality that one sister's success will come at the cost of the other's. How each of them responds to that challenge drives the rest of this thoroughly engrossing novel. And although neither girl really recognizes it until near the end of the book, the choices each makes are driven at least in part by their determination to fulfill the goals their mother never had the chance to achieve. Weaving together such disparate elements as the Cuban Missile Crisis, the Cold War competition that drove the exchange between the New York City Ballet's visit to Moscow and the Kirov's tour of the United States in 1962, the filming of Sergei Bondarchuk's monumental version of War and Peace, and the difficult yet rewarding training that produces elite dancers, Maya and Natasha (Mariner Books, 2025) explores the eternal bond between sisters while prompting readers to consider just how far they would go to achieve a cherished goal. Elyse Durham, a graduate of the MFA Program for Writers at Warren Wilson College, lives in Kalamazoo, Michigan, with her husband, who is a Greek Orthodox priest. Maya & Natasha is her debut novel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/historical-fiction

 What do human beings owe planet Earth? How are we responsible to future generations? Those are some pretty weighty questions. But in reality, if you're confronting the climate crisis, it should bring about some pretty weighty philosophical issues, shouldn't it? So to help, we called in popular philospher Todd May to guide us through tackling some of those biggest of big picture questions we could ponder. A renowned philosopher and advisor to NBC's The Good Place with 18(!) books published on philosophy, Todd has a wide area of expertise that includes thinking critically about humanity's role in the climate crisis and our moral responsibility to act. Now, he's out with a new book, Should We Go Extinct? A Philosophical Dilemma for Our Unbearable Times, that explores these issues from a philosopher's perspective.    In this conversation, we explore the moral implications of human existence in the context of the climate crisis, how we should think about future generations, and why it's critical to pay attention to the interconnectedness of environmental issues. We also examine the importance of recognizing our role within the natural world and our moral responsibility in the face of ongoing deforestation, factory farming, and ecosystem damage. Todd's philosophical inquiries help show us how we can navigate the complexities of existence and focus our attention on critical actions, even when simple answers to big picture questionsa are unavailable. Todd May is a philosopher and the author of eighteen books of philosophy, was a philosophical advisor to the television sit-com The Good Place and currently teaches at Warren Wilson College. Read Should We Go Extinct? A Philosophical Dilemma for Our Unbearable Times. As always, follow us @climatepod on Twitter and email us at theclimatepod@gmail.com. Our music is "Gotta Get Up" by The Passion Hifi, check out his music at thepassionhifi.com. Rate, review and subscribe to this podcast on iTunes, Spotify, Stitcher, and more! Subscribe to our YouTube channel and our Substack, The Climate Weekly.

My guest today on the Online for Authors podcast is Cynthia Reeves, author of the book The Last Whaler. Cynthia Reeves is the author of three books of fiction: the Arctic novel The Last Whaler; the novel in stories Falling Through the New World, winner of Gold Wake Press's Fiction Award; and the novella Badlands, winner of Miami University Press's Novella Prize. Her short stories, essays, and poetry have appeared widely. Most recently, her short story “The Last Glacier” was featured in If the Storm Clears, an anthology that concerns the sublime in the natural world. Her lifelong interest in the Arctic began in childhood reading tales of doomed Arctic explorers. But it was her participation in the 2017 Arctic Circle Summer Solstice Expedition, which sailed Svalbard's western shores, as well as three subsequent residencies in Longyearbyen and a trip around Iceland's Ring Road, that have inspired her writing since then. Cynthia earned an MFA from Warren Wilson College and taught creative writing at Bryn Mawr and Rosemont Colleges. Find out more at cynthiareeveswriter.com. In my book review, I stated The Last Whaler is a historical fiction that looks at the will to survive in the harshest circumstances. We follow Astrid through her journal entries, while we follow her husband, Tor, through his journal entries ten years later. The back and forth allows the reader to see Astrid struggles in real time as well as Tor's reflections - and all the things he missed. Astrid is strong-willed and vibrant. She is educated and dedicated. She wants - very much - to move on beyond a tragedy. A summer spent with her husband, a whaler, on a remote island, seems to be the ticket. She will revive her relationship. She will study the flora. She will find forgiveness for herself. Except, the Arctic has other ideas. This story, beautifully told, explores mental illness, religious faith, man's impact on the environment, and the solace of storytelling. You won't want to miss it. Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1 Join the Novels N Latte Book Club community to discuss this and other books with like-minded readers: https://www.facebook.com/groups/3576519880426290 You can follow Author Cynthia Reeves Website: https://www.cynthiareeveswriter.com/ FB: @cynthia.reeves.921 IG: @cynthia_p_reeves X: @cynthiapreeves   Purchase The Last Whaler on Amazon: Paperback: https://amzn.to/3WxCDBv Ebook: https://amzn.to/3WBlSpa   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1 #cynthiareeves #thelastwhaler #historicalfiction #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview *As an Amazon Associate I earn from qualifying purchases.

Megan Pinto is the author of Saints of Little Faith, her debut collection.  Her poems can be found in the Los Angeles Review of Books, Ploughshares, Lit Hub and elsewhere. She has won the Anne Halley Prize from the Massachusetts Review and an Amy Award from Poets & Writers, as well as scholarships and fellowships from the Bread Loaf Writers' Conference, the Martha's Vineyard Institute of Creative Writing, the Port Townsend Writers' Conference and Storyknife.  Megan lives in Brooklyn and holds an MFA in poetry from Warren Wilson College. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sparks fly in Megan Staffel's novel, The Causative Factor (Regal House 2024), when Rachel is randomly paired with Rubiat, a fellow student, for an assignment in their college art class. After a heavenly night together, they go hiking, and he dives off a cliff, disappearing without a trace. Although Rachel graduates with an art degree, moves to New York, and supports her painting as an ESL teacher, she's scarred for years by the mystery of Rubiat's disappearance. This is a sweet coming-of-age, but also a suspense-filled novel told in shifting viewpoints, about art, growing up, making choices, and finding love. Megan Staffel splits her time between a farm in western New York State and an apartment in Brooklyn. She is an avid walker, bird watcher, and gardener. Her new novel, The Causative Factor, was inspired by a hike she took with her husband in a state park in October, 2020 and grew into a story about an artist trying to understand the mysterious disappearance of her lover. Staffel's interest in the arts and in the process of art-making has been a life-long passion. Her first novel, She Wanted Something Else, was a story about an artist as well. Staffel's other book publications include a third novel and three collections of short stories. She taught for many years in the MFA program at Warren Wilson College and writes a monthly Substack newsletter, "Page and Story." Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Sparks fly in Megan Staffel's novel, The Causative Factor (Regal House 2024), when Rachel is randomly paired with Rubiat, a fellow student, for an assignment in their college art class. After a heavenly night together, they go hiking, and he dives off a cliff, disappearing without a trace. Although Rachel graduates with an art degree, moves to New York, and supports her painting as an ESL teacher, she's scarred for years by the mystery of Rubiat's disappearance. This is a sweet coming-of-age, but also a suspense-filled novel told in shifting viewpoints, about art, growing up, making choices, and finding love. Megan Staffel splits her time between a farm in western New York State and an apartment in Brooklyn. She is an avid walker, bird watcher, and gardener. Her new novel, The Causative Factor, was inspired by a hike she took with her husband in a state park in October, 2020 and grew into a story about an artist trying to understand the mysterious disappearance of her lover. Staffel's interest in the arts and in the process of art-making has been a life-long passion. Her first novel, She Wanted Something Else, was a story about an artist as well. Staffel's other book publications include a third novel and three collections of short stories. She taught for many years in the MFA program at Warren Wilson College and writes a monthly Substack newsletter, "Page and Story." Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In his 1979 Whole Earth Catalog, Stewart Brand wrote, “We are as gods, so we might as well get good at it.” Based on his time on the Mississippi River, however, Boyce Upholt concludes “that we do not make very good gods.” In the final pages of The Great River: The Making and Unmaking of the Mississippi, Upholt reflects, “The river is an unappeasable god, and to react to it with fear and awe is not wrong. . . . Perhaps what people learn after thousands of years of living along one of the world's greatest rivers is that change is inevitable, that chaos will come. That the only way to survive is to take care–of yourself and of everyone else, human and beyond.”Boyce Upholt is a “nature critic” whose writing probes the relationship between humans and the rest of the natural world, especially in the U.S. South. Boyce grew up in the Connecticut suburbs and holds a bachelor's degree from Haverford College and an MFA from the Program for Writers at Warren Wilson College. His work has been published in the Atlantic, National Geographic, the Oxford American, and Virginia Quarterly Review, among other publications, and was awarded the 2019 James Beard Award for investigative journalism. His stories have been noted in the Best American Science & Nature and Best American Nonrequired Reading series. Boyce lives in New Orleans.Book photo courtesy of Boyce Upholt.

Today's episode is a must-listen for anyone curious about the creative process or determined to turn their dreams into reality. We're sitting down with Michelle Collins Anderson, author of The Flower Sisters, a captivating novel that's been making waves since its release earlier this year.In our conversation, Michelle opens up about the journey of turning a dream into reality—what it really takes to write this historical fiction novel, face rejection, and push through the challenges to see her dream come to life. We also explore the inspiration behind The Flower Sisters—the intricate storytelling, the characters, and the heart that went into making this book something special. Whether you're a fan of Michelle's work or someone who needs that extra push to pursue your dreams, this is an episode you won't want to miss!Special Guest: Author Michelle Collins AndersonMichelle Collins Anderson grew up in the Missouri Ozarks, a place and a way of life that have shaped her writing. She holds a Bachelor of Journalism degree from the University of Missouri and an MFA from Warren Wilson College. Her debut novel, The Flower Sisters, was an instant USA Today best-seller. Michelle's short fiction has been nominated for a Pushcart Prize and appeared in Nimrod International Journal, Literal Latté, Midwestern Gothic, Elder Mountain: A Journal of Ozarks Studies, bosque, Literary Mama and Storied Hills: An Anthology of Contemporary Ozark Fiction. She and her husband have three adult children and live in St. Louis with two sister cats and a border collie.Follow Michelle at:https://www.instagram.com/michelle_collins_anderson/To purchase the book, go to: https://www.amazon.com/Flower-Sisters-Michelle-Collins-Anderson/dp/149674828X

William Goldberg is the co-founder and head distiller of Oak and Grist Distilling Co. in Black Mountain, North Carolina. The distillery is located in the devastating path that Hurricane Helene charted across Western North Carolina in late September. Fortunately, Oak and Grist was in large part spared of damage and all of its employees are safe. Goldberg, who is a graduate of nearby Warren Wilson College, recently joined Jon Page, who also lives in the area, to discuss his own experience in the storm, how Oak and Grist is helping the community in Helene's aftermath, the long road to recovery for Western North Carolina, and the future of the distillery. Help support Oak and Grist's staff: https://www.gofundme.com/f/aid-oak-grist-team-through-hurricane-recovery?qid=985e46050c8567fc9b5ba91d61aa5dbd Buy Oak and Grist products online: https://www.oakandgrist.com/spirits

Coach Davis shares his journey from growing up in New Hampshire to amassing a 486-313 record as college basketball coach. Davis moved to North Carolina in high school and went on to play college basketball at Warren Wilson College - where he would eventually be enshrined into their hall of fame. After graduating from Warren Wilson he got his start coaching at South Stanly High School. Coach Bobby Lutz brought Dave Davis on staff at Pfeiffer as a Volunteer Assistant prior to Dave accepting the position of Head Coach at Warren Wilson College. Pfeiffer hired Coach Davis to lead their men's basketball program in in 1996 and during his 14 years at the helm, the Falcons compiled a 284-124 including six conference titles, three NCAA Division II Tournament appearances - including advancing to the Sweet 16 along with an Elite 8 appearance in 2004. Coach Davis accepted the job at Newberry College and they led the South Atlantic Conference in scoring seven times resulting in winning over 55% of his games during his nine seasons as Head Coach. After 486 victories Coach Davis accepted the Associate Head Coach position under Pat Kelsey at Winthrop, where he was instrumental in their back-to-back Big South Conference Tournament Championships. Coach Kelsey brought Davis to College of Charleston where they improved the Cougars' win total by eight games. After the 2020-2021 season Coach Davis accepted the Associate Head Coach position at VMI and remained there until retiring in January of 2024. **Sponsored by FastModel** Be sure to check out FastModelSports.com and use the promo code "BOXSCORE" for 15% off your purchase. --- Support this podcast: https://podcasters.spotify.com/pod/show/beyondtheboxscore/support

The 1st episode of our 6th season features a conversation between Irish author and 2024 Heimbold Chair Emilie Pine, Villanova creative writing professor Adrienne Perry, Villanova student Charlotte Ralston and Center Director Joseph Lennon. They have a wide-ranging discussion about the writing process, flow and the role of the reader. - - - Emilie Pine is an award-winning Irish creative writer and scholar. Dr. Pine is professor of Modern Drama in the School of English, Drama and Film at University College Dublin. She has published widely as an academic and critic, including The Politics of Irish Memory: Performing Remembrance in Contemporary Irish Culture (Palgrave, 2011), and most recently The Memory Marketplace: Witnessing Pain in Contemporary Theatre (Indiana University Press, 2020). Dr. Pine served as editor of the Irish University Review from 2017 to 2021. Widely regarded as a leading scholar of Irish cultural memory, Dr. Pine led Industrial Memories, an Irish Research Council funded project to witness Ireland's historic institutional abuse. She continues to run the ongoing oral-history project Survivors Stories with the National Folklore Collection. As a writer, Dr. Pine collaborated with ANU Productions on the Ulysses 2.2 project in 2023, creating All Hardest of Woman at the National Maternity Hospital. Her first play, Good Sex, was a collaboration with Dead Centre Theatre Company, and was shortlisted for Best New Play and Best Production at the 2023 Irish Times Irish Theatre Awards. She is the author of the bestselling essay collection, Notes to Self, which won the 2018 Irish Book of the Year award and has been translated into 15 languages. Her novel Ruth & Pen (2022) won the 2023 Kate O'Brien First Novel Award. Adrienne Perry, earned her MFA from Warren Wilson College, and her PhD in Literature and Creative Writing from the University of Houston. From 2014-2016 she served as the Editor of Gulf Coast: A Journal of Literature and Fine Arts. In 2020, Adrienne received the inaugural Elizabeth Alexander Prize in Creative Writing from Meridians journal. Adrienne's work has appeared or is forthcoming in Copper Nickel, Black Warrior Review, Indiana Review, Ninth Letter, and elsewhere. She is an Assistant Professor of literature and creative writing at Villanova University. Charlotte Ralston recently graduated in 2024 with a BA English and Psychology with minor in Irish Studies.

In this episode, I talk with author and novelist about his recent hybrid memoir and cultural exploration, Always Crashing in the Same Car. We discuss his fascination with figures who faced creative crises in Hollywood, from F. Scott Fitzgerald, filmmaker Hal Ashby or musician Warren Zevon to more overlooked but similarly brilliant figures like Carole Eastman, the screenwriter of the 1970s classic Five Easy Pieces.We also explore the realities of growing up in LA, including being “celebrity-adjacent.” That's perhaps best illustrated by the time Marlon Brando left an incredible monologue in the form of a voicemail. We do a deep dive into the attraction of hybrid memoir for fiction writer, Matthew's approach to research, and whether it's possible any longer to be a middle-class creative in Hollywood.--------------------------“All of those kind of impulses fused in me, and eventually, and I sort of realized, like, oh, this is what I want to write. I want to write a book that's a memoir that isn't about me, or a memoir that's only kind of, you know, partly about me.”--------------------------Key Takeaways* Always Crashing In the Same Car pays homage to figures who've faced both genius and marginalization in Hollywood, including Thomas McGuane, Renata Adler, Carole Eastman, Eleanor Perry, Hal Ashby, Michael Cimino, Warren Zevon & more. The book is about “those who failed, faltered, and whose triumphs are punctuated by flops...”* Matthew shares his fascination with Carol Eastman, best known for Five Easy Pieces. He was deeply touched by her prose writings, comparing her to poets like Hart Crane and Wallace Stevens.* The book and the interview also delves more deeply into women's contributions to Hollywood, focusing on other overlooked talents like Eleanor Perry and Elaine May. Matthew reflects on his mother, a one-time screenwriter, and how her generation had less opportunity to develop their skills.* Why a hybrid memoir? Matthew was reading, and inspired by, writers like Hilton Als, Heidi Julavits, and Olivia Laing. He wanted to create a narrative that wasn't limited to—or rather moved beyond—the self, weaving together cultural criticism about Hollywood and creative crises.* We talk a lot about voice, which Matthew says is crucial for him to discover early on. “Once I can locate the voice for any piece of writing... I have it in the pocket,” he says. The narrator of this book blends personal reflections with a noir quality, he says.* Matthew sees himself as a novelist at heart. He considers the narrative tools of a novelist indispensable, even when writing memoirs and cultural critiques: “I am fundamentally a novelist….I think that's part of being a fiction writer or novelist is, you know, anything that you write is a kind of criticism in code. You're always responding to other texts.”* Matthew begins by explaining his unique research style: "I'm kind of ravenous and a little deranged about it…” His research process involves intuitive dives, like a two-day blitz through Carol Eastman's archives.* The discussion also touched on Matthew's upbringing with a mom who was a one-time screenwriter and who crossed the picket line during one writer's strike, and his father, who had modest beginnings but went on to become a famous Hollywood “superagent” representing Marlon Brando, Morgan Freeman, Helen Mirren & many others.* At the same time, Matthew explores misconceptions around Hollywood glitz, addressing the middle-class reality of many involved in the film industry. For a long-time, Hollywood could support such middle-class creatives, Matthew contends, something that is no longer really possible.* Addressing the evolution of the entertainment industry, Matthew notes the shift towards debt servicing, influenced by corporate acquisitions. This financial pragmatism often overrides the creative impulse, squeezing the middle class out.* Another takeaway? The creative world, especially in Hollywood, is fraught with periods of drift and struggle. In one sense, Always Crashing In the Same Car is a love letter to that state of things.--------------------------"I still kind of think of [Always Crashing…] as being secretly a novel. Not because it's full of made up s**t…but because I think sometimes our idea of what a novel is is pretty limited. You know, there's no reason why a novel can't be, like, 98% fact."--------------------------About Matthew SpecktorMatthew Specktor's books include the novels That Summertime Sound and American Dream Machine, which was long-listed for the Folio Prize; the memoir-in-criticism Always Crashing in The Same Car: On Art, Crisis, and Los Angeles, California, and The Golden Hour, forthcoming from Ecco Press. Born in Los Angeles, he received his MFA in Creative Writing from Warren Wilson College in 2009. His writing has appeared in the New York Times, GQ, The Paris Review, Tin House, Black Clock, and numerous other periodicals and anthologies. He is a founding editor of the Los Angles Review of Books.Resources:Books by Matthew Specktor:* Always Crashing in the Same Car: On Art, Crisis, and Los Angeles, California* American Dream Machine* That Summertime Sound* Slow Days, Fast Company by Eve Babitz, introduction by Matthew SpecktorReferenced on this episode:* The Women, by Hilton Als* Low, by David Bowie* The Great Gatsby, This Side of Paradise, The Last Tycoon, The Pat Hobby Stories, and The Crack-Up, by F. Scott Fitzgerald* F. Scott Fitzgerald on Writing, edited by Larry W. Phillips* The Folded Clock: A Diary, by Heidi Julavits* The Lonely City, by Olivia Laing* 300 Arguments, by Sarah Manguso* “Bombast: Carole Eastman,” by Nick Pinkerton* “The Life and Death of Hollywood,” by Daniel Bessner, Harper's, May 2024.CreditsThis episode was produced by Magpie Audio Productions. Theme music  is "The Stone Mansion" by BlueDot Productions. Get full access to The Book I Want to Write at bookiwanttowrite.substack.com/subscribe

Shades on, sleeves up—it's summertime and we're back! This week, Jordan talks with Amy Lin, author of Here After, about grief, the sudden loss of her husband, miracles, and her family's history with thin places. Amy Lin lives in Calgary, Canada where there are two seasons: winter and road construction. She completed her MFA at Warren Wilson College and holds BAs in English Literature and Education. Her work has been published in places such as Ploughshares and she has been awarded residencies from Yaddo and Casa Comala. She writes the Substack At The Bottom Of Everything where she wonders: how do we live with anything? Here After is her first book. Hosted on Acast. See acast.com/privacy for more information.

Join host Sherry Bagley as she chats with Denise Mitten, PhD, an internationally recognized for her innovative scholarship in outdoor and environmental pedagogy, ethics, and gender, and Jill Overholt, associate professor of outdoor leadership at Warren Wilson College. This episode delves into the significance of research in experiential education, focusing on understanding program impacts and addressing biases. They explore the diverse benefits of nature, including physical, social, and spiritual aspects, and discuss the importance of nuanced approaches to these topics. The conversation also highlights the critical role of mentoring the next generation of experiential educators, underscoring the need for kindness, social and environmental stability, and connection in the field.

Day 17:  Sebastian Merrill reads his poem “To My Ghost :: Float” from his book GHOST :: SEEDS (Texas Review Press, 2022).  Sebastian Merrill's debut collection GHOST :: SEEDS was selected by Kimiko Hahn as the winner of the 2022 X. J. Kennedy Poetry Prize, published by Texas Review Press in November 2023. A winner of the 2024 Stonewall Honor Book - Barbara Gittings Literature Award from the American Library Association, GHOST :: SEEDS was also selected by Ellen Doré Watson as the winner of the 2022 Levis Prize for Poetry from Friends of Writers. Sebastian's poetry has appeared in The Common, Four Way Review, Diode Poetry Journal, wildness, and elsewhere. He holds an MFA in Poetry from Warren Wilson College and a BA from Wellesley College.  Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Queer Poem-a-Day is directed by poet and professor Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this fourth year of our series is from the second movement of the “Geistinger Sonata,” Piano Sonata No. 2 in C sharp minor, by Ethel Smyth, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission.  

Day 6: Angel Nafis reads her poem “Why R&B First Thing in the Morning, Why R&B Above All,” originally published on The Rumpus in 2015.  Born in Chicago, Illinois and raised in Ann Arbor, Michigan, Angel Nafis is a writer and the author of BlackGirl Mansion (Red Beard Press/ New School Poetics, 2012). She earned her BA at Hunter College and her MFA in poetry at Warren Wilson College. Her work has appeared in The Academy of American Poets' Poem-a-day, BLACK FUTURES, The Rumpus, Poetry Magazine, Buzzfeed Reader and elsewhere. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Queer Poem-a-Day is directed by poet and professor Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this fourth year of our series is from the second movement of the “Geistinger Sonata,” Piano Sonata No. 2 in C sharp minor, by Ethel Smyth, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission.   

We kick off this episode with some riffing on Hallmark movies and a suspension of Jason's voting rights. No worries, though! The two poems under discussion are by a former student of Jason's and it comes clear pretty quickly that we're all fans. Don't listen to this episode for the suspense, but for the delicious delve into narrative possibility and how poetry is wonderfully suited to keeping the door open long after a poem ends. Indented lineation and how it can affect a poem's pacing gets some attention, as does the sensory tease of wonderfully selected symbolism and imagery. We also touch on the implication of the reader in a poem where the speaker is still working things out. In this film-tinged discussion, Kathy reminds us that a sweet ending can hit the spot, Sam confesses to thinking a lot about “Baby Boom”, Dagne owns up to seeing Raiders of the Lost Art eleven times when it was first released, Jason pays homage to Diane Keaton and Liza Minelli, and Isabel poses a question that underscores our theme of narrative possibility.   Some links we think you'll like: Whisky & Rum in Raiders of the Lost Ark, ThirstMag.com How Baby Boom Set the Template for Future Movies About Working Mothers, Vulture   At the table: Kathleen Volk Miller, Jason Schneiderman, Samantha Neugebauer, Isabel Petry, Dagne Forrest     Georgia M. Brodsky is a recent graduate of the MFA Program for Writers at Warren Wilson College. She lives south of Boston, near the ocean, with her partner and their daughter.   The Tavern   After I cracked the 6-ball off the table, he offered to teach me to drive stick in the parking lot.   Before: whiskey in no-one's-joking-sized shot glasses, the kind   the cool girl in Indiana Jones throws back then stacks like a champ while men fall off their stools   around her. Heavy glasses. No windows. Just the door to the lot, to the harbor   eventually, where earlier that day I'd seen a girl my age with a pocketknife, cleaning a fish.   She'd plucked the eyes out, let them sit on the ground staring up   like a figment in Charlie Kaufman's dreams. Every story is a version of something else.   I followed him to his car. I didn't. I laughed and touched his arm. I balled my hands into fists. My body   felt something was wrong. I felt nothing. It always turns out alright in the end. It never does.   I'm the girl who climbed into the truck and the one who got home safe. I taught myself   how to drive stick and how to run the table. I'm the girl in the harbor. All eyes.   At the Raw Bar, Housing Three Dozen Oysters for our Eighth Anniversary   We're not in it for the sex, if that's what you're thinking. And besides, I'm not the kind of person who shucks and tells. That was a joke. But it's exactly what I'm talking about. I'm the kind who makes jokes when something matters too much.   We're not in it for the sex. It's more about what happens after the shell unlatches: brine, salt, alive, pulling us in by the shirt, shaking us and putting us down as if tentacles had launched out from under the ice.   That wasn't a metaphor for our relationship. I'm honest to God talking about oysters: the knock-back, the vinegar zip, extra lemon on the side. A feeling like our bodies could turn back into fish. A speedboat revving from zero to sixty, that's how it felt to throw down my first Mookie Blue after nine pregnant months. Forget forks or sauce or napkins. If every drop of oyster liquor doesn't make it to your mouth, you shouldn't even be here, and by here, I mean sitting across the bar, gaping at us, saying, wow, that's a lot of oysters, or standing on the shores of an oyster farm, complaining that the wind's too cold.   Am I getting any closer to explaining myself? When we first met, he traced his finger along the coves of Maine's coast, a chart of waterways and kayak routes, I swear, the only freshman with a map of water pinned to his dorm room wall, and that was fourteen years ago, but in that moment, I loved him. We toast with a click of our shells— he lifts one to his lips.

The Exploring Antinatalism Podcast #86 – Todd May Welcome, to episode #86 of The Exploring Antinatalism Podcast! A podcast, showcasing the wide range of perspectives & ideas throughout Antinatalism as it exists today, through interviews with Antinatalist & non-Antinatalist thinkers & creators of all kinds - now running 5 years strong! I'm your host, Amanda Sukenick, and today, I'm speaking with Professor of Philosophy at Warren Wilson College, Philosophical advisor to the hit NBC sitcom The Good Place, and author of many books include the upcoming book, Should We Go Extinct?: A Philosophical Dilemma for Our Unbearable Times - Todd May!Buy the book here: https://a.co/d/iXd9ooJPre-order now, the book is released on August 6th https://www.toddmayphilosopher.com/https://en.wikipedia.org/wiki/Todd_Mayhttps://www.nytimes.com/2020/10/20/opinion/philosophy-death-atheism.htmlThe Antinatalism, Extinction, and the End of Procreative Self-Corruption launch event is on May 15th! Please get into contact with me if you have any quotes we can use about the book at exploringantinatalism@gmail.com!Buy Antinatalism, Extinction, and the End of Procreative Self-Corruption HERE!: https://www.cambridge.org/us/universitypress/subjects/psychology/developmental-psychology/antinatalism-extinction-and-end-procreative-self-corruption?format=PBAlso on Amazon!: https://www.amazon.com/Antinatalism-Extinction-Procreative-Self-Corruption-Neuroethics/dp/1009455303/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=Read it for free HERE!: https://www.cambridge.org/core/elements/antinatalism-extinction-and-the-end-of-procreative-selfcorruption/A88E18CA50EF6D919CE459C007447DB4#elements DOI: https://doi.org/ Watch our video on the book: HERE!: https://www.youtube.com/watch?v=zyqgQfcMeyYVisit the Towarzystwo Naukowe im. Stanisława Andreskiego merch shop! HERE!: https://tnsa.myspreadshop.pl/Donate to Nimrod HERE!!: https://gogetfunding.com/the-antinatalist-european-tour/More about Nimrod's: The EuropeAN Tour 2024 HERE!: https://www.youtube.com/watch?v=3W_sLihBFSohttps://dontprocreate.org/?fbclid=IwAR1THRzl4jCm9hsuym-iFFjb3jkWrYkTgtHLhpJxoHULfRjo0P_vM3QdDSchttps://www.youtube.com/@Europe-AN-Tour-2024

This week Sarah talks with author and educator Natalie Serber, a former mentor of hers that she met randomly - so random - during the pandemic. They talk about writing good endings, loving your worst characters, and how Natalie thrived after her breast cancer diagnosis. About Natalie Serber: Natalie Serber is a fiction writer, essayist, and educator. She is the author of Shout Her Lovely Name, a book that was reviewed by the NY Times Book Review, O Magazine and the San Francisco Chronicle. She also wrote Community Chest, a compilation of essays written during her recovery from breast cancer. Natalie received an MFA from Warren Wilson College. Her work has appeared in The Bellingham Review and Gulf Coast, among others, and her awards include the Tobias Wolff Award. She teaches writing at various universities and lives with her family in Portland, Oregon. Show Notes Shout Her Lovely Name https://bookshop.org/p/books/shout-her-lovely-name-natalie-serber/7083353?ean=9780544002210 Community Chest https://bookshop.org/p/books/community-chest-natalie-serber/11699906?ean=9780692492598 Natalie's essay on consent https://memoirland.substack.com/p/the-accurate-term Read.Write.Eat Substack https://readwriteeat.substack.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesidewoo/message

While we believe many of you will find value in this special episode, we acknowledge that today's topic revolves around trauma, boundaries, and mental health. While informative, it may be triggering for some. Please prioritize your well-being and remember this episode will always be available for you to revisit. Today's episode is all about understanding the impact of trauma on creatives. Along with our guest Marie Romeo, Allison is taking over the mic this week and digging into: - The concept and definition of trauma and what it might look like for all humans - The ways that trauma may show up during sessions and impact our work as artists - The power of vulnerability and how it helps increase creativity - Sustainability in business and hustle culture, especially for women and moms - And so much more! Marie Romeo is a trauma focused therapist who utilizes a holistic approach to work with her clients. She specializes in working with individuals who have experienced early childhood trauma, as well as who struggle with PTSD. Marie's counseling program also hosts a program for offenders who have used sexual violence, and she specializes in working to address the impact of sexual abuse and domestic violence on individuals and communities. Marie has been working in the Western North Carolina area for the last 10 years, and comes to the region via Brooklyn, NY. She teaches adjunct in the Social Work department at Warren Wilson College, and she is a proud momma of her beautiful 6-year daughter, and a sweet Boston Terrier. Marie.romeo@ncinspire.com (631) 889-3817 Marie Romeo, Clinical Social Work/Therapist, Asheville, NC, 28803 | Psychology Today Connect with TMA: Website | Membership | Courses: https://www.themotherhoodanthology.com Free Community: https://www.facebook.com/groups/themotherhoodanthology  Our Instagram: https://instagram.com/themotherhoodanthology Connect with Kim: Site: https://kimbox.com  IG https://www.instagram.com/kimbox  Connect with Allison  Site: https://www.lentillephotography.com/ IG: https://www.instagram.com/lentillephotography Connect with Jenny:  Site: https://www.jennycrugerphotography.com/ IG https://www.instagram.com/jennycrugerphotography

Debra Spark is the award-winning author of five novels, including Unknown Caller, which was picked for Maine's statewide summer READ ME program.  She has also published two collections of short stories; and two books of essays on fiction writing called And Then Something Happened and Curious Attractions.   Her book reviews, short fiction, articles, op-eds, and essays have appeared in Agni, American Scholar, AWP Writers' Chronicle, and the Boston Globe among others.  Her new novel is Discipline.  She is the Zacamy Professor of English at Colby College and teaches in the MFA Program for Writers at Warren Wilson College. We talked about the value of art, if beauty can save people, the real and fictional boarding school in Maine that used abusive techniques on teenagers, the role of women in the art world usually being in service to men, parenting, and creating parallel lines in a narrative piece of creative writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cynthia Sylvester's The Half-White Album (University of New Mexico Press 2023) is a collection of stories, flash fiction, and poems revolving around the journey of a travelling band, The Covers. The stories are songs on the album, beginning with “Live at the House of Towers,” about a woman's memories of her mother and home. The story of Shima (and her husband Claude) begins with all of her six daughters being taken by missionaries. The 10-year-old youngest, whom she calls The Last One, and the missionaries call Ruth, keeps running away. Shima is afraid because the missionaries will teach them to forget the songs and stories of their people. In Live at the House at the Edge of the World, Ruth is grown and eating dinner with Albert. We meet Margarita, who was born with cerebral palsy and is confined to a wheelchair and a parade of other characters who struggle to love, live, and survive in a harsh world. These are stories of hope and despair, family and banishment, based out west in what was once the wide-ranging country of native American tribes. Cynthia Sylvester is born into the Kiyaa'áanii Clan for the Bilagáana Clan and is an enrolled member of the Diné. She is a native of Albuquerque, New Mexico. Her work has appeared in numerous literary magazines. She received the Native Writer Award at the Taos Writer's Conference. She graduated from the University of New Mexico and received her MFA in creative writing from the MFA Program for Writers at Warren Wilson College. Cynthia hosts Albuquerque DimeStories—3-minute stories written and read by the author. Hosting DimeStories is a way to give back and foster a writing community. A community of writers is at the core of what she attributes to her success, endurance, and joy in writing. Writing is a solitary endeavor. “So much of what we writers write never sees the light of day.” A DimeStorie, fiction or non-fiction, is a way to have an achievable goal each month (about 500 words) and provides a venue to read the work to a receptive audience. Having a community of writers is important because Cynthia, like many writers, works a “9 to 5.” Her profession for over thirty years has been physical therapy. She comes from a line of “medicine women.” Her mother and aunts were nurses, and she and her sister have health professions. Cynthia's career in medicine is often reflected in her work as a writer. When not working as a writer or a PT, Cynthia loves to box, take walks with her wife and their dog, Zeus, hang out with friends and family and talk about writing, TV shows, movies, books, sports, what happened last week or last year, whatever if there is a story involved, Cynthia is in her happy place. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Cynthia Sylvester's The Half-White Album (University of New Mexico Press 2023) is a collection of stories, flash fiction, and poems revolving around the journey of a travelling band, The Covers. The stories are songs on the album, beginning with “Live at the House of Towers,” about a woman's memories of her mother and home. The story of Shima (and her husband Claude) begins with all of her six daughters being taken by missionaries. The 10-year-old youngest, whom she calls The Last One, and the missionaries call Ruth, keeps running away. Shima is afraid because the missionaries will teach them to forget the songs and stories of their people. In Live at the House at the Edge of the World, Ruth is grown and eating dinner with Albert. We meet Margarita, who was born with cerebral palsy and is confined to a wheelchair and a parade of other characters who struggle to love, live, and survive in a harsh world. These are stories of hope and despair, family and banishment, based out west in what was once the wide-ranging country of native American tribes. Cynthia Sylvester is born into the Kiyaa'áanii Clan for the Bilagáana Clan and is an enrolled member of the Diné. She is a native of Albuquerque, New Mexico. Her work has appeared in numerous literary magazines. She received the Native Writer Award at the Taos Writer's Conference. She graduated from the University of New Mexico and received her MFA in creative writing from the MFA Program for Writers at Warren Wilson College. Cynthia hosts Albuquerque DimeStories—3-minute stories written and read by the author. Hosting DimeStories is a way to give back and foster a writing community. A community of writers is at the core of what she attributes to her success, endurance, and joy in writing. Writing is a solitary endeavor. “So much of what we writers write never sees the light of day.” A DimeStorie, fiction or non-fiction, is a way to have an achievable goal each month (about 500 words) and provides a venue to read the work to a receptive audience. Having a community of writers is important because Cynthia, like many writers, works a “9 to 5.” Her profession for over thirty years has been physical therapy. She comes from a line of “medicine women.” Her mother and aunts were nurses, and she and her sister have health professions. Cynthia's career in medicine is often reflected in her work as a writer. When not working as a writer or a PT, Cynthia loves to box, take walks with her wife and their dog, Zeus, hang out with friends and family and talk about writing, TV shows, movies, books, sports, what happened last week or last year, whatever if there is a story involved, Cynthia is in her happy place. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Cynthia Sylvester's The Half-White Album (University of New Mexico Press 2023) is a collection of stories, flash fiction, and poems revolving around the journey of a travelling band, The Covers. The stories are songs on the album, beginning with “Live at the House of Towers,” about a woman's memories of her mother and home. The story of Shima (and her husband Claude) begins with all of her six daughters being taken by missionaries. The 10-year-old youngest, whom she calls The Last One, and the missionaries call Ruth, keeps running away. Shima is afraid because the missionaries will teach them to forget the songs and stories of their people. In Live at the House at the Edge of the World, Ruth is grown and eating dinner with Albert. We meet Margarita, who was born with cerebral palsy and is confined to a wheelchair and a parade of other characters who struggle to love, live, and survive in a harsh world. These are stories of hope and despair, family and banishment, based out west in what was once the wide-ranging country of native American tribes. Cynthia Sylvester is born into the Kiyaa'áanii Clan for the Bilagáana Clan and is an enrolled member of the Diné. She is a native of Albuquerque, New Mexico. Her work has appeared in numerous literary magazines. She received the Native Writer Award at the Taos Writer's Conference. She graduated from the University of New Mexico and received her MFA in creative writing from the MFA Program for Writers at Warren Wilson College. Cynthia hosts Albuquerque DimeStories—3-minute stories written and read by the author. Hosting DimeStories is a way to give back and foster a writing community. A community of writers is at the core of what she attributes to her success, endurance, and joy in writing. Writing is a solitary endeavor. “So much of what we writers write never sees the light of day.” A DimeStorie, fiction or non-fiction, is a way to have an achievable goal each month (about 500 words) and provides a venue to read the work to a receptive audience. Having a community of writers is important because Cynthia, like many writers, works a “9 to 5.” Her profession for over thirty years has been physical therapy. She comes from a line of “medicine women.” Her mother and aunts were nurses, and she and her sister have health professions. Cynthia's career in medicine is often reflected in her work as a writer. When not working as a writer or a PT, Cynthia loves to box, take walks with her wife and their dog, Zeus, hang out with friends and family and talk about writing, TV shows, movies, books, sports, what happened last week or last year, whatever if there is a story involved, Cynthia is in her happy place. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In the first episode of Season 1, co-hosts Annie Liontas and Lito Velázquez speak with LitFriends Angela Flournoy & Justin Torres about their enduring friendship, writing in a precarious world, and chosen family. Links https://sites.libsyn.com/494238 www.annieliontas.com www.litovelazquez.com https://linktr.ee/litfriendspodcast https://www.instagram.com/litfriendspodcast/ https://www.facebook.com/profile.php?id=61553436475678 https://justin-torres.com/ https://www.angelaflournoy.com/ https://www.asalisolomon.com/ Transcript Annie & Lito (00:01) Welcome to LitFriends! Hey LitFriends! Annie: Welcome to the show. Lito: Today we're speaking with the great writers and LitFriends, Justin Torres and Angela Flournoy. Annie: About chosen family, the dreaded second novel, and failure and success. Lito: So grab your bestie and— 
 Both: Get ready to get lit! Lito: That's so cute. Annie: It's cute. It's cute. We're cute! Lito: Cute, cute… So you had a question? Annie (00:29) I do. I have a question for you, Lito. Are you a cat or an ox? Lito: I mean, I would hope that the answer is so obvious that it almost bears not asking the question. I'm a cat. Annie: Okay, so Asali Solomon at The Claw asked us all, are you an ox or a cat? Lito: That's a great question. Annie: And as a writer... You know, the oxen are the people who work every day in the field, clock in, clock out, pay themselves a quarter an hour. I'm literally talking about me. The cats are people who are playful, exploratory, when the mood strikes them… Lito: Why are you looking at me when you say that? Annie Lito (01:26) So are you an ox or a cat? Lito: I'm a cat. I think anyone who's ever met me would say I'm a cat. Annie: How does that show up in your writing? Lito: Well, I mean, play is so important to me—she'll be on the  podcast in a couple of episodes, but when I first...was studying with Lucy, that was one of the first things that she spoke about in our class, and it kind of blew up my whole world. I had been writing for a long time already, but I hadn't thought of it as play, or there was some permission I needed or something. So the idea of play is really central to what I do and love. You wouldn't necessarily know that from the novel that I'm writing, which is sort of a dark book. Um, but it did start out with a lot of play and, I'm also, as you could probably just hear, my cat is coming into the room. Annie: Your cat is like, yes, Lito is us. RiffRaff is like, "Lito is cat." Lito: My cat Riff Raff, yes. Smarty pants. Um, he needed to join in on this conversation. Anyways, I'm a cat. I, I'm fickle when it comes to my work. Um. I don't want to work on my novel all the time, which is great because life has found so many ways to prevent it from happening. So in the new year, in 2024, it will be 7 years since I've started writing this book, and it's still, it's going to take a few more months at least. And what about you? Annie:  (03:09) I'm four oxen pulling a cart carrying all of my ancestors. I am very much the immigrant who says, get up, go do the work, come back, go do the work. And believe it or not, for me, there is a lot of joy in that. It's a... It allows, you know, it's Csikszentmihalyi's Flow, actually. So it doesn't feel like drudgery, usually. It does feel like joy. And I'm actually curious for all you LitFriends out there, if you're an ox or a cat. Lito: Yes, that's such a great idea. Please email us at litfriendspodcast@gmail.com, and tell us if you're a cat or an oxen or share on all your socials. Annie: Yeah, maybe we should poll them. That would be fun. Lito: That's a good idea. #LitFriendsPodcast. Annie: The reason I'm asking is because, of course, both Justin and Angela, who we speak with today in this episode, talk about what it's like to go for 10 years between books. "A banger a decade," is what Angela says. Lito: It's so funny. Annie: And you, you know, part of that, they have this very rich conversation about how, when you put everything into the first book, it takes a lot to get to the second book. But I think also there's a lot of play, right? And there's a lot of understanding that writing appears in different forms. And it might be the second novel, but it might be something else. Lito: For sure. I really like how they talk about— that the practice of writing is actually a practice of reading. And I think that any serious writer spends most of their time reading. And not just reading books, but texts of all kinds, in the world, at museums, as Justin points out, art, television, even the trashiest TV show has so much to offer. Annie: (05:12) And there's such a generosity to the way they think of themselves as artists, and also generosity in how they show up for one another as friends, and acknowledging when they fail one another as we as we see in this episode. And I remember my introduction to Justin when I was a grad student at Syracuse. I read We the Animals and fell in love with it, asked him to come do a reading at Syracuse, which was wonderful. And my wife who, at that time was my Bey-ancé, she was turning 30. We had no money. I couldn't buy her anything. Not in grad school. So I asked Justin if he would autograph his story, "Reverting to a Wild State," which is about a breakup in reverse, for Sara. Lito: Oh, I love that story. Annie: And he did, and he thought it was so beautiful, and I was like, "let me send it to you." He's like, "no, I've got it." He just shipped it to me. He didn't know me. We didn't know each other. Lito: He knew you because of books. He knew you because he loved literature. Annie: Yeah. And I remember that in it. I held on to it at a time when that act really mattered. Lito: One of the things I love about our interview with Justin and Angela is how much all of us talk about generosity, and how Justin and Angela display it in their conversation with each other and with us. And I'm just curious, how do you see that coming through also in Angela's work? Annie: (07:00) You know, I remember her talking about how the idea for the book began with this image of people moving around a house at night. This is The Turner House. And she says this image opens up a lot of questions. And one of the things that really stays with me about that book is how masterful she is at shifting perspective, particularly between siblings, which I find to be such a challenge for writers, right? Like your siblings are the people who are closest to you and sometimes also the farthest away. And she gets that so intimately on the page. And of course, in our conversation with Angela and Justin, one of the things they talk about is being family, essentially being siblings. And that's one of the most powerful echoes of the conversation. They talk about being a chosen family and having to choose again and again and again. And that spirit of consciousness and connection, I feel that very much in Angela's work, and of course in Justin's too. Lito: Oh Annie, I choose you again and again, I choose you. Annie: Oh, I choo-choo-choose you! Lito: So stupid. Annie: (08:05) After the break, we'll be back with Justin and Angela. Annie: (08:24) And we're back. Lito: I just wanted to mention, too, that we spoke with Angela and Justin in October during the writer's strike in Hollywood, and just before Justin's new book, Blackouts, was released. And just last week, as you're hearing this podcast. Annie: Just last week. Lito: Just last week! He won the National Book Award for a book that took him 10 years to write. Annie: Absolutely. Annie: Justin Torres is the author of Blackouts, a novel about queer histories that are hidden, erased and re-imagined. Blackouts won the 2023 National Book Award for fiction. His debut novel, We the Animals, has been translated into 15 languages and was adapted into a feature film. He was named National Book Foundation's Five Under 35. His work appears in the New Yorker, Harper's, Granta, Tin House, Best American Essays, and elsewhere. He lives in Los Angeles and teaches at UCLA. Lito: Angela Flournoy is the author of The Turner House, which was a finalist for the National Book Award, won the VCU-Cabel First Novel Prize, and was also a finalist for both the Center for Fiction First Novel Prize and an NAACP Image Award. Angela is a contributing writer at the New York Times Magazine, and her nonfiction has appeared in The Nation, the Los Angeles Times, The New Yorker, and elsewhere. Angela is a faculty member in the low residency MFA program at Warren Wilson College. Lito: (10:36) I'm so grateful that you guys found time to meet with us today, and I've thought about you two as friends since I think this is like the first time you've done something like what you did in 2017, the "Proper Missive"—do you remember that—you published in Spook? And it stuck with me. I was like a big, nerding out, and I bought it and I have it still. And I thought about that. And Justin, you know that you're very personal— there's a personal connection with me because I found your book on my way to my first master's program. No one had said anything about it to me where I was coming from, and it was really great. And Angela, I first found your book. I was so amazed and moved by the talk you don't remember at Syracuse. Angela: I don't remember the lunch. I remember being at Syracuse, and there being a talk, yes. Lito: You inscribed your book, "Here's to Language," which I think is hilarious and also really sweet. And I think we must have said something about language at some point. But anyways, thank you so much both for being here. Justin: Thank you for having us. Angela: Very happy to be here. Lito: So let's start. Why don't you tell us about your friend in a few sentences? So Angela, you can go first. Tell us about Justin. Angela: (11:23) Justin is the first person that I met in Iowa City when I was visiting and deciding if I was going to go there, but was I really deciding no? I'll let you go there. But that I could like, deciding whether I would be miserable while I was there. And so Justin was the first person I met. And feel like Justin is five years older than me. It has to be said.  Justin: Does it? Angela: When I think about people, and I think about like mentors, I have other like amazing mentors, but like, I think that there's really something special about somebody who some people might think is your peer, but like, in a lot of ways you've been like looking up to them and, um, that has been me with Justin. I think of him as like a person who is not only, he's a Capricorn, and he has big Capricorn energy. I am an Aquarius. I do not want to be perceived— Justin: I don't agree with any of this. But I don't know. I don't follow any of this. Angela: But Justin is in the business of perceiving me and also gathering me up and helping me do better. My life is just always getting better because of it. I'm grateful for it. Annie: That is beautiful, all of that is beautiful. Justin, tell us about Angela. Justin: I can't follow that, that is so...  Angela: Acurate! Justin: You're so prepared! You're so sweet! I'm so touched! Angela: Only a Capricorn would be touched by somebody saying that you perceive them and gather them up and make them feel better. Ha ha ha! Justin: I like that, I do like that. Let's see, yeah. I mean, I think that when we met, I had already been in Iowa for a year, and within two seconds, I was like, oh, we're gonna be friends, and you don't know it yet. But I knew it intensely. And yeah, I think that one of the, I agree that I think we keep each other honest, I think. I think that one of the things that I just so appreciate about Angela is that, you know, yeah, you see my bullshit. You put up with it for like a certain amount of time, and then you're like, all right, we need to talk about the bullshit that you're pulling right now. And I love it, I love it, love it, love it, because I don't know, I think you really keep me grounded. I think that, yeah, it's been really (14:09) wonderful to have you in my life. And like, our lives really, really kind of pivoted towards one another. You know, like we've, it was not just like, oh, we were in grad school and then, you know, whatever, we have similar career paths, so we stayed friends or whatever. It's like, we became family. And, you know, every, every kind of major event in either of our lives is a major event, a shared major event, right? And that's like, yeah, I don't know. I can't imagine my life without you. I honestly can't. Angela: Likewise. I gave birth in Justin's home. Annie: Oh! Sweet! Justin: In my bathroom, over there. Right over there. Lito: Whoa, congratulations, and also scary(?)! Angela: It's in a book I'm writing, so I won't say so much about it, but it was a COVID home birth success story. And yeah, like family. Lito: Was that the plan or did that just happen? Angela: Well, It wasn't the plan and then it was the plan. Justin: Yeah, exactly. COVID wasn't the plan. Angela: No. Justin: The plan was Angela was gonna sublet my place with her husband and she was pregnant. And then, COVID happened Angela: There were a lot of pivots. But we did, it was like enough of a plan where we got his blessing to give birth in his home. Justin: It wasn't a surprise. Angela: It was a surprise that it was in the bathroom, but that's a different story. Annie: You blessed that bathroom is all I can say. Angela: Yeah. Lito: We'll be right back. Back to the show. Annie: (16:22) Well, I want to come back to what Lido was saying about proper missives. I love the intimacy. I mean, I know you weren't writing those to one another for kind of public consumption, but the intimacy and the connection, it's so moving. And I was thinking about, you know, Justin, you, you talk about Angela as kind of pointing the way to beauty and helping you see the world anew or differently. And Angela, you talked about how Justin encourages you to take up space as a political act. I'm just wondering what else you all have taught one another. What has your LitFriend taught you? Justin: Yeah, I mean, we did write that for public consumption. Angela: Yes, it was the editor-in-chief of Spook, Jason Parham. Spook is relaunching soon, so look out for it. He just told me that, like, the other day. And he's moving to L.A. So many things are happening. But he reached out to us and was really interested in—he's a big archives guy and like how—he thought it was valuable the way that writers of past generations, they have these documents of their letters to each other, to their editors, to their friends, to their enemies, and how this generation, because we're just texting through it, we don't really have that. And so that was really just the extent of the assignment, was to write letters to each other, which, of course, we still ended up using email to do. But we really tried to keep it in the spirit of a letter and not just something you kind of dash off. Justin: And we were not living in the same place at that time. Angela: No. Justin: So it was, it did feel kind of— Angela: I was in Provincetown, I think. Justin: Yeah, I remember I was on a train when I was, when I was doing— I can't remember where I was going or, but I remember a lot of it was— or a few of those correspondences— because it went over days, weeks. Lito: Yeah, you were going to Paris. Angela: Oh. Glamorous train. You were on the Eurostar. Justin: Wow. Annie: You basically said the same thing then, Angela. Call him out. Justin: (18:32) Yeah, and I think that what I was saying was that one of the things I loved about that was it really forced us to dive deeper, right? To kind of— Sometimes we can stay very much on the surface because we talk every day. And so it was really nice to see, not just what was kind of on your mind in the background, but also how you were processing it, how you kind of made language and meaning out of it. I was just like... I don't know, it's like, I know you're so deep, but then we also love to be shallow. And so it's so nice to be like, to connect from that deep place. Annie: One of the things that I'm so drawn to about both of your work is how you write about family, the way it shapes us, the way it wounds us, what it means to watch family members suffer. You talk about it as the question of the donut hole in "Proper Missive. Angela, I remember you were writing about your father. When you were writing about him, you talk about, "the assumption that a flawed person should be subject to anyone's definition." And Justin, I'm thinking quite broadly in terms of, you know, chosen or logical family. One of my favorite pieces that I teach in my creative non-fiction class is "Leashed," and you write there, "my friends, those tough women and queers were all too sharp and creative for their jobs. If I'm nostalgic, it's not because I was happy in those precarious years, but because I was deeply moved by our resourcefulness." I'm just wondering how you think about, you know, (20:09) family, logical family, and how your lit friendship fits into this? Justin: Who's going first? Angela: You. Justin: Let's see, I think that it's such a great question. I actually like, I use that little short kind of tiny little piece that you referenced. I use that in my book, in Blackouts, that's coming out. I think that, which is a book about chosen family as well, and lineages, and what do you do when you feel there's some kind of disruption, right? That like if you're estranged from your biological family or you know or you just need these connections, these kind of queer connections to and other ways of thinking about family that are not related to (21:06) bloodlines. Like we said earlier, we are family, and we've known that for quite a while. It was something that, I don't know. You know, it's like something that I don't think you ever really need to say. It's just you know who your people are. And I think that, and I think that it's a choice that you make and remake again and again and again. And that is something that is, I don't know, it's so exceptional, right? Compared to bloodlines and biological family, which can be hugely important and bring a lot of meaning to people. But that you're choosing this again and again. Like almost like the kind of past tense chosen family is like, it's like a little bit inaccurate, right? It's like the family you choose, and keep choosing, and you're choosing right now, you know? So I love that. Yeah. Angela: Just that the continuity of it, not in the sense that it's always going to be there, but that like you are, you're like an active, uh, engager like in it. In it, I just think about, I think about that, like, uh, at this point we know each other for 14 years. And the way that there's just necessarily we're not the same people but you have to keep, and you have to keep engaging, and you have to keep figuring out how to navigate different things and I think particularly as like LitFriends there's the huge thing you have to navigate which is especially if you're friends before that you're just like some kids who got into this program that people think are fancy, but you're just like, anything can happen, right? From there to being the capital— going from just like lowercase w, "writer," to capital A, "Author." And like what that, I mean, I've seen many a friendship where that is the rupture. And so particularly figuring out, like, how are you going to navigate that, and how are you going to still be in each other's lives. (23:16.33) Um, one thing I think about, as a person who thinks about family a lot is, with your family, sometimes you can like harm one another, and you'll just take some time off, or you'll just be like, that's how they are. But with the family that you continue to choose, you have to, ideally, you gotta do something about it. You have to actually have the engagement, and you have to figure out how to come out on the other side of it. And that is something that is harder and really in so many ways, all the more precious because of it. And it requires a kind of resilience and also just like a trust. And again, because Justin, you know, likes to gather me up, there's been a few times when I was like, "Oh, no, like, we've got beef, what's gonna happen?" And Justin is like, "we're family, what's gonna happen is we're gonna have to talk about this beef, and then move on." Justin: Yeah. And I think that I think that also you have, you're really good at reminding me to be responsible, right? That just because I've made this commitment, in my mind, right, Like we're committed forever. Like we're family. Like we can't, we can't break up, right? Like it's just like, that's just the way it is. It doesn't get me off the hook of showing up in other ways and being responsible and like, you know, that I can be quite flaky. Angela: I mean, that's just, you've been in L.A. long enough. It's just, you're just becoming native. Justin:  I think I always don't, I don't wanna disappoint you. I don't want you ever to feel like you were looking around for support, and I wasn't there. Angela: Do people cry on this podcast? Annie: We time it. Right at the half hour. Justin: There's been a few moments when I feel it, when I've felt (25:21) maybe that wasn't there enough, you know? And, you know, and if, you know, and like, I don't know, that's when you know it's the real stuff because it like keeps me up at night. You know, I'm just like, wow, you know, what does she need? What can I give? How can I be there? And yeah. Angela: Wow.  There you are. Justin: Here we are. Annie: Lito and I are also family, and it sort of feels never too late. But what you're saying about kind of the like renewing your vows, renewing your commitment over and over, it feels very, very true. Lito: Very true. Yeah yeah yeah. Annie: And life-saving, you know, like life affirming. Lito: It feels real. Justin: Yeah. Look at us. I'm proud of us. I'm proud of you guys too. Lito: It's a love fest over here. Angela: Thanks for having it. Annie: We'll be right back. Annie: (26:26) Welcome back. Angela: Also, particularly again, thinking about a lot of the friends that you have, they're not necessarily also sometimes colleagues. And I think that one thing that Justin really modeled, because I didn't have anything to be transparent about, was just transparency about things. Not just how much he's getting paid for things, but just like what was worth it, what's not worth it, like what is just the way something is and you can like take it or leave it. And I think that in the beginning it was more of me kind of taking that information because I didn't have anybody offering me anything. But now I feel like it's really an exchange of information. And I think that there are people who I love, like, in this industry, if you will, who that's just not our relationship. That doesn't mean we don't have great friendships, but like that is something that like if I'm broke, he knows I'm broke. I never feel the need to pretend and hide or like, you know, and likewise, like if he don't got it, I know he don't got it. It's not, it's just, it just, and I feel like that is something also that is a, it's, um, I think it's important. Especially because you write a book, you know, it does well. And then there are some years in between before you write another. Some of us in this room, maybe take a decade. All of us in this room, maybe take a decade. But yeah, so just really being able to be, to feel like you can still show up at any point in whatever you're doing creatively. Justin: (28:16) Because this is about literary friendships, I think that it's, yeah, there's those two sides, right? There's the business side, which can cause a lot of friction, especially if, you know, things go differently for different books and people have different trajectories. I mean, you're like, you know:  you've surpassed.  Angela: I don't know if that's true.  Justin: But there's that like business side of it. And then there's the literary side as well. And I think that sometimes if it just slides too much into talking about—it's like we could both be selling sprockets, right? There's so much minutiae. It's like we could talk about contracts and whatever and like gigs and da-da-da ad nauseam. And we have to remember to talk about literary side, the literature, the work, the sentences, what we're reading in order to kind of sustain the literary quality of a literary friendship, right?  Angela: One thing I remember you told me, I don't know, ages ago that I thought at the time like oh he's gassing me he's practicing things that he says his students tell me—but now I realize that it is also one of the reasons why our friendship has sustained is you were like ,you know, we can talk about whether a book is successful in 800 ways, but we have to try to remember to just be fans, to be fans of books, of literature, of people writing. And I think that is something that I not only try to practice, but that's something that I think is really foundational to relationship. Everyone can be a hater, and it can be fun sometimes, but like… (30:08) We really do like want to put each other on to the books that we're like excited about. Like I remember when you read or reread Seasons of Migration to the North by Tayeb Salih, and I hadn't read it before.  I mean, it's like a, it's a seminal or really a really famous African text, but I had never read it. Or like Maryse Condé, like I hadn't read it as like a real adult and being able to just like talk about that and know that there's a person who's, you know, you could be in polite conversation with somebody who you think is really smart and then you're like you know what I decided I wanted to reread—I don't know—something a person might wanna reread and they're like, Oh, what are you gonna do next? You gonna read a Moby Dick? And you're like, Oh damn, they just shamed me. You know, they just shamed me for being a nerd. But that's not gonna happen here. Yeah, beautiful. Yeah, yeah, absolutely.  Annie: I do wanna go back to something you were alluding to. Angela, you were talking quite openly about it, too, which is shifting from writer to capital A author and the pressure that comes with that.  For the two of you, you had incredible well-deserved success early in your career, but I imagine that doesn't come without a lot of sleepless nights, right? I'm thinking about an interview I heard with Ta-Nehisi Coates where he talks about his friends not reaching out thinking, like, He's good, like, You blew up, you're good. And talking about actually what a lonely position that can be. I'm just wondering, you know, how you've both managed to take care of one another through those highs and lows, or being on that track alongside one another.  And even, you know, competition between lit friends. Justin: (32:13) Yeah, I mean, I think that we're just kind of, like our dispositions: we're very lucky in that I think we, before we met, it wasn't something that we like decided on. It was just before we met, I think we're just boosters, right. We're like, The people we love, their success is our success, right? And I think that's one of the reasons to where we are such good friends, it's because we share that, right? So that I think makes it slightly easier as far as like the competition side of things goes. I think that if it really does feel like you're a family and you're community and like you understand that this is a kind of shared win. I don't know, it's hard to talk about though because we both got really lucky.  Angela: Yeah.  Justin: You know, I mean, who wants to hear from people who got really lucky with their first books talking about how hard it is? You know what I mean?  We just, we didn't have, we didn't have any kind of that disparity between— Angela: Yeah, I'm sure, but—I would say even so—if we had different dispositions, we might be trying to split hairs about who got what. But I think for me—and Justin and I grew up very differently in some ways, but I think we grew up from a class background similarly, and we're both like, We're not supposed to be here, like, what can we get? Like, what can we get? And like, who has the information to help us get it? And so I've never been like, why is he in that room when I'm not in that room? I'm like, give me the intel about the room. That might be the closest I ever get to being in there, but I need to know like what's going on in there. And that has, I think, been the way that I just view any success of anybody that I know. that I feel like I can ask those questions to is like, not necessarily like, oh, can you put me on? Like now that you have something, can I have some of it? But just like, just information, just like, what's it like? And that to me is really useful. But also I think that one thing, when you have people, not just Justin, but like other friends and mentors of mine, when you have people who are honest and upfront about whatever kind of success they've had, you… you just realize that there's a lot of different ways to feel successful, right? Because I have friends who, to me, I'm like, they made it, but they're not convinced they have. And I have other friends that, like, to the outside world, they'd be like, wow, they have a little book, nobody cares. But they feel like they did it, you know? And so I realized it's so much about disposition also. Lito:   Do you feel that a lot about being each other's boosters? I mean, obviously it's about your personalities and who you are as people. I'm also curious how much of that, like Angela, you said you were a gatecrasher. You feel like a gatecrasher a lot. I don't know. What are your thoughts on intersectionality? How does it inform your work and your friendship? How does it affect how you boost each other? I'm also curious if there's something particular about lit friendships that intersect with intersectionality and those categories, especially for people who form intimate relationships with men.  Justin:   Wait, say more.  Like how do blowjobs come in?   Angela:  (36:01.171). I was like one thing we have in common is— Lito: More like, less blow jobs, more like having to deal with men and the various ways they, you know, respond to patriarchy.  Justin: Yeah, I think you kind of said it, right? I think that there's something about hustling and figuring out, like, how am I gonna find some stability in this world.  And I mean we have nominated each other for every single thing that there is. If either one of us gets a chance.  Angela: Till the end of time.  Justin:   Till the end of time, right? And it's just, and I think that, and we've shared all information about everything. There's no, and I think that that's kind of like that quote that you read before, right, about this nostalgia and feeling nostalgic, not for the precarity, but for the way that it bonds people, right? The way that the precarity, like you pull, you share resources, you pull resources, you come together and you talk shit and you don't let people get too down in the dumps and depressed. And you're like, no, we're going to do this. We're going to get ourselves out of this hole and we're going to pull each other up. And, and that I think is like, that's, that's the secret, I think.  Angela: Are you answering the question about men?  Justin:   Oh, men!  Angela: And dealing with men.  Justin: I love that I was just like, oh, you're talking about blow jobs. But no, you were talking about patriarchy.  Lito: Same thing, really.  Annie: In the room I'm in, we do not think there's a difference.  Justin: It's fascinating, right? Because when we were at Iowa together, I remember some of the critiques I got from some of the men, some of the straight men, some of the white straight men, was about a kind of provincialism to my writing, right? That what I was writing about was small and minor and just about particularities of identity and that it wasn't broad and expansive and it wasn't universal. That was expected. That was the kind of critique that was expected. The world has changed so much and so quickly in the last 15 years. It's hard for me to kind of wrap my mind around because that kind of thing, I wasn't, I didn't feel indignant. Maybe I felt a little.  Angela: Yeah, you just, but you just like knew you were going to ignore them. Like, you know, like, but no, but you didn't feel like you were going to, like it was worth, except there were some instances we're not going to get into details, but like, it didn't feel like it was worth spending, like unpacking it or trying to call them out. You just were like, Oh, boop, you're over here. Like, you're not.  Justin: Yeah, yeah. Like, I've been hearing this shit my whole life. Like, it wasn't like, there's no space for this kind of thing in the workshop. I was like, this is the world. This is unexpected. But now I don't think that would fly, right?  Angela:   No. I think maybe in like 70% of workshop spaces that I have been in. Well, I guess I've been running them. But like, I just don't, but like also just the disposition of the students is that they assume that somebody is going to like say something or push back on that. But also I guess maybe more broadly the idea of when you say intersectionality, what do you mean exactly? Lito: I think I wanted to keep it open on purpose. But I think I mean the ways that all of these different identities that we take up and that are imposed upon us, how they intersect with one another, race, class, et cetera. Yeah. Angela: I think one of the reasons why Justin and I gravitated toward each other probably in the beginning and why we ended up in Spook is because I think that—which maybe is also not happening 15 years from then—there is a way that back then, there was a way that even your identity could be flattened, right? Like you're Puerto Rican, which means that you are like a lot of things, right? One of those things like, one of it's like we're both diasporic people, right? But that's one of the things that I think a lot of people would not necessarily think is like a kinship between us, but like I've seen pictures of Justin's cousins. I know I'm giving Primo over here. Like I know what I'm doing. And like that's one way that I think that our relationship feels like, like we just felt like kin when we first met because of that. I think that there's just a lot of ways that in a lot of spaces in this country, you're just not allowed to like have all of those parts of you in the room because people just don't understand it or they do, but they just don't want you to be that also.  Justin: It's not convenient.  Angela: Right. Which is why I was like, of course, Jason would ask you and I to be in Spook, which is a magazine that's a black literary magazine. Cause Jason gets it. Shout out to Jason again.  Justin: I can't believe he's moving to L.A., that's so exciting.  Angela: Supposedly like any day now, he's just gonna arrive. There's just ways that when you find your people, you don't have to always separate these parts of you and you don't always have to keep reminding them also, they sort of understand. But also parts of you change obviously and the way that you feel about your identity changes and your people will embrace that and keep, you know, keep making space for that too. Justin: Making space.  Annie: We'll be back in a moment with Angela and Justin. Lito: (42:22) Hey Lit Fam, we hope you're enjoying our conversation with Justin and Angela. We are quite awed by their thoughtful discussion and moved by their deep love for each other and their art. If you love what we're doing, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcasts on Apple Podcasts, Spotify, and wherever you listen to podcasts. Just a few moments of your time will help us so much to continue bringing you great conversations like this week, after week. Thank you for listening. Annie: (42:59.178) Back to our interview with Justin Torres and Angela Flournoy.  Lito: Justin, you have your sophomore book. How do you feel about it? Are you going to write a sequel for We the Animals like you talked about at one point? Angela, same question. Are there sequels coming forth for you, Angela, to Turner House, or are you moving on to something else? Or you sort of briefly mentioned another book about, uh, I remember you mentioning at some point a book about friends, four female friends, if I remember correctly. Anyways, what's coming next?  Annie: Yeah, and I wanna know about the dreaded second novel because I feel like that's where I'm at. I feel like that's where a lot of writers get stuck. Jutin: Second novel's awful. I mean, you think the first one's bad. You think it takes everything that you have inside of you and then you're like, oh, I've gotta do it again. And yeah, I don't know. I really had a very hard time with it. And I mean, nobody knows better than Angela. I really, really didn't feel like I was up to the task. I knew that I wanted to do something different. I knew I wanted to kind of change the way I write and be a different kind of writer, but I just felt like I was falling on my face.  Even after it was done and out until like last week, I was just, I just felt anxiety about it, and I felt really neurotic and I was being really neurotic. And I remember the other night we were hanging out and drinking and maybe there was some mushroom chocolate involved. I was just, like I was just on my bullshit and Angela was just like stopped and she was just like, What is it gonna take to make you happy? Like what is it gonna take? Like look around. And it was like, it was a really good intervention. But then it also led to this conversation about happiness, right? And about like whether that is the goal, right? Like feeling kind of tortured and, and feeling like this gap between what you want for your book and your own capabilities. And that never goes away. You just live in this, in this torturous phase. And like, maybe it's about just coming to acceptance with that, rather than striving for happiness. I don't know. But it's still ringing in my ear. What is it gonna take?  Lito: It's a great question.  Angela:   Maybe some projection, I don't know, on my part.  I am still working on that novel. It's due at the end or at the beginning of next year. It's gonna come out in 2025. You know, God willing. And... similarly the second novel, I think it depends on your disposition, but I think both of us are very interested in and task ourselves with having real skin in the game with what we right. That means sometimes you got to figure out where you get that skin from.  Lito: There's only so much.  Angela: Like, if you played yourself for the first book, then it's gonna take a while. And when I think about, like, when I try to count for the years, I don't know I could have done it any quicker. Like, I just don't know. And I don't think that's gonna be the case for every book, but I do think between that first and that second, especially, were you 30? Where were you? I was 30, yeah. And then I was 30, too. I was 30 also when my book came out. You're just a baby.  You're just a baby.  Lito: Do you fall into the trap of comparing yourself to other people? Well, they wrote a book in two years and I— Justin:  (47:07) Yeah, sure. I mean, I also like compare myself to people who took longer like that feels good. That feels good.  Angela: Listen, I'm like Deborah Eisenberg. Just a banger every decade. That's it. That's all I owe the world. A banger a decade. Lito: A banger a decade. I like that. I like comparing myself to Amy Clampitt, who wrote her first collection of poetry, like in her 70s or something and had some success.  Justin: I generally wish people would slow down. I mean, I get that sometimes there's just like an economic imperative, right? But if you're lucky enough that, I don't know, you get a teaching job and you can slow down, why not slow down, right? Like, I don't know, sometimes I feel like there are a lot of books in this world. And the books that somebody spent a lot of time over, whether or not they are my tastes—I'm just so appreciative of the thoughtfulness that went in.  You can feel it, right? That somebody was really considering what they're building versus dashing it off. They should slow down, if they can.  Angela: But I also feel like we need both kinds. There are people who I appreciate their books, their kind of time capsules of just like, this is the two years, this is where I was. I think of Yiyun. We need an Yiyun Li and we need an Edward P. Jones. Edward P. Jones, you're gonna get those books when you get the books. And Yiyun Li, every couple years, you're gonna get something that, to me, I still, they still feel like really good books, but they're also just like, this is where she is right here, and I respect it and I appreciate it. Everybody can't be one or the other, you know?  Justin: You're right, you're right, you're right. It's much fairer.  Annie: She's someone who, I mean, you know, seems to have changed so much even within that time period. And we had her on a couple of episodes ago and yeah, she's just on fire. She's amazing.  Justin: (49:06) And people speed up as well, right? Because her first couple of books, there were big gaps. And then same thing with like Marilynne Robinson, right? She had massive gaps between books. And then suddenly it starts to speed up. And they're coming out every year, every two years. Yeah. Annie: It's the mortality.  Lito: Well, and life, well, I think lifestyle too, right? Like what you do, how busy you are and what you do out in the world. Like going out and meeting people and being gay in the world, that takes up time.  Annie: And your work has had other lives too. I mean, I'm thinking about how We the Animals was adapted to film in that beautiful, intimate portrait. And I know, you know, Angela, you've been working with HBO and some projects as well. I'm just, just wondering if you want to talk about your work in these other media, how it's been, and even thinking about the strikes, right? Like the WGA-SAG strikes and how that has been on the ground too.  Angela:  Very happy that the strike is over. Solidarity to our SAG-AFTRA brothers and sisters still out there. I passed them on the way here on Sunset. I did honk, wish I was out there today. But I think that for me, it's just like a bonus. Like I, especially now, there's a way that right now writers will say things that are a little snobby like, Oh, I could never be in a writer's room, the group project, man. But like when now that I know so many TV writers living here and I've met so many over the past 146 days on the line, I realized that it is, you just have to be so nimble and agile and you have to also be so not precious about story. But no less smart. A lot of things might end up on TV dumb, but I don't want to blame the writers for that. Now that I really have a real understanding of just how the sausage is made and just how big of like a game of telephone it is—and how much you have to relinquish control because at the end of the day it's like you're making this text, it's literary, but it's also like an instruction manual. It's a completely different way to think about writing. And I don't know how long I live in LA or how many like of those kind of projects I will do but I'm really grateful. And one reason I'm really grateful is because doing those projects and having those years where people thought I wasn't doing anything, but I was actually writing so much and like doing so many revisions.  It helped me realize that there is a way that I blame MFAs for making us like feel very siloed. And like, if you're supposed to be a fiction writer, that's the only thing that you do that's like an output that anyone cares about. But it's so new—like, how many screenplays did Joan Didion write? Like James Baldwin wrote screenplays. Before, it was just like, you're writing, you're writing. Like it's all, it all is the job. And I think every time a poet friend of mine like puts out a novel, sends it to me, read, sends it for me to read—first off, they usually are very good. But then also I'm just like, yes, fiction writers, I think, I don't know who did it. I blame graduate programs, but they have put themselves in this small box. Justin: But yeah, I mean, it's like the MFA, a lot of them feel like teacher training programs and that the next step is teaching. But if you don't want to teach the old models, definitely like you just write for TV. Angela: You write for film, you write for magazines, newspapers, you just do the thing. And that has felt very freeing to me, to just see meet more people who are doing that and also to allow myself to do that. Justin (52:49) Yeah, I mean, I really enjoyed the process of having my film—the book made into a film. I think I had an unusual experience with that. Like a lot of times the author is cut out or, you know, is not deferred to in any way, or nobody's inviting you in. I think because it was such a low budget film, and the director is just a really wonderful person who is incredibly collaborative.  He wanted me involved in every single part of it, and so I loved that. I think, I don't know, I think I might wanna adapt Blackouts for a play. I've been thinking about it lately. Angela: You should. I mean, in so many ways, it is kind of like a two-hander. Yeah. I could see it. Yeah.  Justin: A two-hander. Look at you ready to lingo. No, that's some biz lingo.  Lito: That's going to be the title of this podcast. It's a two-hander. How has art shaped your friendship? And I mean, art, like other genres, we've talked about getting out of the box of fiction, but what movies or art or music do you love to talk about or do you just talk about everything or anything that you're watching and how have other genres affected your work? Like, do you listen to music? Are you influenced by visual art?  Angela: You wanna talk about things you watch on television? You ready to come out in that manner?  Justin: No.  Lito: You watch lots of TV? No. Are you a Housewives person?  You're a Housewives watcher, aren't you?  Justin: Housewives is too highbrow for me. I have like a…I have a secret fetish that is mine. Angela: You have to keep some things for yourself. Justin: Yes. But it's just like, that's how I turn my brain off when my brain needs to be turned off.  Annie: I will wait another decade for that story. Justin: I also like culture and high art as well. You write about art a lot. You do profiles. Angela: I do. I wish I did it more. It's just everything, you know, takes time. I think for me, like when I think about—I just am learning different ways to make a life out of, you know, out of your mind and out of art. And one thing that I've learned when I talk to, like visual artists, particularly, is this idea—I think poets also have this—but fiction writers, a friend of mine actually, a poet, recently asked me, like, how does a fiction writer get a practice, like a practice of writing? Practicing their craft in a way that like a visual artist, you know, they go to the studio practice or poet might have a practice. And I don't believe necessarily that sitting down to write every, you know, three hours every day is the same thing. Because like if you don't know what you're writing, but I really do think that practice is more grounded in reading.  Justin: And reading, I think reading literature for sure, but also reading the world, right? And that's what you do when you go to an exhibit or you go to a museum or you go to a concert or whatever, right, you're like reading, you know, and you're reading the experience, you're reading for other things.  Lito: Is there anything you're both fans of that you both talk about a lot? Any artists or musicians or movies? Justin (56:26) You know, I think that we have some lowbrow sharing tastes. But I think that our highbrow, I don't know. We don't talk a lot about our pursuant— I think I'm into a lot of, like when I was looking at, when I was putting together Blackouts, I was looking at a lot of archival photos and like the photos of Carl Van Vechten, I just, I'm obsessed with…  I've been spending a lot of time with them, thinking about him and his practice. I think that, you know, I like all kinds of stuff. I'm like a whatever, what's that horrible term? Culture vulture?  Angela: I don't think that's what you wanna say. But I know what you mean, yeah.  Justin: Yeah, I am democratic in my tastes. I'm just like, I like everything. We don't have a lot of shared tastes, I don't think.  Angela: Um... No?  Justine: No.  Annie:  I sort of love that. I mean, it, um, the friendship, belies, that, you know, it's only a bonus in that way. I think Lito and I also have very different tastes. There's something kind of lovely about that. Lito: I remember Annie making fun of me for not being hardcore enough in my taste in hip-hop. Annie:    I guess we're putting our dirt out there too.  Lito:   We'll be right back with the Lightning Round. Annie:   Ooh, Lightning Round. Annie: (58:12) Thank you both for talking with us today. This was really wonderful. We really feel the honesty and warmth in your friendship and we're so appreciative that you're sharing that with us today and with all of our LitFriends. We're excited for both your books and we're so grateful you spent the last hour with us.  Angela: That was a pleasure.  Justin: Thank you. Lito: All right, we're gonna we— wrap up the podcast with a Lightning Round, just a few questions. We will ask the question and then I guess we'll do it this way. When I ask the question, Angela, you can answer. And when Annie asks the question, Justin, you answer first. Sorry, first answer first. You're both going to answer the question. What is your first memory?  Angela:  My sister roller skating through sprinklers and falling and hitting her head. Justin: I literally have no idea. I, yeah, I don't know. It's a blackout.  Angela: How many times have you said that?  Lito:  Very on brand.  Angela: You've had a long book tour. Justin: I'm practicing.  Annie: Who or what broke your heart first?  Angela: Is it too deep to say my daddy? I know.  Justin: I was going to say my daddy.  Angela: That's why we're friends.  Justin: I know. It's so sad.  Angela: (59:37) Daddy issues.  Lito: Who would you want to be lit friends with from any time in history?  Angela: Toni Morrison.   Justin: Yeah, maybe Manuel Puig. He seemed really cap and hilarious. And also a brilliant genius.  Angela: I need Toni Morrison to tell me how to raise my child. And to still write books. Someone help me. Annie: What would you like to see your lit friend make or create next, maybe something collaborative or something different or a story they haven't told yet?  Justin: I mean, I think I would love to see you actually write something kind of ekphrastic. Like I'd love to see you write about art. I love when you write about art. I love your thoughts about art and art makers. So maybe, like, a collection of essays about culture. I'd love that. Angela: Besides this two-handed, this play, which I would love for you to write. Maybe there's more, I mean, there's more voices in the book than two, though. So it doesn't have to be. Justin is a poet. I have said this since the beginning. I'm ready for this collection.  Justin: Never occurred to me in my life. Angela:   That is not true.  Justin:   Well, writing a collection. Angela:   Okay, well, I would love for you to write a collection of poetry.  Justin:   Maybe I will. Maybe you just gave me permission, as the children say.  Angela:   Mm-hmm. I know.  Lito: If you could give any gift to your LitFriend without limitations, what would you give them?  Angela: I would give him a house with a yard and a pool.  Justin: That's what I want.  Angela: In a city he wants to live in. That's the key.  Lito: That's the hard part. Justin:  (01:01:35) Um, I would give Angela time to be with her thoughts and her craft. I guess what does that involve?  Angela:   This is because I call myself a busy mom all the time.  Justin: You are a busy mom. Angela: (01:02:08) Thank you, that's a nice gift. Time is the best.  Justin: I mean, it's not as good as a house with a pool.  Angela: I know, because I can use my time as wisely as possible and yet—no pool. Lito: Well, that's our show. Annie & Lito: Happy Friendsgiving! Annie: Thanks for joining us, Lit Fam. Lito:   We'll be back next week with our guests, Lucy Corin and Deb Olin Unferth. Annie: Find us on all your socials @LitFriendsPodcast. Annie: I'm Annie Liontas.  Lito:   And I'm Lito Velázquez.  Annie:   Thank you to our production squad. Our show is edited by Justin Hamilton. Lito:   Our logo was designed by Sam Schlenker.  Annie:   Lizette Saldaña is our marketing director.  Lito:   Our theme song was written and produced by Robert Maresca.  Annie:   And special thanks to our show producer, Toula Nuñez. This was LitFriends, Episode One.

On this episode, we speak with Paul Neubauer, Farm Foreman at Vilicus Farms and owner of P/N Custom Grazing. Paul speaks about his passion for livestock integration with crop production and the inequalities that exist in the agricultural landscape.   Paul Neubauer is a young agrarian and first-generation farmer and rancher. Growing up in Buffalo, NY Paul did not get first-hand exposure to agriculture until after graduating high school when he worked on his uncle's ranch in Tennessee. He was immediately attracted to raising livestock as well as agriculture in general, and was able to build on those interests while attending Warren Wilson College in North Carolina. While pursuing a degree in History, Paul worked on the school farm, learning about land management and animal husbandry, as well as equipment operation while raising crops and livestock for the students of Warren Wilson. After graduating from college, Paul apprenticed at the San Juan Ranch in Saguache, Colorado through Quivira's New Agrarian Program. He spent two years working in the high and dry San Luis valley, continuing to grow his skillset in animal and land management. After his time as an apprentice, he continued to work in Colorado for a local rancher, managing a herd of cattle in nearby Gunnison. Paul is the Farm Foreman at Vilicus farms, and manages the day to day operations of the farm as well as managing his own cattle enterprise, P/N Ranch. He is committed to working at the intersection of crops, livestock, land health and people. Paul is certain we are not doing enough as a society to address climate change, the deeply unhealthy food system, massive and unsustainable inequality of the gender, racial, religious and economic kinds and the lack of livestock on U.S. cropland. His work as a foreman and mentor at Vilicus Farms, as well as his time as an apprentice in the NAP program have been in an effort to live closely to the land and pursue remedies to the aforementioned societal ills. Paul's relationships with his agricultural mentors has been the essential catalyst for his joy in the work of growing food, and his small successes thus far. Inspired by his own experience as a mentee, Paul is dedicated to providing education, mentorship and his friendship to other beginning farmers and ranchers. Paul's work with land, animals, food and people also extends past the farm gate as he is the president of the Cottonwood Local of Montana Farmers Union. Paul has represented the Montana Farmers Union at the National Farmers Union Convention, and works hard to help create and shape policies that will improve the health of the land and the livelihoods of those who manage it.   Thank you for listening. You can learn more about Acres U.S.A. at www.AcresUSA.com.

Ruba Ahmed joins Julie Murphy to read "Try to Praise the Mutilated World" by Adam Zagajewski and talks about his imperative to see the beauty in the world that lies right beside the horrors. She also reads from her new book Bring Now the Angels and shares her struggle in coming to forgiveness and grief and joy. Ruba also shares some great insights on the power of repetition as well as the importance of Keat's concept of negative capability. Dilruba Ahmed is the author of Bring Now the Angels (Pittsburg Poetry). Her debut book, Dhaka Dust (Graywolf Press), won the Bakeless Prize. Her poems have appeared in New England Review, New York Times Magazine, Ploughshares, and Virginia Quarterly Review. She has taught with Swarthmore College, Chatham University's MFA Program, Hugo House in Seattle, and Warren Wilson College's MFA Program for Writers. Find her classes & consultations on her website. She's also on Facebook, Instagram, and Twitter.

Lockie Hunter holds an MFA in creative writing from Emerson College in Boston and has taught creative writing at Warren Wilson College. She serves as curator of the long-running Juniper Bends Reading Series Reading series and co-producer of the poetry and prose radio program Wordplay on 103.3 FM in Asheville. Her words have appeared in publications including The North Carolina Review, The Baltimore Review, Quarter After Eight, Hiram Poetry Review, McSweeney's Internet Tendency, Slipstream, Brevity, Gulf Stream Literary Magazine, Arts & Opinion, New Plains Review and others. Lockie has received scholarships/grants from The North Carolina Arts Council and the Arrowmont School of Arts and Crafts. Her essays have been nominated for Best of the Net Awards and the John Burroughs Nature Essay Award.

Ethnobiologist Marc Williams has taught hundreds of classes to thousands of people about plants, humans, other life forms and their interface. His training includes a B.A. in Environmental Studies/Sustainable Agriculture from Warren Wilson College with a minor in Business and a M.A. in Appalachian Studies/Sustainable Development from Appalachian State University with a minor in Planning/Geography. He has over 20 years of experience working at various restaurants, farms, and travels throughout 30 countries in Central/North/South America, Europe and all 50 states in the USA. More information can be found at www.botanyeveryday.com."

Poets Jason Schneiderman, Cate Marvin, R. A. Villanueva, Lynn Xu and Rachel Zucker consider the pleasures, challenges, eccentricities and value of live, in-person poetry readings. These musings are followed by excerpts of the June 6, 2023 reading in Bryant Park (hosted by Jason and featuring Cate, Ron, Lynn and Rachel) and comments from the audience. PODCAST: PLAY IN NEW WINDOW | TRANSCRIPT SUBSCRIBE:APPLE PODCASTS | GOOGLE PODCASTS | AMAZON PODCASTSSUPPORT: PATREON | VENMO: @Rachel_ZuckerLinks, Bios, & Support InfoBryant Park Reading SeriesUniversity of MarylandLibrary of CongressWilliam MeredithKim NovakBMCCKGB reading seriesDavid LehmanStar BlackPaul RomeroSonia SanchezAllen Ginsberg's “Sunflower Sutra”Phllyis Levin Matt YeagerDavid LehmanWill Harris's Brother PoemJosé Oliverez's Promises of GoldMartha Graham CrackerJustin Vivian BondPatty LuPoneBridget EverettKGB Bar ReadingRichard McCann Kinokuniya BookstoreWillam Blake's “Ah! Sun-flower” June Jordan's “Sunflower Sonnet Number 1"June Jordan's “Sunflower Sonnet Number 2"Bios, in order of appearance:Jason Schneiderman is the author of four poetry collections, most recently Hold Me Tight (Red Hen, 2020). He is Professor of English at CUNY's BMCC and teaches in the MFA Program for Writers at Warren Wilson College. His next collection, Self Portrait of Icarus as a Country on Fire, will be published by Red Hen Press in 2024. Cate Marvin's latest book of poems is Event Horizon (Copper Canyon Press, 2022). She teaches at the College of Staten Island, City University of New York and resides in Southern Maine. Her poems have recently appeared in The Kenyon Review.R. A. Villanueva is the author of Reliquaria, winner of the Prairie Schooner Book Prize. New work has been featured by the Academy of American Poets, Ploughshares, Poetry, and National Public Radio—and his writing appears widely in international publications such as Poetry London and The Poetry Review. His honors include commendations from the Forward Prizes and fellowships from the Sewanee Writers' Conference, the Constance Saltonstall Foundation for the Arts, and Kundiman. Born in New Jersey, he lives in Brooklyn.Born in Shanghai, Lynn Xu is the author of And Those Ashen Heaps That Cantilevered Vase of Moonlight (Wave, 2022) and Debts & Lessons (Omnidawn, 2013) and the chapbooks: June (Corollary Press, 2006) and Tournesol (Compline, 2021). She has performed cross-disciplinary works at the MOCA Tucson, Guggenheim Museum, The Renaissance Society, Rising Tide Projects, and 300 S. Kelly Street. She teaches at Columbia University, coedits Canarium Books, and lives with her family in New York City and West Texas. Rachel Zucker is the author of a bunch of books, including, most recently, The Poetics of Wrongness. She is the founder and host of Commonplace and directrix of the Commonplace School of Embodied Poetics. She lives in Washington Heights, NY and Scarborough, ME and is mother to three sons.Please support Commonplace by becoming a patron here!Sign up for “Reading with Rachel,” the newest course in The Commonplace School for Embodied Poetics.

In today's flashback, an outtake from Episode 257, my conversation with Natalie Baszile, author of the novel Queen Sugar (Penguin Books). This episode first aired on March 5, 2014. Baszile is the author of the novel Queen Sugar, which was a San Francisco Chronicle Best Book of 2014, longlisted for the Crooks Corner Southern Book Prize, nominated for an NAACP Image Award, and adapted for television by writer/director Ava DuVernay and co-produced by Oprah Winfrey for OWN. Baszile holds a M.A. in Afro-American Studies from UCLA and is a graduate of Warren Wilson College's MFA Program for Writers. She lives in San Francisco. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join our Three-Day Workshop, Making & Breaking Status Quo with Anne Elliott, June 13-15, 2023. Tickets are $49 and include daily classes, daily workshops, a live Q&A, and first pages panel--all with replays, on-demand access, and 30 days to view. This podcast episode is a workshop preview for the three days together. Get your ticket here: https://manuscriptacademy.com/product/making-and-breaking-status-quo What you do with the "ordinary" in your story--and how you break it--creates the extraordinary reading experience. You've heard that agents want characters with power and agency (it's some of our top-requested keywords on #MSWL!), but how do you give them power or--even better--teach them to take it? How do you bring a quiet character the courage to speak up? How do you show the ripple effects when they finally do? What hidden consequences come with taking risks, seeking safety, and finding intimacy between your characters? All of these questions make for compelling fiction that explores that human elements AI just can't touch. There so are many things we love about Anne. Her ability to zero in on fiction in a way that feels like an MFA in your computer is among our favorites. Hope you can join us. Anne Elliott is the author of The Artstars: Stories (Indiana University Press) and The Beginning of the End of the Beginning (Ploughshares Solos). Her short fiction can be found in Story, A Public Space, Crab Orchard Review, Witness, Hobart, Bellevue Literary Review, Fifth Wednesday Journal, and elsewhere. Elliott is a veteran of the New York spoken word circuit, with stage credits including The Whitney Museum, Lincoln Center, PS122, and Woodstock '94. Her fiction has been awarded support from The Story Foundation, Vermont Studio Center, The Normal School, Table 4 Writer's Foundation, and The Bridport Prize. She holds an MFA in fiction writing from Warren Wilson College, and lives in Portland, Maine. Learn more at http://www.anneelliottstories.com.

Anne Elliott is back for her second three-day event! Join us June 13-15 for daily classes, workshops, exercises, Q&A, a live feedback panel, and a supportive writer community as we learn about making and breaking the status quo in your work. Get your ticket here: https://manuscriptacademy.com/anne-workshop ($0 members | $49 nonmembers). What makes this day different from all other days? This course will explore that question from several angles. A break in status quo is often the occasion for story—or the vital climax. How and why do we establish the ordinary for our characters, and how can the ordinary be broken open to reveal new depths of personality, relationships, motivations, and worlds? Through concrete and unpacked examples and exercises, we will add a few key tools to the craft toolbox. This course can be completed on your schedule. Everything will be up for 30 days, replays are available for all events, and your odds of feedback are the same whether you attend live or watch the replay. Anne Elliott is the author of The Artstars: Stories (Indiana University Press) and The Beginning of the End of the Beginning (Ploughshares Solos). Her short fiction can be found in Story, A Public Space, Crab Orchard Review, Witness, Hobart, Bellevue Literary Review, Fifth Wednesday Journal, and elsewhere. Elliott is a veteran of the New York spoken word circuit, with stage credits including The Whitney Museum, Lincoln Center, PS122, and Woodstock '94. Her fiction has been awarded support from The Story Foundation, Vermont Studio Center, The Normal School, Table 4 Writer's Foundation, and The Bridport Prize. She holds an MFA in fiction writing from Warren Wilson College, and lives in Portland, Maine. Learn more at http://www.anneelliottstories.com.

www.patreon.com/banjopodcast   This episode features Ben Krakauer, a creative and distinctive banjo player, composer, ethnomusicologist, and educator. Ben is best known for playing with Old School Freight Train (a band that became David Grisman's backup band for a tour!), his two all-original instrumental solo albums, and as a music professor at Warren Wilson College.   Sponsored by Peghead Nation, Elderly Instruments, and Sullivan Banjos   Ben on the web: www.benkrakauer.com   Contact the show: pickyfingersbanjopodcast@gmail.com

In this episode of "Craftwork," author Peter Turchi teaches a lesson on how to use shifting power dynamics to write more dynamic scenes in fiction. Turchi is the author of seven books and the co-editor of three anthologies. His books include (Don't) Stop Me if You've Heard This Before; A Muse and A Maze: Writing as Puzzle, Mystery, and Magic; Maps of the Imagination: The Writer as Cartographer; Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, in collaboration with the artist; a novel, The Girls Next Door; a collection of stories, Magician; and The Pirate Prince, co-written with Cape Cod treasure hunter Barry Clifford, about Clifford's discovery of the pirate ship Whydah. His short story “Night, Truck, Two Lights Burning” has been published, with images by Charles Ritchie, in a limited edition artist's book. He has also co-edited, with Andrea Barrett, A Kite in the Wind: Fiction Writers on Their Craft, The Story Behind the Story: 26 Stories by Contemporary Writers and How They Work and, with Charles Baxter, Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life. Turchi's work has appeared in Tin House, Fiction Writers Review, Ploughshares, Story, The Alaska Quarterly Review, Puerto del Sol, and The Colorado Review, among other journals. His honors include fellowships from the National Endowment for the Arts and the John Simon Guggenheim Memorial Foundation, Washington College's Sophie Kerr Prize, an Illinois Arts Council Literary Award, North Carolina's Sir Walter Raleigh Award, and having a quotation from A Muse and a Maze serve as the answer to the New York Times Magazine Sunday acrostic. Born in Baltimore, he earned his BA at Washington College in Chestertown, Maryland, and his MFA at the University of Arizona. He has taught at Northwestern University and Appalachian State University, and has been on the faculty of the Bread Loaf Writers' Conference. For 15 years he directed The MFA Program for Writers at Warren Wilson College in Asheville, North Carolina; at Arizona State University he taught fiction and served as Director of Creative Writing and Director of the Virginia G. Piper Center for Creative Writing. He currently teaches at the University of Houston, and in Warren Wilson's MFA Program for Writers. Laura, his wife, is a Clinical Professor in English at Arizona State University, where she is curriculum director for “RaceB4Race: Sustaining, Building, Innovating” at the Arizona Center for Medieval and Renaissance Studies; she also co-directs the Shakespeare and Social Justice Project at the Shakespeare Center of Los Angeles. Reed, their son, is a musician (www.reedturchi.com). *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Etc. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices