Podcasts about Willa Cather

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode 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 RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode 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 RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/australian-and-new-zealand-studies

In a sculptor's studio in Paris, eager young expatriates hear a tale of rootedness and creativity. Willa Cather's "The Namesake."

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

Host Meg Wolitzer helps a great documentarian celebrate a great American author.  Cather is the of author of novels like My Antonia and O Pioneers! And Ken Burns hosted a live evening of her shorter works to celebrate her sesquicentennial—her 150th birthday, in 2023.  On this program, we feature “The Way of the World,” in which an imaginary town's young “citizens” are rife with romance and rivalry.  The reader is Sonia Manzano.   And a weary farmer's wife recaptures her long-dormant passion for music at “A Wagner Matinee,” read by David Strathairn. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us a textVirginia Faulkner had no family ties to that other famous Faulkner, but she is connected to another icon of classic American literature. A young flapper who made an authorial splash with the New York literati (earning comparisons to a young Dorothy Parker), Faulkner later switched gears, devoting the second half of her life to shaping The University of Nebraska Press into a powerhouse publishing institution. Her dedication to scholarship on Willa Cather helped solidify Cather in the pantheon of great American writers. We're joined for this discussion by neglected books champion Brad Bigelow, whose biography Virginia Faulkner: A Life in Two Acts was recently published by Bison Press.Mentioned in this episode:Virginia Faulkner: A Life in Two Acts by Brad Bigelow2026 Pilgrimage Reading GroupPurchase the Pilgrimage Series by Dorothy RichardsonNeglected Books websiteFriends and Romans by Virginia FaulknerWilla CatherA House is Not a Home by Polly AdlerUniversity of Nebraska PressMy Hey Day (The “Princess Tulip” Stories) by Virginia FaulknerEx-Wife by Ursula ParrottEugene MeyerBernice SloteLost Ladies of Lit Episode No. 59 on Gertrude TrevelyonLost Ladies of Lit Episode No. 116 on Dorothy RichardsonLost Ladies of Lit Support the showFor episodes and show notes, visit: LostLadiesofLit.comSubscribe to our substack newsletter. Follow us on instagram @lostladiesoflit. Email us: Contact — Lost Ladies of Lit Podcast

Fall asleep tonight to the snoozy short story The Burglar's Christmas by Willa Cather. First published in 1896 under the pseudonym, Elizabeth L. Seymour, this touching tale is about unconditional love. Order your copy of the Just Sleep book! A great Christmas gift https://www.justsleeppodcast.com/book/Support the podcast and enjoy ad-free and bonus episodes. Try FREE for 7 days on Apple Podcasts. For other podcast platforms go to https://justsleeppodcast.com/supportOr, you can support with a one time donation at buymeacoffee.com/justsleeppodIf you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app. Also, share with any family or friends that might have trouble drifting off Hosted on Acast. See acast.com/privacy for more information.

In part two of our “Best Books of the Year” conversation, Hunter and Autumn share their favorite reads as categorized within general interest, children's books, and fiction and literature, reflecting on the stories that stuck with them this year. From critiques of modern discourse and meditations on land and interdependence to novels of grace, friendship, and moral awakening, these books ask what it means to live well and love rightly.Resources mentioned in this episode:General Interest:Summer of our Discontent: The Age of Certainty and the Demise of Discourse by Thomas Chatterton WilliamsA Walk in the Park: The True Story of a Spectacular Misadventure in the Grand Canyon by Kevin FedarkoFrom Strength to Strength by Arthur BrooksChildren's:We Sing! and Pippa and the Singing Tree by Kristyn GettyColorado: 50 Hikes With Kids by Wendy Gorton and Kristin TillackFiction and Literature:Lord of the Rings (3 Vols.) by J.R.R. Tolkien - Fiction and LiteratureTill We Have Faces by C.S. LewisSilas Marner: The Weaver of Raveloe by George EliotOrdinary Grace by William Kent KruegerMaster and Commander by Patrick O'BrianDeath Comes for the Archbishop by Willa CatherSmall Things Like These by Clare Keegan

A Burglar's Christmas by Willa Cather w/Tom Libby---00:00 - Welcome and Introduction - A Burglar's Christmas by Willa Cather.04:25 - Opening A Burglar's Christmas by Willa Cather.08:21 - Willa Cather Wrote at the Crossroads of Modernity.12:43 - Setting Goals and the Vagaries of New Year's Resolutions.18:01 - Check Out Jesan's Time Management Training Videos on YouTube. 25:24 - Joan Didion, Virginia Woolf, and What We Don't Say About the Patriarchy. 31:13 - Leaders Avoid Hiding in the Word Salad. 32:47 - Willa Cather's Story, with Hunger and Envy. 42:12 - Seinfeld's "The Strike," Festivus and The Death of Black Friday.45:04 - Societal Grievances, Commercialism, and Festive Celebration. 51:55 - Leaders Provide the Freedom to Voice Grievances without Repercussions.01:02:13 - Nietzsche, Cather, and the Myth of Eternal Return.01:06:14 - Millennials, Gen-Zers, and Gen X-ers.01:13:10 - The Potential of the Internet Needs to be Reconsidered.  01:20:47 - Drivers For Success When You Have Children vs. When You Don't Have Children 01:32:34 - Leaders Maintain a Consistent Culture on Teams.01:37:06 - Introspection and Goal Setting. 01:43:29 - Leaders Genuinely Care About People, Teams, and Success. 01:44:27 - Staying on the Leadership Path with A Burglar's Christmas by Willa Cather.---Opening and Closing theme composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the 2022 Leadership Lessons From the Great Books podcast reading list!---Check out HSCT Publishing at: https://www.hsctpublishing.com/.Check out LeadingKeys at: https://www.leadingkeys.com/Check out Leadership ToolBox at: https://leadershiptoolbox.us/Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members.---Leadership ToolBox website: https://leadershiptoolbox.us/.Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/.Leadership ToolBox YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/.Leadership ToolBox Twitter: https://twitter.com/ldrshptlbx.Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/.Leadership ToolBox FB: https://www.facebook.com/LdrshpTlb ★ Support this podcast on Patreon ★

Support Us :Donation Page – LibriVox Free AudiobooksA collection of sometimes biting, always clever commentaries on some of life's foibles -- as apt today as when Ms. Repplier wrote them in 1912. Though less know to modern readers, Repplier was in her prime ranked among the likes of Willa Cather. Note: Section 13 contains the word niggards. I put it in print here so that it will not be mistaken for a racial epithet when heard. (written by Mary Schneider)Genre(s): Essays & Short WorksLanguage: EnglishKeyword(s): essays (194), nonfiction (139), American women authors (1)Support Us :⁠Donation Page – LibriVox Free Audiobooks⁠

Willa Cather, the beloved American novelist who lived during the height of America's Gilded Age, is perhaps best known for her insightful passionate writing about life on the Nebraska Plains where she spent her childhood. But Cather's writing and life included much more than that. She spent a significant part of her adult life in Pittsburgh before coming to New York and establishing her life with her partner Edith Lewis in bohemian Greenwich Village. Her work is set in an astonishing array of locations from New York to London to the American Southwest. Cather's characters span the broad range of humanity and are deeply universal in their passions as well as their struggles. Historian and educator Peter Cipkowski joins The Gilded Gentleman to share his insight on the work and life of the extraordinary and fearless American writer of the early 20th century.  For more information, please visit the Willa Cather ArchiveThis episode was edited and produced by Kieran Gannon Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Esta mañana del 24 de octubre, Día Internacional de las Bibliotecas, nuestro bibliotecario Antonio Martínez Asensio nos trajo a una escritora que está impactando con su primera novela. Es la gallega Lucía Solla Sobral, autora de 'Comerás flores', editada por Libros del Asteroide. Es un thriller psicológico sobre un tema la violencia machista, pero con un lenguaje tan poético y un personaje con el que empatizas tanto que a la vez que sufres, le pones nombre a lo que todos vemos y no somos capaces de denunciar.  Lucía, además de donarnos su libro, nos dejó uno de los que más le ha gustado en su vida:  'Tengo miedo torero' de Pedro Lemebel (Las Afueras). Pero antes de la entrevista con Lucía Solla Sobral, Antonio Martínez Asensio nos contó en tres minutos  'Fahrenheit 451' de Ray Bradbury (DeBolsillo), un clásico brutal. Tambié nuestro bibliotecario nos dejó uno de sus libros de su programa 'Un libro , una hora', 'Los bienes de este mundo' de Irene Némirovsky (Salamandra). Y ya en el capítulo de novedades,  Pepe Rubio nos trajo 'Inventario de siembra' de Thais Gamaza (Editorial  16)  y 'Hansel y Gretel' de Stephen King y Maurice Sendak (Lumen). Pascual Donate en su búsqueda de libros abandonados en la redacción de la SER recuperó un poemario 'Ojalá joder' de Escandar Algeet (Ya lo Dijo Casimiro Parker) . Y terminamos con las donaciones de los oyentes que fueron: 'Tan poca vida' de Hanya Yanagihara (Lumen), 'Crónicas marcianas" de Ray Bradbury (páginas de espuma), 'Doña Rosita la soltera' de Federico García Lorca (Austral)  y 'Mi enemigo mortal' de Willa Cather (Alba Editorial). 

KENT PAVELKA first started broadcasting Huskerssports in 1974, three years out of Journalism school at Nebraska. He worked with legends Lyell Bremser and Jack Payne. He was the third voice in the football booth and the play-by-play voice of men's basketball and then ascendedto the football play-by-play role in 1984. He's had ups and downs, highs and lows, but along the way he has broadcast well over a thousand men's basketball games, and still waiting for an NCAA tournament win. He has a special familyconnection to one of the great Willa Cather books. We talk about these things and more. Recorded October 8, 2025

Daily QuoteIf our dreams come true, we are almost afraid to believe it; for that is the best of all good fortune, and nothing better can happen to any of us. (Willa Cather)Poem of the Day蝶恋花·庭院深深深几许欧阳修Beauty of WordsSalvationLangston Hughes

Zzz.. . Sleep soundly to this Willa Cather novel – "O, Pioneers!" zzz For an ad-free version of Sleepy, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/sleepyradio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and donate $2! Or click the blue Sleepy logo on the banner of this Spotify page.  Awesome Sleepy sponsor deals: Quince: Go to Quince.com/sleepy for free shipping and 365-day returns BetterHelp: Visit BetterHelp.com/SLEEPY today to get 10% off your first month. GreenChef: GreenChef.com/50SLEEPY and use code "50SLEEPY" to get 50% percent off your first month, then twenty percent off for two months with free shipping. ButcherBox: Sign up at butcherbox.com/sleepy and use code "sleepy" OneSkin: Get 15% off OneSkin with the code SLEEPY at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.oneskin.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ #oneskinpod GhostBed: Go to GhostBed.com/sleepy and use promo code “SLEEPY” at checkout for 50% off! Shopify: Sign up for your one-dollar-per-month trial period at Shopify.com/otis Learn more about your ad choices. Visit megaphone.fm/adchoices

Just Willa (Cave Hollow Press, 2025) is a family chronicle of rare beauty-more than reminiscent of Willa Cather in capturing the regional flavors of America-stretching over a span of decades through an intimate focus on the life of one woman. In it, Helen Sheehy gives us a character of indomitable spirit who fuels and anchors her family with love and bravery. We meet Willa Hardesty in 1964, while she's burning trash in a barrel and thinking "this is hell." Angry and frustrated, she finds some items she had long forgotten, and remembers that she had once been happy. In the ensuing chapters Willa's life unfolds like a tapestry, beginning in 1927 when she's eleven, about to accompany her mother on a train ride from Oklahoma to Missouri. Just Willa shows us a world filled with people and struggles both realistic and relatable-a world that is beautiful, despite its hardships. 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

Just Willa (Cave Hollow Press, 2025) is a family chronicle of rare beauty-more than reminiscent of Willa Cather in capturing the regional flavors of America-stretching over a span of decades through an intimate focus on the life of one woman. In it, Helen Sheehy gives us a character of indomitable spirit who fuels and anchors her family with love and bravery. We meet Willa Hardesty in 1964, while she's burning trash in a barrel and thinking "this is hell." Angry and frustrated, she finds some items she had long forgotten, and remembers that she had once been happy. In the ensuing chapters Willa's life unfolds like a tapestry, beginning in 1927 when she's eleven, about to accompany her mother on a train ride from Oklahoma to Missouri. Just Willa shows us a world filled with people and struggles both realistic and relatable-a world that is beautiful, despite its hardships. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Cornelia Murr is a British-American singer-songwriter. She released her debut album, Lake Tear of the Clouds, in 2018, followed by the EP Corridor in 2022. Her music blends elements of folk, dream-pop, and psychedelic pop, often characterized by ethereal vocals and introspective lyrics. In February 2025, Cornelia released her second full-length album, Run to the Center. The album was produced by singer-songwriter Luke Temple and marked a shift toward a more expansive, confident sound described as "hypnotic pop."  She's playing Tubby's in Kingston this Friday, June 6th!Today, Cornelia shares about her start as a musician and songwriter and gives us a glimpse into how she birthed her music and the meaning behind select songs that we listen to together. Serendipity and flow seem to guide her through life whether it's her musical collaborations or the rebuilding of an historic home in Red Cloud, Nebraska -- the teeny but famous hometown of Willa Cather. Cornelia keeps the conversation real by touching on the burden and fleeting nature of female beauty, the lessons in her romantic misses, and her enthusiastic relationship to astrology. It was a truly lovely conversation that I hope you enjoy!Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

In a world competing for our attention, our guest this week admits: “It's probably harder to read novels now than it ever was.” But their value cannot be overstated. The novel's unique humanity, its careful and open treatment of the human experience, helps us to develop a sympathetic imagination, tuning our hearts and minds in a way that non-fiction argument simply cannot. Christopher Scalia, author of 13 Novels Conservatives Will Love (but Probably Haven't Read), makes the case that it is a distinctly conservative interest to explore the Western tradition through fiction. Recommendations in hand, he invites adults to refresh their reading list with novels—from the very inception of the form up to the present. Chapters: 1:47 The great book rut 4:11 Novels: the medium of recent Western tradition 5:30 The 18th-century bildungsroman 9:47 “Conservative” themes 16:18 The American dream in My Ántonia 22:39 Miraculous realism in Peace Like a River 29:02 Acknowledging the existence of evil 31:44 Wonder and encounter over strict interpretation 37:03 Revisiting works from your school years 38:47 Why narrative works 42:01 Books that nearly made the cut Links: 13 Novels Conservatives Will Love (but Probably Haven't Read) by Christopher Scalia Christopher J. Scalia at American Enterprise Institute The History of Rasselas by Samuel Johnson (1759) Evelina by Frances Burney (1778) Waverley by Sir Walter Scott (1814) The Blithedale Romance by Nathaniel Hawthorne (1852) Daniel Deronda by George Eliot (1876) My Ántonia by Willa Cather (1918) Their Eyes Were Watching God by Zora Neale Hurston (1937) The Girls of Slender Means by Muriel Spark (1963) The Children of Men by P. D. James (1992) Peace Like a River by Leif Enger (2001) Gilead by Marilynne Robinson (2004) The Road by Cormac McCarthy (2006) How I Won a Nobel Prize: A Novel by Julius Taranto (2023) Also on the Forum: Heights Forum Book Reviews On Reading Literature by Joseph Bissex Some Summer Reading Recommendations for Teachers by Tom Cox Modern Literature: On Curating the Contemporary featuring Mike Ortiz Guiding Our Boys through Modern Literature featuring Joe Breslin and Lionel Yaceczko Featured opportunities: Teaching Essentials Workshop at The Heights School (June 16-20, 2025) Convivium for Teaching Men at The Heights School (November 13-15, 2025)

Tonight, we'll read “O Pioneers!”  a 1913 novel by American author Willa Cather. Set on the windswept prairies of Nebraska, “O Pioneers!” tells the story of Alexandra Bergson, a determined young woman of Swedish-American descent who takes over her family's farm.  Cather's quiet, poetic prose captures both the hardships and beauty of prairie life at the turn of the twentieth century, and Alexandra's journey reflects broader themes of endurance, transformation, and connection to the land. The novel marked the beginning of Cather's Great Plains Trilogy, which also includes The Song of the Lark and My Ántonia. Though she wrote this trilogy while living in New York City, Cather drew inspiration from her own upbringing in Nebraska and from the lives of immigrants who shaped the American Midwest. — read by 'V' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to One Bright Book! Join our hosts Dorian, Frances, and Rebecca as they discuss O PIONEERS! by Willa Cather, and chat about their current reading. For our next episode, we will discuss The Country of the Pointed Firs by Sarah Orne Jewett. We would love to have you read along with us, and join us for our conversation coming to you in early June. Want to support the show? Visit us at Bookshop.org or click on the links below and buy some books! Books mentioned: • O Pioneers! by Willa Cather • My Antonia by Willa Cather • The Song of the Lark by Willa Cather • A Lost Lady by Willa Cather • Leaves of Grass by Walt Whitman • Ayesha at Last by Uzma Jalaluddin • Hana Khan Carries On by Uzma Jalaluddin • Much Ado About Nada by Uzma Jalaluddin • Stone Yard Devotional by Charlotte Wood • The Selected Letters of Willa Cather • Chasing Bright Medusas by Benjamin Taylor • Willa Cather: Double Lives by Hermione Lee • The Country of the Pointed Firs by Sarah Orne Jewett You might also be interested in "The Peace When It Settled: Charlotte Wood, Stone Yard Devotional" by Rohan Maitzen. Further resources and links are available on our website at onebrightbook.com. Browse our bookshelves at Bookshop.org. Comments? Write us at onebrightmail at gmail Find us on Bluesky at https://bsky.app/profile/onebrightbook.bsky.social Frances: https://bsky.app/profile/nonsuchbook.bsky.social Dorian: https://bsky.app/profile/ds228.bsky.social Rebecca: https://bsky.app/profile/ofbooksandbikes.bsky.social Dorian's blog: https://eigermonchjungfrau.blog/ Rebecca's newsletter: https://readingindie.substack.com/ Our theme music was composed and performed by Owen Maitzen. You can find more of his music here: https://soundcloud.com/omaitzen.

We were thrilled to talk with author Eowyn Ivey about her new book, BLACK WOODS BLUE SKY. During our conversation, Eowyn shared her writing habits, including a description of her writing cottage, and tells us about her reading life. Topics ranged from motherhood on the page and in real life, her family's literary life in Alaska, and Proust vs Joyce. In our own reading lives, we both read and discuss “The North Mail” by Amelia B. Edwards from THE PENGUIN BOOK OF GHOST STORIES: from Elizabeth Gaskell to Ambrose Bierce. We gave this one four paws up. Or should it be eight paws? Whatever the rating system should be for cougars, we both enjoyed Edwards's story. It has a good creep factor and atmosphere, both indoors and outside. Other books we've enjoyed include novels HAPPY LAND by Dolan Perkins-Valdez and THE GRIFFIN SISTERS GREATEST HITS by Jennifer Weiner; a quartet of novellas, OLD NEW YORK by Edith Wharton; and two works of nonfiction: STORYWORTHY: Engage, Teach, Persuade, and Change Your Life Through the Power of Storytelling by Matthew Dicks and DEEP WORK: Rules for Focused Success in a Distracted World by Cal Newport. Big thanks to this episode's sponsor, James Crews and Brad Peacock. The new poetry collection they co-edited is available on May 6: LOVE IS FOR ALL OF US: Poems of Tenderness and Belonging from the LGBTQ+ Community and Friends (with illustrations by Lisa Congdon). We also recap a great Biblio Adventure to the Mark Twain House to hear Ethan Rutherford (author of NORTH SUN, OR THE VOYAGE OF THE WHALESHIP ESTHER) in conversation with Amity Gaige about her new novel, HEARTWOOD. Chris also got to attend THE MOUNT'S virtual book club discussion of Edith Wharton's A SON AT THE FRONT and Willa Cather's ONE OF OURS, led by Anne Schuyler and Julie Olin-Ammentorp. As always, there are more books inside this episode than we can fit here! Enjoy, and be sure not to miss our conversation with Eowyn Ivey at the end. Oh, and reminder: our second quarter readalong pick is THE GOOD HOUSE by Tananarive Due (Zoom discussion on 6/8 and also on Goodreads). Thanks for listening, and happy reading! https://www.bookcougars.com/blog-1/2025/episode232 The Good House Goodreads readalong https://www.bookcougars.com/blog-1/2025/episode231 Penguin Book of Ghost Stories Goodreads thread https://www.goodreads.com/topic/show/23017532-ghost-stories

Matt Crawford speaks with author Helen Sheehy about her novel, Just Willa.  Just Willa is a family chronicle of rare beauty-more than reminiscent of Willa Cather in capturing the regional flavors of America-stretching over a span of decades through an intimate focus on the life of one woman. In it, Helen Sheehy gives us a character of indomitable spirit who fuels and anchors her family with love and bravery.   We meet Willa Hardesty in 1964, while she's burning trash in a barrel and thinking "this is hell." Angry and frustrated, she finds some items she had long forgotten, and remembers that she had once been happy. In the ensuing chapters Willa's life unfolds like a tapestry, beginning in 1927 when she's eleven, about to accompany her mother on a train ride from Oklahoma to Missouri.   Just Willa shows us a world filled with people and struggles both realistic and relatable-a world that is beautiful, despite its hardships.

We need Emily Dickinson's startling originality today more than ever. This is why I sat down with Sharon Cameron, one of the greatest commentators on Dickinson's poetry, to explore some of Dickinson's poems in an extra-long podcast. “It's astonishing that after forty years of reading Dickinson, I am still ‘awed beyond my errand' by how Dickinson's poems let us experience something viscerally, at the edge of comprehension,” Cameron remarks in this conversation that forgoes clichés and favors critical acumen. By closely considering a few poems, Cameron explains how Dickinson speaks from placeless places and from within experiences outside of language, how her poems create wonder, and how her poems link without merging the mundane, the erotic, and other incommensurate dimensions of life. Sharon Cameron's book include: Lyric Time: Dickinson and the Limits of Genre; Choosing Not Choosing: Dickinson's Fascicles; and, most recently, The Likeness of Things Unlike: A Poetics of Incommensurability (Chicago University Press, 2024), on Emily Dickinson, Walt Whitman, Willa Cather, and Wallace Stevens. 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

We need Emily Dickinson's startling originality today more than ever. This is why I sat down with Sharon Cameron, one of the greatest commentators on Dickinson's poetry, to explore some of Dickinson's poems in an extra-long podcast. “It's astonishing that after forty years of reading Dickinson, I am still ‘awed beyond my errand' by how Dickinson's poems let us experience something viscerally, at the edge of comprehension,” Cameron remarks in this conversation that forgoes clichés and favors critical acumen. By closely considering a few poems, Cameron explains how Dickinson speaks from placeless places and from within experiences outside of language, how her poems create wonder, and how her poems link without merging the mundane, the erotic, and other incommensurate dimensions of life. Sharon Cameron's book include: Lyric Time: Dickinson and the Limits of Genre; Choosing Not Choosing: Dickinson's Fascicles; and, most recently, The Likeness of Things Unlike: A Poetics of Incommensurability (Chicago University Press, 2024), on Emily Dickinson, Walt Whitman, Willa Cather, and Wallace Stevens. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

We need Emily Dickinson's startling originality today more than ever. This is why I sat down with Sharon Cameron, one of the greatest commentators on Dickinson's poetry, to explore some of Dickinson's poems in an extra-long podcast. “It's astonishing that after forty years of reading Dickinson, I am still ‘awed beyond my errand' by how Dickinson's poems let us experience something viscerally, at the edge of comprehension,” Cameron remarks in this conversation that forgoes clichés and favors critical acumen. By closely considering a few poems, Cameron explains how Dickinson speaks from placeless places and from within experiences outside of language, how her poems create wonder, and how her poems link without merging the mundane, the erotic, and other incommensurate dimensions of life. Sharon Cameron's book include: Lyric Time: Dickinson and the Limits of Genre; Choosing Not Choosing: Dickinson's Fascicles; and, most recently, The Likeness of Things Unlike: A Poetics of Incommensurability (Chicago University Press, 2024), on Emily Dickinson, Walt Whitman, Willa Cather, and Wallace Stevens. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

What do we make of Carl's choices (and semi-pursuit) of Alexandra? Does he have anything to offer her? What makes Marie such a compelling character? Plus, how Marie and Emil are counterpoints to Carl and Alexandra. This and much more are topics of discussion on this week's discussion of Willa Cather's modern classic. Happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

Welcome to One Bright Book! Join our hosts Rebecca, Dorian, and Frances as they discuss THE TREES by Percival Everett, and chat about their current reading. For our next episode, we will discuss O PIONEERS! by Willa Cather. We would love to have you read along with us, and join us for our conversation coming to you in late April. Books mentioned: The Trees by Percival Everett James by Percival Everett Erasure by Percival Everett God's Country by Percival Everett Sonnets for a Missing Key by Percival Everett The Sellout by Paul Beatty Scaffolding by Lauren Elkin On the Calculation of Volume, Volume 1 by Solvej Balle, translated from the Dutch by Barbara J. Haveland Solenoid by Mircea Cărtărescu, translated from the Romanian by Sean Cotter Hunchback by Saou Ichikawa, translated from the Japanese by Polly Barton Under the Eye of the Big Bird by Hiromi Kawakami, translated from the Japanese by Asa Yoneda Eurotrash by Christian Kracht, translated from the German by Daniel Bowles On a Woman's Madness by Astrid Roemer, translated from the Dutch by Lucy Scott Herman Melville: A Biography, Volume 1, 1819-1851 by Hershel Parker Partners in Crime by Agatha Christie The Parisian by Isabella Hammad O Pioneers! By Willa Cather You might also be interested in: I'm Getting Out of Her by Leo Robson - https://www.lrb.co.uk/the-paper/v44/n21/leo-robson/i-m-getting-out-of-here TomorrowTalks with Percival Everett: The Trees - https://www.youtube.com/watch?v=irzJhamPVJw Further resources and links are available on our website at onebrightbook.com. Browse our bookshelves at Bookshop.org. Comments? Write us at onebrightmail at gmail Find us on Bluesky at https://bsky.app/profile/onebrightbook.bsky.social Frances: https://bsky.app/profile/nonsuchbook.bsky.social Dorian: https://bsky.app/profile/ds228.bsky.social Rebecca: https://bsky.app/profile/ofbooksandbikes.bsky.social Dorian's blog: https://eigermonchjungfrau.blog/ Rebecca's newsletter: https://readingindie.substack.com/ Our theme music was composed and performed by Owen Maitzen. You can find more of his music here: https://soundcloud.com/omaitzen.

Welcome to a new series on another great novel, Willa Cather's O Pioneers!. This week we're discussing Cather's instinctive yet precise writing, the book's contemplation of imagination and vocation, the relationship between the characterization and the land, and much more. Plus we discuss our 2025 literary bracket. Happy listening! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

Mary Hunter Austin was a U.S. writer known for walking throughout the American Southwest. But her life of activism was far more complicated than brief bios usually mention. Research: "Mary Hunter Austin." Encyclopedia of the American West, edited by Charles Phillips and Alan Axelrod, Macmillan Reference USA, 1996. Gale In Context: U.S. History, link.gale.com/apps/doc/BT2330100082/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=6a4f821e. Accessed 26 Feb. 2025. "Mary Hunter Austin." Encyclopedia of World Biography Online, vol. 23, Gale, 2003. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631008133/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=ceca42e0. Accessed 26 Feb. 2025. #0840: Willa Cather to Mary Hunter Austin, June 26 [1926]. https://cather.unl.edu/writings/letters/let0840 Austin, Mary Hunter. “Earth Horizon.” Houghton Mifflin. 1932. Austin, Mary Hunter. “Experiences Facing Death.” Bobbs-Merrill Company. 1931. Blend, Benay. “Mary Austin and the Western Conservation Movement: 1900-1927.” Journal of the Southwest , Spring, 1988, Vol. 30, No. 1 (Spring, 1988). https://www.jstor.org/stable/40169782 Davis, Lisa Selin. “The Loneliest Land.” National Parks Conservation Association. Spring 2015. https://www.npca.org/articles/942-the-loneliest-land Egenhoff, Elizabeth L. “Mary Austin.” Mineral Information Service. November 1965. https://npshistory.com/publications/deva/mis-v18n11-1965.pdf Fink, Augusta. “I-Mary: A Biography of Mary Austin.” University of Arizona Press. 1983. Hoffman, Abraham. “Mary Austin, Stafford Austin, and the Owens Valley.” Journal of the Southwest , Autumn-Winter 2011, Vol. 53, No. ¾. Via JSTOR. http://www.jstor.com/stable/41710078 Lanzendorfer, Joy. “Searching for Mary Austin.” Alta. https://www.altaonline.com/dispatches/a8713/searching-for-mary-austin-joy-lanzendorfer/ Online Archive of California. “Austin (Mary Hunter) Papers.” https://oac.cdlib.org/findaid/ark:/13030/c85t3ppq/ Richards, Penny L. “Bad Blood and Lost Borders: Eugenic Ambivalence in Mary Austin’s Short Fiction.” Richards, Penny L. “Disability History Image #3.” 8/30/2005. https://disstud.blogspot.com/2005/08/ Romancito, Rick. “The Image Maker and the Writer.” Taos News. 10/2/2024. https://www.taosnews.com/opinion/columns/the-image-maker-and-the-writer/article_7805f16a-8ab9-5645-9e84-4a189e18ac23.html Siber, Kate. “The 19th-Century Writer Who Braved the Desert Alone.” Outside. 1/22/2019. https://www.outsideonline.com/culture/books-media/mary-austin-mojave-nature-writer/ Stout, Janis P. “Mary Austin’s Feminism: A Reassessment.” Studies in the Novel , spring 1998, Vol. 30, No. 1. Via JSTOR. https://www.jstor.org/stable/29533250 The Ansel Adams Gallery. “Visions of Taos: The Making of “Taos Pueblo” by Ansel Adams and Mary Austin.” https://www.anseladams.com/visions-of-taos-the-making-of-taos-pueblo/ Viehmann, Martha L. “A Rain Song for America: Mary Austin, American Indians, and American Literature and Culture.” Western American Literature , Spring 2004, Vol. 39, No. 1. Via JSTOR. https://www.jstor.org/stable/43022288 Wynn, Dudley. “Mary Austin, Woman Alone.” The Virginia Quarterly Review , SPRING 1937, Vol. 13, No. 2. Via JSTOR. https://www.jstor.org/stable/26433922 See omnystudio.com/listener for privacy information.

Fr. Joseph Illo joins Patrick to discuss Lenten Spiritual Reading (3:29) Why can reading bring about growth in the spirit? (6:56) What types of books should we be looking for during Lent to help us grow? (9:09) What is Lectio Divina? (12:44) Rebecca –This is a great book: He Leadeth Me - Fr. Walter Cizeck. (14:31) Julie – Is it okay to read Freidrich Nitzche “The Anti Christ”, “Back to Virtue”, Peter Kreeft or “Lift Up Your Hearts” Fulton Sheen? (16:42) Charles –Best book to read I the Catechism of the Catholic Church. (20) Break 1 (22:11) Fr. Illo book suggestions – Bible, Augustine’s Confessions, Story of a Soul. St. Therese Lisieux, “Imitation of Christ” Thomas A Kempis, “Finding and maintaining peace” or “Time for God” Jacques Philippe, “The Way or “The Forge” St. Josemaria Escriva, “Lenten Journey with Mother Mary” Fr. Ed Looney, “33 Days of Morning Glory” Fr. Michel Gaitley. (26:31) Michael –My book suggestions: The Dogma of Hell, The Battle of the Virtue and Vices, and Vibrant Paradoxes. Bishop Robert Barron. (28:08) Kyle – My suggestion St. Gregory of Nisus...Life of Moses. Letters of St. Ignatius of Antioch Emailer – Lent is a time to read books by Thomas Merton or Leo Tolstoy. (36:51) Break 2 (37:55) Anything in particular we should be mindful to stay away from? (41:21) Tom -Suggestion: “7 Story Mountain” Thomas Merton, Sherry Weddell “Fruitful Disciple” (44:45) Fr. Bill - Suggestion: St. Maria Faustina's Diary on Divine Mercy Suggestions for Lenten spiritual reading Please note that some of these were suggested by callers. Content of all books suggested has not been reviewed and may contain errors. Sacred Scripture (The Bible) Catechism of the Catholic Church (also, Compendium of the Catechism of the Catholic Church, YouCat: Catechism for Youth) Fr. Walter Ciszek, He Leadeth Me Peter Kreeft, Back to Virtue Archbishop Fulton Sheen, Lift Up Your Hearts: Guide to Spiritual Peace St. Augustine, Confessions Thomas a Kempis, Imitation of Christ St. Therese of Lisieux, Story of a Soul Fr. Jacques Phillippe – any of his little books (Finding and Maintaining Peace, Time for God, Searching for and Maintaining Peace, etc.) St. Josemaria Escriva, The Way, Furrow, The Forge Fr. Ed Looney, Lenten Journey with Mother Mary Fr. Gaitley – any of his books (devotional) Fr. Calloway, Consecration to St. Joseph Thomas Merton, No Man is an Island, Seven Story Mountain Sherry Weddell, Forming Intentional Disciples, Fruitful Discipleship Leo Tolstoy, Anna Karenina Fyodor Dostoyevsky, Crime & Punishment F. X. Schouppe S.J., The Dogma of Hell Pope Saint Leo IX, The Battle of the Virtues and Vices Fr. Bishop Barron, Vibrant Paradoxes St. Gregory of Nyssa, Life of Moses Thomas Merton, Seven Story Mountain, No Man is an Island Fyodor Dostoyevsky, The Brothers Karamazov, Crime and Punishment Fiction of Charles Dickens, Willa Cather, Flannery O’Connor Pope Benedict XVI, Introduction to Christianity, Jesus of Nazareth series Dr. Thomas McGovern, What Christ Suffered St. Faustina’s Diary Corrie Tenboom, The Hiding Place Sr. Marianne Mayard, Make Friends with the Angels Scott Hahn, Rome Sweet Home Bl. Columba Marmion, Christ, The Life of the Soul Franck Sheed, Theology and Sanity St. Athanasius, Life of St. Anthony · Classics: Thomas a Kempis, Imitation of Christ; Therese of Lisieux, The Story of a Soul; St. Augustine, Confessions. · How to pray: little books by Fr. Jacques Philippe, esp Time for God; · Testimonials: Sohrab Ahmari, From Fire By Water; Scott Hahn, Rome Sweet Home; Robert Cardinal Sarah, The Day is Now Far Spent · Devotionals: St. JoseMaria Escriva, The Way, Furrow, The Forge. · Novena books (staged): Fr. Ed Looney, A Lenten Journey with Mother Mary; Fr. Michael Gaitley’s books, esp 33 Days to Merciful Love; Fr. Donald Calloway, Consecration to St. Joseph, · Catechisms: Joseph Ratzinger, Introduction to Christianity; The Compendium of the CCC · Just published: Fr. John Nepil, To Heights unto Depths; Dr. Thomas McGovern, What Christ Suffered Our Lady: Andrew Apostoli, Fatima for Today; Fulton Sheen, The World's First Love

The Holy See and Bishop Ferrand commissioned Father Latour to minister to the peoples of New Mexico. On his eventful journey from Ohio to the Southwest, God's providence sustained the French priest. But upon is arrival, it was evident that sinister forces were at play in his new home. Who will survive this battle of virtue and vice? Join us for this episode of the #BecomeFire Podcast as we continue to explore Willa Cather's great American novel, "Death Comes for the Archbishop."

For rock climbers, skiers, and other outdoor enthusiasts, the word "send" has a whole new meaning. You might cheer on a fellow snowboarder with "Send it, bro!" -- and being "sendy" is a really great thing. Plus: a nostalgic trip to Willa Cather's' Nebraska home inspires a reading from one of her classic books about life on the American prairie. And what do they call a sudden, heavy rain where you live? A gulley washer? A frog-strangler? Or maybe even a bridge-lifter? All that, and the flowery language of seed catalogs, rank and file, cut me a husk, I am sat down vs. I am sitting down, Lead on, MacDuff! vs. Lay on, MacDuff!, a hematological puzzle, and a popular Spanish-language refrain about an extremely long goodbye. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Holy Father sends a French Jesuit from the midwestern United States to minister to the people of New Mexico. Though this mission is anointed by God, sinister forces are at work in this part of the continent. Join us in this episode of the #BecomeFire Podcast as we introduce the acclaimed novel, "Death Comes for the Archbishop" by Willa Cather.

This week on The Book Drop, we explore the rise of the romance genre and the guilty-pleasure tropes that keep us coming back for more.All the books and resources we talk about in this episode can be found here or by visiting omahalibrary.org/podcast.Happening at the Library: Interactive Movie: Wonka (2023) | Friday, Feb. 14 from 2 to 4 p.m. | Willa Cather BranchPolish Genealogy: Finding Your Ancestors' Polish Records (Virtual Program) | Thursday, Feb. 20 at 6 p.m. Book ClubsPlain Pages at Willa Cather on Saturday, Feb. 15 at 1 p.m.Novel Nights at Washington Branch on Tuesday, Feb. 18 at 6 p.m.Lit Happens at Sorensen Branch on Tuesday, Feb. 18 at 6:30 p.m.More info at omahalibrary.org/book-club.Explore all upcoming events at omahalibrary.org/events.

In this new series of episodes, professors explore the theological impact of their favorite pieces of literature. “Literature can help us to see the transcendent truths of the gospel anew,” said Dr. Ryan Tinetti, professor of Practical Theology. “It can help us deepen our experience, our understanding and our sympathy for folks from all walks of life and experiences,” said Dr. Kent Burreson, professor of Systematic Theology. Join Tinetti and Burreson in a discussion about Willa Cather's “My Ántonia” and Karen Blixen's “Babette's Feast.”

"Miracles rest not so much upon healing power coming near us from afar, but upon our perceptions being made finer, so that for the moment, our eyes can see and our ears can hear what has been there around us always.” – Willa Cather

Willa Cather and reading rules – welcome to episode 133 of ‘Tea or Books?’! In the first half, we discuss reading rules – when we’re picking up a book, are there certain things that will definitely put us off? In

China's rapid surge in electric vehicle manufacturing, adoption, and export has variously encouraged, delighted, impressed, frightened, and even enraged people around the world. What did China get right in facilitating the explosive development in this industry? Was is just subsidies, or were there other important policies that helped jumpstart it? How have other geographies responded? And what can they learn? Ilaria Mazzocco, deputy director and senior fellow with the Trustee Chair in Chinese Business and Economics at the Center for Strategic and International Studies (CSIS) joins me to share her rich insights into the Chinese EV industry.3:49 – How Ilaria became interested in green industrial policy5:59 – The reality of progress in EVs in China 11:21 – The role of state subsidies and other things that tend to get missed in trying to understand EVs in China 16:51 – How other countries are trying to adopt China's approach 19:21 – The differences between the EU and U.S. approaches 24:17 – The outlook for competition in the Chinese market 26:08 – Business models in the Chinese EV sector and the example of BYD30:53 – Chinese firms' push for internationalization and how the rapidity of becoming multinationals [multinational companies?] may pose challenges 35:54 – Alignment between host countries and Chinese companies 39:58 – What the U.S. is doing and the Inflation Reduction Act (IRA)42:27 – How U.S. protectionist measures may affect third markets, and whether restrictions may backfire 48:57 – The coming shift to next-generation batteries, and the potential for international collaboration in advancing more circular practices 55:43 – How Ilaria's fieldwork shifted her perspective on the EV industry 59:38 – How we can improve industrial policy Recommendations:Ilaria: My Antonia by Willa Cather; the Wolf Hall trilogy by Hilary Mantel; The Army of Sleepwalkers by Wu Ming (an Italian novelist collective) about the French Revolution Kaiser: The Wolf Hall audiobooks read by Ben Miles; the HBO series Rome (2005-2007) See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on The Book Drop, we discuss Willa Cather's Nebraska roots with the executive director of the National Willa Cather Center, Ashley Olson, and chat about our recent reads of her celebrated works.All the books and resources we talk about in this episode can be found here.Learn more about the National Willa Cather Center by visiting willacather.org.Happening at the Library: 24th Annual Teen Poetry Bash | Saturday, Dec. 7, 1 to 4 p.m., Abrahams Branch Holiday Lights Festival | Saturday, Dec. 8, 11 a.m. to 4 p.m., Downtown BranchOut and About Reading Party at Dry Spokes | Thursday, Dec. 12, 6:30 to 7:30 p.m.Interactive Die Hard | Saturday, Dec. 7, 7 to 10 p.m., Swanson Branch Explore all upcoming events on the OPL website at omahalibrary.org/events.

A three way attraction leads to a murder in Wyoming and one man knows the secret of who did it and why. 

short_stories, short_fiction, symphony_space, books, life, meg wolitzer, Carlos Greaves, Santina Fontana, Dylan Marron, Sarah Messanotte, Willa Cather, Patricia Clarkson, humor, cartoons, family

Ken Ward, after talking to his coach not long after the great potato fight, is talked into walking over to the Sophmore dormirories to aplogize to the varsity basball captain, Dale- but Dale has other plans, and Ken and the coach find themselves trapped with no way out.  Check out our new website at www.bestof1001stories.com, and take advantage of some really good search opportunities there. Some tips for Search: Author Names: Arthur Conan Doyle, Jack London, Robert Barr, Rudyard Kipling, Frank Stockton, Henry Cuyler Bunner (Humor), Lucy Maud Montgomery (Heartwarming), Willa Cather, Zane grey (Baseball Stories), Howard Pyle (Robin Hood & King Arthur), Ambrose Bierce, Father Brown, Bret Harte, Ray Bradbury (SciFi), O.Henry (Old NY, stories w a twist), Edgar Allan Poe (Horror and Detective), Agatha Christie (Poirot Mystery), Mary E. Wilkins Freeman (Romance), Anton Chekhov (Russian Stories), Banjo Paterson and Henry Lawson (Australian Humor and Pathos), Mark Twain (Americana), James Baldwin (Tales)

Why does Paul feel like he just doesn't fit in with this world? What will “not fitting in” do to him?  Willa Cather, today on The Classic Tales Podcast.  Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.  A Vintage Episode is released every Tuesday. If you have found value in the show, please help us to help more people like you by going to http://classictalesaudiobooks.com, and becoming a supporter. New stories are coming your way on Friday.  Keep an ear open for our Kickstarter for The Golden Triangle – the seventh novel in the Arsène Lupin series. Two boxed sets are now available. We'll let you know when we're ready to kick off.  In today's story, Paul just doesn't fit in. Cather layers on the different woes that Paul has to deal with. He uses art as an escape from reality. He also has had issues with his home life, etc. The author gently layers on the struggles of a character so effectively. By the end, we fully understand his motivations, which as it turns out, is heartbreaking.  And now, Paul's Case, by Willa Cather. Follow this link to become a monthly supporter:   Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:   Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:    

Is money the root of all evil? Or does it change happiness to despair simply by existing? Booth Tarkington, today on The Classic Tales Podcast.  Welcome to The Classic Tales Podcast. Thank you for listening.  The Vintage Episode for the week is “Paul's Case”, by Willa Cather. Be sure to check it out on Tuesday.  If you have found value in the show, please consider becoming a monthly supporter. Help us to help other folks like you. Please go to http://classictalesaudiobooks.com and become a monthly supporter for as little as $5 a month. As a thank you gesture, we'll send you a coupon code every month for $8 off any audiobook order. Give more, and you get more! Thanks for helping us out.   Go to http://classictalesaudiobooks.com and become a supporter today.  This summer we are showcasing short stories that have been nominated for the O. Henry Memorial Award from 1919-1923.  Booth Tarkington won the Pulitzer Prize for fiction twice. Once in 1919 for his novel The Magnificent Ambersons, and also in 1923 for Alice Adams.  He was well-known and prolific, penning many best-selling novels including Penrod and Seventeen. He was also an illustrator, playwright and politician, serving one term in 1905 in the Indiana House of Representatives.  In the 1910s and 1920s, Tarkington was regarded as “the most important and lasting writer in his generation”. By the end of the 20th Century, however, he had been completely ignored by academia, and in 2019 he was described by Robert Gottlieb as “America's most distinguished hack”. Apparently, Tarkington's penchant for glorifying the past, going beyond typical nostalgia, rubbed the modern academicians the wrong way.  I think it might be time we give him another chance.  And now, “The One Hundred Dollar Bill”, by Booth Tarkington. Follow this link to become a monthly supporter:    Follow this link to subscribe to our YouTube Channel:   Follow this link to subscribe to the Arsène Lupin Podcast:    Follow this link to follow us on Instagram:   Follow this link to follow us on Facebook:   Follow this link to follow us on TikTok: