Podcasts about woolf

The String Quartet by Virginia Woolf — A Calming Bedtime Story for Sleep & Insomnia | Books at Bedtime Drift off tonight to a dreamlike bedtime story for sleep and insomnia, read slowly and gently to help you fall asleep naturally. Tonight on Books at Bedtime, Martin reads Virginia Woolf's "The String Quartet" — a short, hypnotic piece from her 1921 collection Monday or Tuesday. It begins in a crowded London drawing room, full of overheard fragments — the weather, the traffic, a rent too high, a glove left on the train. The small anxious chatter of a mind that cannot settle. Then four musicians take their seats, the first violin counts one, two, three, and everything changes. The music carries the listener somewhere else entirely. A pear tree on a mountain. Fountains and falling drops. The waters of the Rhône running swift and deep over silver fish and yellow pebbles. Lovers on the grass, silver horns at dawn, a rose leaf falling from an enormous height like a little parachute. It is one of the loveliest things Woolf ever wrote about how it feels when sound takes over from thought — when the fretting mind finally lets go and simply floats. Which makes it, we think, close to perfect for the last thing you hear tonight. There is no need to follow the story. There is no plot to lose. Let the words move over you like the music moves over the people in that room, and let yourself drift. Virginia Woolf (1882–1941) remains one of the most quietly beautiful voices in English literature, and this piece is in the public domain. Read by clinical hypnotherapist and former paramedic Martin Hewlett, host of Calming Anxiety and Coffee Break for the Soul. Sleep well, my friend.  Buy Me a Coffee: Support hosting costs at https://www.buymeacoffee.com/calminganxiety Newsletter: Subscribe on Substack at https://calminganxietypodcast.substack.com/?r=6zm0sc&utm_campaign=pub-share-checklist Rate & Review: Leave a 5-star review on Spotify or Apple Podcasts to help us reach more listeners! YouTube: Watch all episodes at https://www.youtube.com/c/calminganxiety?sub_confirmation=1 Social Media Support: For younger listeners struggling with social media stress, visit https://www.icanhelp.net/ Music: All music by Chris CollinsBecome a supporter of this podcast: https://www.spreaker.com/podcast/calming-anxiety-guided-meditation-sleep-hypnosis-panic-attack-relief--4110266/support.Ready for More Calm?Thank you for listening to the Calming Anxiety Podcast, featuring guided meditation, mindfulness, and sleep hypnosis sessions with Martin Hewlett. Our mission is to provide you with proven tools for anxiety relief, stress reduction, and a path toward deep relaxation. Use this episode anytime you need to calm your mind and feel more at ease.

The Searchlight by Virginia Woolf — Full Short Story Read Aloud | Sleep Story for Insomnia, Anxiety & Deep Sleep | Books at Bedtime A calming bedtime story to help you fall asleep — the complete, unabridged short story The Searchlight by Virginia Woolf, narrated slowly and softly for anyone who can't sleep, lying awake with insomnia, anxiety or a racing mind at three in the morning. A warm, moonless summer night in London. An eighteenth-century mansion is a club now, and after dinner a small party drifts out onto the balcony above the park to drink coffee in the dark. Rods of light wheel across the sky — the Air Force practising, searching for enemy aircraft — sweeping over a stone front, over a chestnut tree in full blossom, and then, for a second, straight across the balcony itself. And Mrs Ivimey says: you'll never guess what that made me see. You can listen offline, any time you wake in the night, in the Anchored app — 

The Man Who Loved His Kind by Virginia Woolf — Full Short Story Read Aloud | Sleep Story for Insomnia, Anxiety & Deep Sleep | Books at Bedtime A calming bedtime story to help you fall asleep — the complete, unabridged short story The Man Who Loved His Kind by Virginia Woolf, narrated slowly and softly for anyone lying awake with insomnia, anxiety or a racing mind in the small hours. Trotting through Deans Yard one afternoon, Prickett Ellis runs straight into Richard Dalloway. They were at school together and haven't met in twenty years. There's an invitation to a party that evening, accepted before either man quite means it — and Prickett Ellis, a plain, hard-working barrister who has never cared for society, spends the whole night standing against a wall in a borrowed dress suit, watching people he has decided to despise. You can listen offline, any time you wake in the night, in the Anchored app — 

In the Orchard by Virginia Woolf — Full Short Story Read Aloud | Sleep Story for Insomnia, Anxiety & Deep Sleep | Books at Bedtime A calming bedtime story to help you fall asleep — the complete, unabridged short story In the Orchard by Virginia Woolf, narrated slowly and softly for anyone lying awake with insomnia, anxiety or a racing mind in the small hours. Miranda is asleep in the orchard, in a long chair under an apple tree. Her book has fallen into the grass. That is all that happens — and Woolf tells it three times over, from three different heights. First from four feet above her head, where the schoolchildren's chanting and the church organ and a drunk man's cry all pass over the sleeping girl. Then from inside her own drifting mind, where the sounds turn into cliffs and horses and the sea. Then from nowhere at all: twenty-four apple trees, a wagtail, a thrush, a purple dress, and the whole orchard held quietly together by its walls. You can listen offline, any time you wake in the night, in the Anchored app —

A Haunted House by Virginia Woolf — Full Short Story Read Aloud | Sleep Story for Insomnia, Anxiety & Deep Sleep | Books at Bedtime A calming bedtime story to help you fall asleep — the complete, unabridged short story A Haunted House by Virginia Woolf, narrated slowly and softly for anyone lying awake with insomnia, anxiety or a racing mind in the small hours. Don't let the title worry you. This is one of the gentlest ghost stories ever written, and there is nothing in it to frighten anyone. A couple who died long ago move quietly through their old house at night, hand in hand, opening doors and looking for something they left behind. Here we left it, she says. Oh, but here too, he adds. They are careful not to wake the sleepers. And all the while, under the floorboards and behind the glass, the pulse of the house beats softly: safe, safe, safe. You can listen offline, any time you wake in the night, in the Anchored app —

The Lady in the Looking Glass by Virginia Woolf — Full Short Story Read Aloud | Sleep Story for Insomnia, Anxiety & Deep Sleep | Books at Bedtime A calming bedtime story to help you fall asleep — the complete, unabridged short story The Lady in the Looking Glass: A Reflection by Virginia Woolf, narrated slowly and softly for anyone lying awake with insomnia, anxiety or a racing mind in the small hours. People should not leave looking glasses hanging in their rooms. So begins one of Woolf's most beautiful pieces of writing — a summer afternoon in an empty country house, a long Italian mirror hanging out in the hall, and someone lying on the sofa watching the world go quietly on without them. In the room, everything moves: lights and shadows, curtains blowing, petals falling. In the glass, nothing moves at all — the hall table, the sunflowers, a grass path held so fixedly they seem caught there forever. You can listen offline, any time you wake in the night, in the Anchored app —

Solid Objects by Virginia Woolf — Full Short Story Read Aloud | Sleep Story for Insomnia, Anxiety & Deep Sleep | Books at Bedtime A calming bedtime story to help you fall asleep — the complete, unabridged short story Solid Objects by Virginia Woolf, narrated slowly and softly for anyone lying awake with insomnia, anxiety or a racing mind at three in the morning. Two young men are arguing about politics on an empty beach. One of them, John, stops listening and starts digging his fingers down into the wet sand — and finds a lump of sea glass, worn smooth, so thick it is almost opaque, green when he holds it up to the light. He puts it in his pocket. It goes on the mantelpiece, where it holds down a pile of bills. And that, quietly, is the beginning of the end of his life as everyone else understood it. You can listen offline, any time you wake in the night, in the Anchored app —

The Mark on the Wall by Virginia Woolf — A Calming Bedtime Story for Sleep & Insomnia | Books at Bedtime A calming bedtime story to help you fall asleep — the complete short story The Mark on the Wall by Virginia Woolf, read slowly and softly for anyone lying awake in the small hours. A woman sits by the fire on a January afternoon, looks up, and notices a small dark mark on the wall above the mantelpiece. That is the whole of it. She never gets up to look. Instead the mind does what a tired mind does at three in the morning — it wanders off. Shakespeare in an armchair. The people who lived in the house before. All the small things lost in one lifetime. Whitaker's Almanack. A tree standing in an empty field on a winter night. And every so often it drifts back to the mark, the way you keep returning to one thought without ever resolving it. You can listen offline, any time you wake in the night, in the Anchored app —

Kew Gardens by Virginia Woolf — A Calming Bedtime Story for Sleep & Insomnia | Books at Bedtime A calming bedtime story to help you fall asleep — the complete short story Kew Gardens by Virginia Woolf, read slowly and softly for anyone lying awake in the small hours. This one is different, and it may be the most restful thing we have ever read on this show. There is no mystery, no plot and nothing to solve. It is simply a hot July afternoon in a London garden, an oval flower bed, and the light moving over red and blue and yellow petals. Four sets of people wander past it — a married couple thinking about someone they didn't marry, an old man talking to the flowers, two women piecing together a conversation, a young couple pressing a parasol into the earth — and each drifts away again. Between them, a snail sets out across the earth beneath the leaves. You can listen offline, any time you wake in the night, in the Anchored app —

People tend to tiptoe around anything to do with widowhood. We know that people are clumsy with their words and their actions, and often, they don't want to say the wrong thing or ask the wrong questions. Oftentimes, widows don't even want to ask these questions to fellow widows. So, our inbox fills with the questions people are too scared to ask – about dating widows, about grief's permanence, about moving forward without forgetting your person, and about widows dating other widows. Today, Nora is joined by fellow widow Rebecca Woolf to go through your burning questions and talk about grief, dating after loss, and the practical questions no one ever wants to get into. If you are a widow (or know a widow!) and have questions you wish you could ask, this episode will answer them. If we don't cover it in this episode, call or text us at 612-568-4441. Watch us on YouTube here! Get this episode ad-free here! Listen to Geoffrey's album on Spotify and Apple! You can buy Nora's books on Bookshop or Amazon, or wherever you buy books. Nora is on IG, TikTok, Facebook and LinkedIn. Our Sponsors: ❤️ Refresh your everyday with luxury you'll actually use. Head to ⁠⁠⁠⁠⁠⁠⁠Quince.com/TFA⁠⁠⁠⁠⁠⁠⁠ for free shipping on your order and 365-day returns. Now available in Canada, too. Go to ⁠⁠⁠⁠⁠⁠⁠Quince.com/TFA⁠⁠⁠⁠⁠⁠⁠ for free shipping and 365-day returns. ⁠⁠⁠⁠⁠⁠⁠⁠Quince.com/TFA⁠⁠⁠⁠⁠⁠⁠⁠ ❤️ ⁠⁠⁠⁠⁠⁠⁠Shop Everyday Cotton, and all of my favorite bras and underwear, at SKIMS.com. After you place your order, be sure to let them know we sent you! Select "podcast" in the survey and be sure to select our show in the dropdown menu that follows.⁠⁠⁠⁠⁠⁠⁠ ❤️ Experience your juiciest and deepest sensual experience with a bottle of Foria. FORIA is offering a special deal for our listeners. Get 20% off your first order by visiting ⁠⁠⁠⁠⁠⁠⁠foriawellness.com/tfa⁠⁠⁠⁠⁠⁠⁠ OR use code TFA at checkout. That's F-O-R-I-A WELLNESS DOT COM FORWARD SLASH TFA for 20% off your first order. I recommend trying Awaken or their Pleasure Set with all three of their best sellers. ❤️ Turns out you don't need a real job. Build your own business with a free trial at ⁠⁠shopify.com/tfa Learn more about your ad choices. Visit megaphone.fm/adchoices

"Common Reader-Virginia Woolf" invites listeners into the profound insights of one of the 20th century's most influential writers. This collection showcases Woolf's reflections on literature, exploring the intricate relationships between reader and text, as well as the broader cultural contexts that shape our understanding of art. Woolf's eloquent prose and keen observations resonate deeply today, as they challenge us to consider the role of literature in our lives and the ways in which it can illuminate our shared human experience. Her timeless themes of identity, perception, and the act of reading itself make this audiobook a vital listen for anyone seeking to engage with the power of words and the art of storytelling.

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Dolphins head coach Kristian Woolf joined Jason Matthews on 4BC Breakfast to preview Saturday’s crucial "Battle for Brisbane," highlighting their chance to secure a historic first finals berth alongside Isaiya Katoa's return from a broken arm and Selwyn Cobbo's stellar form. Woolf also addressed trash-talk from Broncos star Ezra Mam regarding Redcliffe, maintaining pride in his club while returning mutual respect following Ben Hunt's earlier comments on Tom Flegler.See omnystudio.com/listener for privacy information.

durée : 02:01:18 - Les Matins de France Culture - par : Bérengère Bonte - Ce matin à 7h38, Bérengère Bonte reçoit la comédienne Dominique Blanc pour évoquer sa carrière d'artiste, sur la scène de la comédie Française comme au cinéma. - équipe : Phane Montet, Mathilde Thon-Fourcade, Victoria Géraut-Velmont, Inès Bouffartigue Sebastia, Rodi Eken, Anouk Seveno, Salomé Erbs, Romain Rincon Hernandez - invités : Cécile Wajsbrot Romancière, traductrice et essayiste française contemporaine, Dominique Blanc Comédienne, sociétaire de la Comédie-Française, Paul Gogo Journaliste indépendant Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:09:28 - Les Matins de France Culture - par : Bérengère Bonte - Pour la première fois traduites en français, 215 lettres inédites entre Virginia Woolf et sa sœur Vanessa Bell dévoilent un lien rare, entre art, deuils et guerres. Un dialogue intime qui éclaire toute l'œuvre de l'écrivaine. - équipe : Phane Montet, Mathilde Thon-Fourcade, Victoria Géraut-Velmont, Inès Bouffartigue Sebastia, Rodi Eken, Romain Rincon Hernandez, Salomé Erbs - invités : Cécile Wajsbrot Romancière, traductrice et essayiste française contemporaine Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

As the Dolphins look to cement their first finals appearance in history,. We are joined by head Kristian Woolf on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:03:44 - Les Matins de France Culture - par : Raphaël Laloum - En 1902, Virginia Stephen vit dans le quartier de Kensington, à Londres. Issue de la bourgeoisie victorienne, la jeune femme étouffe dans son milieu. Abîmée par des deuils successifs, Virginia écrit davantage et aiguise sa plume dans le journalisme. - équipe : Thomas Beau Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Welcome to our fifth episode celebrating the centenary of The Sun Also Rises! On today's show, we welcome the always excellent David Wyatt to explore the way Hemingway represents “thinking” in the novel.Although Hemingway may not be as celebrated as Faulkner, Joyce, Proust, and Woolf at depicting human consciousness, in this episode David Wyatt guides us through crucial moments in The Sun Also Rises to show Hemingway's subtle power in dramatizing thought in action.Wyatt takes us from Jake's bedroom to his self-conscious prayer, to his drunken reading of Turgenev in bed, to the excitement of the bullring in order to reveal how the reader gains access to Jake's interiority, making The Sun Also Rises a psychological novel in disguise. As with all of the The Sun Also Rises episodes this year, we enjoy the legendary actor William Hurt reading—in this episode, from Jake's “I thought I had paid for everything” meditation in chapter 14, courtesy of our friends at Simon & Schuster Audio.Audio excerpt courtesy of Simon & Schuster Audio from The Sun Also Rises by Ernest Hemingway, read by William Hurt. Copyright © 1926 by Charles Scribner's Sons. Used with permission of Simon & Schuster, Inc.Consider supporting One True Podcast here: https://members.hemingwaysociety.org/podcast

- Didn't see 66-0 loss coming - Keeping emotions in check when delivering a message to the team at half time - Players returning from Origin - Looking ahead to Cowboys game this weekend - What he wants to see in the opening 10 minutes Learn more about your ad choices. Visit megaphone.fm/adchoices

Rencontre avec Ivan Berquiez à l'occasion de la parution de son livre, Un pieu à soi, Virginia Woolf regarde Buffy, aux éditions La Variation. Virginia Woolf se serait-elle jetée dans la rivière si elle avait pu regarder Buffy contre les vampires ?1941->1997 back to the future c'est exactement le projet d'Ivan Berquiez. Avec une grande finesse, l'auteur entremêle la série épopée et les écrits de l'autrice, quand Woolf rencontre Buffy, c'est évidemment la surprise et d'un épisode à l'autre, leurs combats de vie se mêlent, sans forcer. Au-delà de l'impact de la pop culture sur nos vies, il y a dans ce livre une réflexion profonde sur la mort, sur la vie qui cesse d'être envieuse. Vampire et dépression, écriture et solitude, c'est un récit passionnant qui se déroule sous nos yeux.Photo © Sido Lansari.Saison #6 : Univers graphique : Mirion Malle | Habillage sonore : Pierre-Antoine Naline, accompagné de la chorale Dònas d'Òlt d'après le chant La Rota composé par Nadèta Carita | À la conversation et à la réalisation : Soazic Courbet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:58:45 - Concordance des temps - par : Jean-Noël Jeanneney - Virginia Woolf n'a cessé de faire de la littérature une exploration de la conscience, du temps et de la fragilité des êtres. Henriette Levillain restitue le parcours d'une écrivaine dont l'œuvre, plus d'un siècle après ses débuts, demeure d'une étonnante modernité. - équipe : Vincent Abouchar, Jeanne Guérout - invités : Henriette Levillain Professeure émérite de Littérature à la Sorbonne Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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

- Team going well both on and off the field - Origin Stars back into Squad ahead of game vs NZ Warriors - Giving a positive environment for the Team - Developing younger players into Stars - Matchups of players v the Warriors - No plans for Player movement on June 30 - Tom Gilbert Throat Injury Learn more about your ad choices. Visit megaphone.fm/adchoices

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

It's been 3 years since Lee Switzer - Woolf joined Warren in the shed for an evening of music and conversation.We get to hear his latest songs specially arranged on acoustic guitar for Shed Sessions, and they sound extraordinary. We learn about Lee's songwriting process and gain a rare insight into his intriguing lyrics. The performance is moving and we are in awe of the stories Lee has thoughtfully weaved and laid out for us through song. We have been lifted by the music and honesty our guest has brought and are very excited to share this revitalising experience with you.P.S. The other artist Warren was thinking of alongside Ozzie Osbourne is Robert Smith.Thank you for listening.Audio by Quen.You can find out more about Lee Switzer - Woolf here:https://leeswitzerwoolfmusic.com/https://open.spotify.com/artist/39FQMAp2C86W7yagW3n43h?si=OjyZqMs7RjiHB6KKbFlU8gInstagram - @leeswitzerwoolfmusicPhotos from the session by @pittoad (Instagram) can be viewed on the Shed Sessions Instagram pages - @shedtreasures

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

“A good safety culture starts with leadership willing to look in the mirror.”In this episode of Crane Talk, the crew sits down with Billy Woolf, acting Safety Director for Davis Crane Service, to discuss the realities of managing safety, liability, litigation, and accountability inside one of the country's largest crane and rigging operations.Billy shares how his background working directly in the field helped shape his approach to safety leadership and why employee trust matters just as much as written policies. The conversation explores how Davis Crane built stronger accountability systems across multiple locations while maintaining buy-in from ownership, management, and field personnel.Ron, Gene, and Billy also discuss their experiences meeting with lawmakers in Washington D.C. to advocate for tort reform and explain how rising litigation costs impact equipment investment, insurance premiums, and the future of the industry.If you work in cranes, rigging, trucking, construction, insurance, or industrial safety, this episode provides an inside look at the operational and legal challenges shaping the industry today.Connect with Billy: https://www.linkedin.com/in/william-woolf-4b7832286About the ShowCrane talk is a podcast hosted by Ron Thompson and Gene Greiner, 2 highly successful insurance producers in the Dallas-Fort Worth region. About Ron:Ron has been specializing in the heavy iron insurance world as a broker since 1992. In the complex world of heavy iron risk exposure, Ron's expertise is in contractual risk transfer, contract review, fleet safety management where “rubber meets the road” and keeping clients updated on legislative issues that effect the crane & rigging industry and maximizing profit for his clientele.Connect with Ron: https://www.linkedin.com/in/ron-thompson-ba0a805a/About Gene:Gene Greiner is Vice President of commercial insurance for CoVerica with 15 years of focus on heavy construction risk. Based in Dallas, TX, he is deeply embedded in serving this industry's risk transfer needs and, enjoys active advocacy though the Specialized Carriers & Rigging Association and the Texas Crane Owners Association.  Connect with Gene: https://www.linkedin.com/in/gene-greiner-b08a0617/New episodes drop each month. Please drop us a line if you have a question or suggestion; you can reach us at podcast@coverica.com. Finally, if you like the podcast, we encourage you to subscribe and leave us a review.

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

Jake Woolf is someone I've followed for a while on Instagram, so I was confident I was inviting a bird of a similar feather on the show. We both love to shop, explore, discover, and obsess over product.We get into the weeds into the state of fashion, including trends, designers switching companies like pro athletes do teams, and we also talk about what he'd like to see more of in the near future. We later dive into the first of his several upcoming collaborations he has on the calendar for 2026, and you'll get first dibs if you start subscribing to his Substack, one of my favorite corners of the internet.You can listed to the audio-only above or watch our conversation below! Thanks so much for your support. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit standardh.substack.com/subscribe

Listen in as we talk with Dr. Jennifer Woolf and uncover the details of veterinary forensics. In this second episode she digs into the laws and of veterinary forensics, shares her experiences, and where colleagues can go for resources to learn about state-specific regulations.   *Trigger warning: this episode may include triggers associated with animal abuse and human abuse.*   Topics covered in this episode include: Defining veterinary forensics Top issues in the veterinary forensics field Laws and legal process for reporting animal abuse The role of law enforcement in animal abuse cases Resources available for colleagues looking to learn more   As always, we want to hear from YOU. Please share your thoughts by sending an email or joining the conversation.   GUEST BIO: Jennifer Woolf, DVM, MS Dr. Woolf (pronouns: she/her) is a veterinarian with a Master of Science degree concentrated in Veterinary Forensics. Over the years, she has worked in private practices and animal welfare organizations as well as owning her own relief veterinary services business for many years.  In 2014 she founded Woolf Veterinary Forensics Consulting where she lectures internationally on animal abuse, the Link, and veterinary forensics, as well as investigating and consulting on individual cases.  She also works for Veterinary Information Network (VIN) as a Topic Specialist consulting on message boards, developing resources, and providing webinars on animal abuse and veterinary forensics for VIN members.  Additionally, she writes articles for VIN members and the public. Dr. Woolf has published numerous articles, education modules, and a book chapter on animal cruelty topics, and was a 2018-2019 Don Low-CVMA Practitioner Fellow at the University of California, Davis, School of Veterinary Medicine in the Anatomic Pathology Department. Previously, she was an instructor in the University of Florida Veterinary Forensic Sciences Online Graduate Program. Dr. Woolf is a member of the American Veterinary Medical Association, the International Veterinary Forensic Sciences Association (IVFSA), and a founding member of the Alameda County Animal Cruelty Task Force. Previously she has served on the boards of the IVFSA and the Contra Costa County Veterinary Medical Association. LINKS AND INFORMATION: Dr. Jennifer Woolf initial Veterinary Pulse podcast episode: https://vinfoundation.org/dr-jennifer-woolf-on-raising-awareness-about-veterinary-forensics-and-the-importance-of-asking-the-right-questions/ Dr. Jennifer Woolf website: https://www.wvfcinc.com/ AVMA animal welfare toolkit: https://www.avma.org/resources-tools/animal-health-and-welfare/animal-welfare/responding-to-suspected-animal-cruelty-maltreatment Veterinary Information Network (VIN) Animal Abuse and Veterinary Forensics Center: https://www.vin.com/members/cms/project/defaultadv1.aspx?pId=27494 Melinda Merck - https://www.amazon.com/Veterinary-Forensics-Animal-Cruelty-Investigations/dp/0470961627 University of Florida veterinary forensics: https://info.distance.ufl.edu/l/307541/2025-07-06/56xwzx National Link Coalition nationallinkcoalition.org Animallaw.info Michigan State International Veterinary Forensic Sciences Association: https://www.ivfsa.org/ VIN Foundation Vets4Vets®: https://vinfoundation.org/v4v If you enjoy these podcast episodes, please support this podcast with a gift: https://vinfoundation.org/give Get updates to stay tuned for the VIN Foundation webinars on student debt.  You may learn more about the VIN Foundation, on the website, or join the conversation on Facebook, Instagram, or LinkedIn. If you like this podcast, we would appreciate it if you follow and share. As always, we welcome feedback. If you have an idea for a podcast episode, we'd love to hear it!

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

  In this episode you will discover: Identity Is Shaped in Interaction — Narrative identity forms and reforms through relationships and stories shared with others — making connection a core ingredient of recovery, not a bonus Visual Methods Unlock What Words Cannot — Collage-making, photos, and art give people with aphasia a pathway into identity work that talk alone can't always reach. Identity Reconstruction Is a Long Game — People continue navigating complex, shifting identities for years after stroke. Our systems need to follow them farther into that journey, not stop too soon. Sit on Your Hands and Truly Listen — The most powerful thing you can offer is unhurried, attentive presence. Learning to wait and watch — rather than fill the silence — is a skill worth deliberately practicing. If you've ever felt like there's more to aphasia care than the therapy protocol in front of you, or wondered what identity-centered practice actually looks like in the real world, this conversation will give you both the framework and the practical insights you need. Welcome to the Aphasia Access Aphasia Conversations Podcast. I'm Katie Strong from Central Michigan University and a member of the Aphasia Access Podcast Working Group — a community dedicated to supporting better aphasia care. Rianne Brinkman is a speech-language pathologist and linguist from the Netherlands whose PhD project "Who Am I Now?" explores identity changes in people with aphasia through storytelling and creative arts-based approaches. Before her doctoral work — supported by the Dutch NWO Teacher Research Grant — she spent years as a clinician in rehabilitation and aphasia centers, and that deep clinical foundation shapes everything she brings to her research. She teaches in the Speech and Language Therapy program at Hanze University of Applied Sciences in Groningen and conducts her research at the University of Humanistic Studies in Utrecht. Today's conversation feels especially personal to me. Like Rianne, I came to doctoral work after years of established clinical practice, and my own research centers on narrative identity and aphasia through the My Story Project and the PULSE framework. So, when she sought me out at a conference in 2019, I recognized immediately that we were kindred spirits working toward the same questions from different corners of the world.   So, let's get into the conversation. Katie Strong: Well, before we dive into your work, I wanted to share something with our listeners. One of the things that drew me to this conversation is that we have a parallel story. We both came to do our PhDs after established clinical careers, and you're in the thick of that journey. I'd love to start with what made you decide to go back, and how did your clinical work shape what you wanted to pursue? Rianne Brinkman: I used to work in rehabilitation for a long time, and then I moved from one part of the Netherlands to another part, and there was not much work for me. So, I got the opportunity to help establish an aphasia center. And of course, if you look at the rehabilitation phase, that's far more deficit oriented, so that's very different than in the chronic phase, where an aphasia center comes into place. So, I really had to change my view of therapy. I had to establish a few groups on identity. I started reading on identity, on communicative participation, on how to do that in groups. So that's really where the interest came from. Katie Strong: I love hearing that. Sometimes as we go into a different phase or area of work, and it really re-shapes our thinking and how we engage with our clients or patients. Rianne Brinkman: Yeah, it does. And in those groups, I worked together a lot with creative therapists, and I learned so much from them, because then I realized that if you use narrative approaches, and you combine them with visual arts or arts therapy, that it can mean so much for somebody. They can get so many more means of expression. So, yeah, I learned a lot from that. Katie Strong: I love that! It is powerful. And I'm really looking forward to talking more about this. I was curious, you know, what the experience has been like from a clinician turned researcher, what you know, what's that actually been like for you? And has there been anything that surprised you most about the transition? Rianne Brinkman: I did not realize that much how much you yourself as a person influences the conversation with somebody with aphasia, you know that co-construction part. So that your identity aspects really influence how the conversation takes place and what somebody chooses to tell you or not. So that is really momentary, and so it's just a snapshot, really, when you do this. So, I became really aware of that. But also, your own norms and values and the way you listen and all those sorts of things. It's just a different way of doing therapy. And then you're doing it as research which is different. I think that's one thing, sometimes I'm a little bit too much the therapist, so I really have to be a researcher again, you know? So, you change between those roles.   Katie Strong: Yes, it is a shift, right? Rianne Brinkman: Yeah, exactly, exactly. Katie Strong: Yeah. And thinking about how those two roles are different or powerful, sometimes combined. Well, let's talk a little bit about the work that you're doing. And I want to acknowledge that what we're talking about today really all comes out of your doctoral journey, which is really remarkable. I thought we could first talk about your 2025 scoping review that really mapped the landscape of what we know about identity changes in aphasia, and it also laid the groundwork for everything that followed. Could you walk us through that narrative identity model that came out of the review?   Rianne Brinkman: Yeah. That was quite complex, because there's so much written about identity, and everybody defines it slightly in a different way, or uses different words. So, what we tried to do is really get a grip on that literature to see what was written on identity changes in aphasia, and what kind of theory was used. And what we saw was that everything is from a social constructionist perspective, really. But then there are many different philosophers and different authors that write about identity. So, what we tried to do was because, of course, Barbara Shadden, she's very foundational in this work. With her colleagues, she created the four domain interdisciplinary framework. So, we tried to use that in the model as one of the foundations. And then, of course, the work of Paul Ricoeur, who's a French philosopher who writes about that you only shape your identity through interaction with other people which gives meaning to the stories you share with other people. And the work of Bamberg, and he talks about dilemmatic spaces. So what it means, really, is that I think identity, you only shape in interaction, and we tried to visualize that in the model. So, there's an "I" part, and that's about you, the personal domains, and there's the "we" part, and that's about the social domains. We tried to visualize how those domains interact, including temporality, because you shape your identity in the here and now, but also through time. And then in the middle of the model, there's a head with interconnected gears, and that's where it all comes together. That's you at your identity, your narrative identity, a specific point in time. So that's the model in a nutshell. And then you've got, of course, all those personal domains, like your biography, agency and power, communicative abilities, your roles you fulfill in life. And then the social domains are, like your social situation, your cultural background, society and all of that works together, informing, shaping your identity. Katie Strong: It's powerful work, and it is complex. I appreciate the work that you led to be able to assimilate and give us this model for us to be really thinking about narrative identity in a way that takes all of those big thought leaders and helps it become more approachable to those of us that are interested in narrative identity as researchers, but also as clinicians. Rianne Brinkman: That's great. Thank you. Katie Strong: Thank you for that work. And then you have another recent paper. Congratulations, by the way! That paper just came out earlier this year in 2026 and I guess I should say to the listeners, we'll have both articles linked in the show notes, as well as some other resources that will be interesting to explore if you're into this topic. This 2026, article is really the first of its kind to look at identity in this early stage, six to eight weeks after admission to rehabilitation. So, I was hoping you could talk with us about who were these people and what were you doing together in these sessions? Rianne Brinkman: Yeah. So, it's the first session of a longitudinal study, so I'm following those people over two years. And so, there are 22 people with aphasia. Unfortunately, two of them couldn't continue as one of them, I couldn't organize the reflection session, and one of them, I just couldn't reach anyone. But the other 20 people are still in the study, which is really amazing! Katie Strong: That is really amazing! Rianne Brinkman : Yeah, that's really nice. They're all middle aged people who range in age from their 30s to their 60s until 67. They also have different severities of aphasia. Some people were still clinical inpatient, some of them already were outpatient. And then I tried to elicit their story with visual participatory methods in combination with the narrative approach. So those sessions are quite long, sometimes two and a half to three hours, so it's a lot of time. It's really nice to just sit with them and connect. During the first session I did collage making. I just took a lot of magazines with me and scissors and glue and everything, and then we just sat down. And then I just let them start leafing through those magazines and see what appealed to them, what kind of images, what kind of words, what it's reflected about them. And then they created their collage. And then, of course, you look at what kind of images do they choose, but also, how do they position them? How do they create their collage. Is there some kind of reason behind things? You discuss that, but also how do they get across what they do? You know, some people think for a long time and are hesitant to act. Some people start straight away. Some people tear the images. Some people cut them really neatly. So, everybody behaves in a different way, and that reflects something on your identity also. So, I always ask questions about that. And then when we finish the work, a proxy comes in and we reflect on the work of the person with the face yet together to get perspective. Katie Strong: That's really fantastic. So, you're, you're coming into either the hospital room or their home, is that where the work is done? Rianne Brinkman: Yeah, so usually the speech therapist, who's in charge books a room for me in the rehabilitation center. Or I just go to the homes of the people. Katie Strong: Well, I'm excited to talk about what you found out, but, but before we get into that, I just have to ask about the tattoo, because it's an integral part of this work. And it stopped me when I read it. And the title from the paper comes from the tattoo on one of your participants. So, could you talk to us about that?   Rianne Brinkman: Of course. There's one lady, and I was analyzing the session, because, of course, she will need to transcribe them. And then I saw her doing her hair in a ponytail, and I saw her arm, and I thought, "Oh, she's got a really nice tattoo there." So, I sent her a text, and I said, "What does that tattoo mean to you? What is it? "And then she told me that it was a tattoo that said, leave the thorn, enjoy the rose. And that's from a music play from Handel. And her father really enjoyed that. But her father passed away, so that tattoo was a memory tribute to her father, but also it reflects how she sees life, that you have to try to stay optimistic whatever happens. And I think that voice of positivity is a very important voice in all the stories of all the participants. Everybody said that. So, I thought, oh yeah. Even when something really bad happens, bad happens, people try to stay positive. So, it reflected a very important, yeah, result of the data, really. So, I thought, I'm going to make that the title. Katie Strong: It really is beautiful. So, so the rose bush. You develop this beautiful rose bush image to represent what you found across the participants. Walk us through that. And what does the rose bush capture about what identity looks like at that early stage of recovery? Rianne Brinkman: So, we used different methodology of analysis. So we listened to the voices that were reflected in the stories of people with aphasia, and then we realized that there are many contrapuntal voices, so it's very ambiguous. Really, very complex. So, we thought, we cannot just do a thematic analysis. We have to show that one experience can be both positive or negative or whatever. And that's why we came to those tensions and in that rose bush, so at the stem you see, for example, where you see the branches, and at the stem it's, for example, the tension between disconnection and connection. And connection is at the rose and disconnection at the stem, another tension is agency and disempowerment, and another one is living loss and personal growth. And then what we found was that people had coping voices and affirmative voices, but also challenging voices. And what we did was we put the challenging voices at the thorns and the coping and affirmative voices at the roses to reflect that they used that both to make sense of aphasia and of their identity, really. And so, they were moving along those branches, really. Sometimes they felt connected. Sometimes disconnected. Sometimes they grieved. Sometimes they cope by staying positive or focusing on the present. So that's how we tried to show that it's very complex that people move along those tensions, that it's never static. And those three existential tensions were really very tangible in the data. Katie Strong: It's just such powerful work. When I was reading it and I. I was talking with one of my students, she was saying she actually became pretty emotional when she was reading about all of that as well. It's really, really powerful work. And what I find so interesting, and you mentioned it earlier, but this role of the visual methods, the collage making, images as a way into identity. Could you paint a picture of what that actually looked like to sit with a participant in those sessions? Rianne Brinkman: Yeah. Well you really have to sit on your hands. And I learned a lot from my colleagues, creative therapists, because when I first did this…because sometimes people feel a bit awkward. You know that they all of a sudden have to draw something, or that they have to cut images from a magazine. And then you want to do something to help them feel less awkward. You shouldn't really. You should just let that happen and let that session develop. That's very important. So, I really learned to just tell them, "you are looking the magazines and you see what appeals to you. And I'll just give you some time to get into that" and then you just wait. And while you're waiting, you can just see, for example, if somebody finds it really hard, and then you can also see how long they look at an image, for example, if it means something to them. Or they stop on a certain page all the time. And then you can help them a little bit and say, "Oh, you're looking a long time at this image. Maybe, is this something that appeals to you for some reason?" And then you can help them. But also, very often, people just know what to do. I don't know. It's very intuitive. So first, they don't know what they will choose, or they don't know what kind of collage it will be. But it comes to them for some reason.   Katie Strong: Yeah, it's interesting. I think we had talked about this previously, but a person with aphasia and research collaborator that I worked with, Todd Berreth, and I did some, we called it. We the "cut-up" style using images to be able create a story about yourself and integrate those pieces. And it was so interesting to watch people who came to our workshop, and just as you're saying, like how they chose and what they did. Some people were very, "I know what I'm doing", and others were hesitant, or wanted to take their work home before finalizing it and everything in between.   Rianne Brinkman: Yeah, that's very that's very nice. You really get that extra layer, I think. And also, when people really can't talk very well, you know, they can maybe say yes or no and sometimes a word, you know, then it's very hard to talk about your identity. Using images then that really helps. So, I remember one lady, she couldn't talk very well, but she was very creative. And she started, you know, with those magazines, and then straight away, there was that butterfly symbolizing her mom, connection to her mother. And maybe, I think we would never have reached that trying to do this in words. So, yeah, very powerful.   Katie Strong: Thank you. Another thing I wanted to talk about is that you use something called the Listening Guide as part of your analysis. And I'm thinking that a lot of our listeners may not have come across this before. Could you give a sense of what it really means to listen in the way that that approach demands?   Rianne Brinkman: Yes. So, what you do is, first you well, you listen to the plot of the story. So, you listen to, what does this story contain? What's the big line of the story? And you write that down. And then you look again at the data, and then you look at all the "I" positions and I also look at the "me" positions. So, everything that's "I" and "me". You get that out and you create "I-poems". We created all those "I-poems" about certain experiences. I could give maybe an example of one. This one is a bit connected to, on the one hand, feeling very sad that somebody suffered from stroke and aphasia, and on the other hand, tried to stay positive. So, I've got one here. I was crying last weekend. I realized, Oh no, this happened to me. I have to deal with this. I have changed. I also stayed positive that I will be okay. I just say it will be okay and I won't think negatively. So, then you get an "I-poem" that reflects different voices, like, in this case, the voice of grief and positivity. Then you look at those voices. In the next step, you look at the contrapuntal voices, and like grief and positivity are very contrapuntal. So very often, I think also we as human beings do the same, you know, you talk to yourself in your head, you know. And you've got all those different positions towards an experience. And those are the contrapuntal voices. And what we tried to do, so we adapted this approach by Gilligan and Eddy, and we tried to incorporate the visuals, the visual data, and also embodiment, because sometimes people with aphasia do very interesting things. They give a lot of information, non-verbally. Also you want to be sure that you really understood the person, so checking if you're on the same page is very important also. Sometimes you have to interpret what somebody means, or you have to give words to what somebody says as a researcher, which is the ethical part, of course, which is hard sometimes, but you can't avoid that. So, yeah, so that's how we integrated all the data. And tried to get those stories out and get the depth of the depth of the story.   Katie Strong: I love it. That's really fascinating. And the "I-poems" are really powerful. And I think we'll put a link to the Listening Guide reference in the show notes if people are interested in learning more about that technique. You mentioned earlier that this is a longitudinal study that you're undertaking for your dissertation work, which is pretty amazing. I mean, very amazing. And you're, you're two years into this longitudinal study, and this paper we've been talking about is the six to eight week snapshot. What are you most curious about as you continue following those participants over time? And also, what do you want clinicians who are listening today to take away from what you've already found?   Rianne Brinkman: Tomorrow, I'm doing another two sessions. One of them is the last session with somebody with P5 and with another person, P4. I think I am about I'm halfway through. Well, I'm almost, I think I've got another year to go to have collected all the data. And what I see really is that it's very clear that identity formation and reconstructing, renegotiating your identity, is a very long and complex process, and that at different points in time, different things happen. You see different patterns also along those moments in time that I'm doing the sessions. What I also realize, I'm not sure how that is in states, but in the Netherlands, I think communicative access, for example, if you want to start working again, you know, to understand what all the letters you get the process, and that it's very hard. Also in health care. And people are really struggling with that, and get really a lot of stress from this, and that it's very unclear often, and that people feel very uncertain. And I think we've got to realize that we should take a longer role in this. You know, not stop too soon, or just at least keep, well, the finger on the pulse, like we say in Netherlands, just keep following people. I think that's very important. And I also realized that the combination of a narrative approach with visual participatory methods really gives you a lot of information. And I also think the listening skills, to really listen to that story and try to get that story out, that gives you such a powerful connection with somebody. So, every time I see them again, I'm really curious, and they're really happy to share their story again and to show me where they are at that point in time. Yeah, and then I'm working together with colleagues with aphasia also, which is really great because they learn from each other. You know, that's nice.   Katie Strong: I love all of that. And I think maybe one of the things I'd like to reiterate, or we could talk about a little bit more, is that what I think I hear you're saying is we know aphasia is a chronic change to their life and the way they communicate and how they can connect with others, and ultimately how that impacts who they are, as people, or their identity. And our health care systems, I know in the US, we're set up for lots of intervention, or maybe the most that they're going to get, even if it's just a little, early in that phase, and then having them have to navigate that process on their own, as they become farther from having the stroke. And this work showcases their journey along the way. But I just wonder is there something that a clinician who's listening could implement or do with their client, wherever they're seeing them, in the journey? Rianne Brinkman:  I think using creative arts is always a good idea. You could keep it really simple. You could just ask them to bring a special object or to show a photo that they're proud of, or make a collage, or use Legos to build with. So, I think that's a good possibility. And also, I think a peer contact is very important. So do that together with a little group or people that are interested in exploring and sharing their stories. And I think we should realize that it's important to check in. So even if you finish therapy with somebody, then it's a good thing after a few months, to ask how they how they are, and stand still with the process. That's something very important also. Katie Strong: And sometimes harder to do than it would seem, but I think, as you're talking it seems like connecting people with peers and following up. I know here in the states, making  sure they're a part of a support group so that they can have a community to be able to connect with. Rianne Brinkman: Yes, because what I've seen a lot is that after a while, there's that phase of uncertainty, really. You don't know if you can get your work back, maybe in a different form, maybe not. And then there's no therapy anymore. And then how are you going to navigate all that uncertainty? And I think that usually speech therapy has stopped. I think then it's hard, of course, because it's not always doable, but I think it would be a very good moment. So, after eight months to really start up something again and then really discuss the identity of somebody. Really use narrative approaches to help them renegotiate all those dilemmas that they're experiencing. Katie Strong: Yeah, and certainly, I guess you know, advocacy work on big levels to recognize that people should be able to access therapy whenever they feel like they need it. Rianne Brinkman: Yeah, definitely. Katie Strong:  We've got some work to do. I appreciate this conversation, and I just wanted to let the listeners know that Rianne and I have been in conversation since we met at the International Aphasia Rehabilitation Conference in Philadelphia in 2019 and what started as a conversation in a parking lot I might add, has grown into some real research and educational collaboration. And Rianne, together with Sabine Corsten and Bianca Spelker, we have been developing and studying training programs for future SLPs in life storytelling approaches across three countries, so the US, Germany and the Netherlands and Rianne, I was hoping you could tell our listeners a bit about what we're actually building together and what you're learning from that work about what students need most before they walk into the room and try to do this identity centered practice, style of work. Rianne Brinkman: Well, we based it a lot on your work, of course, and the My Story project and Narraktiv from Sabine. So, Katie you started this in the US, and then we thought, "oh, this would be great in the Netherlands and in Germany also." The students first of course, need to be trained in supportive communication techniques, because that's very important for them. I think in the Netherlands, it's maybe a little bit different than in the States and in Germany, because I work with students that are still in their bachelors. So they've had only one year of theory, and they haven't done their training or internship yet. Although some of them have. And then you see a very different student. So, but I've got the students that are really for the first time meeting someone with aphasia, for example. And they're very scared, because they think, "Oh, am I able to adapt my communication and what if somebody's going to cry, or what if that story is really going to touch me?" So, you really need to prepare them with a lot of information about what narrative identity is and also what identity work entails. We also must train on how you can really, truly listen. Active listening skills from that nice paper you wrote with Barbara Shadden on the power of story and taking the PULSE of people with aphasia. Appreciating their uniqueness, And also what we do in the Netherlands is practicing with them how they use visual methods, creative methods, to use in their sessions with the people with aphasia. And then once they start, I always say to them, "Well, at least the first session maybe is very exciting, but you're there, you're listening, you're engaged. That's already means so much to somebody if you do that, if you truly listen." And then after one session, they realize that, and then it goes really nicely.   Katie Strong: There's this that feeling very uncomfortable and not sure where to go. And then being able to let that person with aphasia kind of take you on that journey. Rianne Brinkman: Yeah. That's so nice because it contributes to both, to the person with aphasia who participates, and also to the students and their development. Katie Strong: I strongly believe you can't do identity, story based work without being influenced yourself, by the work   Rianne Brinkman: Yeah, definitely. Katie Strong: Well, before we wrap up, I would be remiss if we didn't talk about some tips or strategies, resources or readings for clinicians who are interested in implementing identity, focused story work into their practice. So, can you share a few things with us? Rianne Brinkman: Definitely. Yeah. When I started this work, I really liked the work of Carol Pound and her colleagues, and that's a book called Beyond Aphasia. It's very interesting theoretically, but also very practical. It really helped me to develop methods for my aphasia group to talk about identity. I really think that's a very good book. And then also the book of Barbara Shadden and her colleagues on Neurogenic Communication Disorders. There are some really practical cases in there, and it's very broad. It's not only about aphasia, but also a different neurogenic disorders. And I what I really like is it's such a nuanced theoretical perspective; they gather lots of theory, but they do that in such a good way. It's a very book. Katie Strong: Yeah, I agree, both Carol Pound and Barbara Shadden's work. It's approachable, but it does have the meat of the theory in it.   Rianne Brinkman: Yeah. So that's helped me a lot. And what I said earlier, the paper you wrote with Barbara on the power of story, I think that's very helpful to better understand what happens when you use narrative interventions, and what kind of interventions there are. And then, of course, the different interventions, like the work of Sabine Corsten on Narraktiv in your work, on My Story. And I have a book but it's only in Dutch. I attempted to share all those methods I created for the group, and it's very practice based. So that's why I started later on my PhD. But those practice-based methods are combined in a book, but it's only in Dutch. Katie Strong: It looks fabulous. I'm not able to access it with my limited language skills, but we'll make sure to have all of those references listed in the show notes so people can explore and take a look around it. And I think you know your book that you're talking about, Rianne even though it is all in Dutch, so maybe not accessible to everyone, but it's got beautiful graphics and photos and things like that you can get an essence of what it is that you're expressing. Rianne Brinkman: It's all, it's all painted or drawn by Reno Hubers. He's a Dutch person with aphasia, and he was in one of my groups. And then every time I was reading about something, he was just drawing it or painting it. And I thought, "Oh, I really need to ask him help me make the images for this book." So, it was together with him that we created this. Katie Strong: Beautiful. And what a great story. Thank you for being here with me today. And I don't know if you have anything else you want to add before we wrap up our conversation. Rianne Brinkman: Well, thank you for inviting me. But also, I want to say thank you to my team, because they really stimulate me to think differently about identity. I've got a very interprofessional team, and that's really helpful. And also, of course, our identity group meetings with you and Sabine and Bianca and Barbara. That's very helpful to shape my thinking on identity. And, of course, the participants of my research who are so open and vulnerable and want to share their stories. I would like to acknowledge that that's very important.   Katie Strong: For sure! We sure appreciate you sharing your experiences with us and look forward to what's to come from the longitudinal study. We wish you well in your studies as well. Thanks Rianne. What strikes me most about this conversation is how Rianne's work reminds us that identity reconstruction isn't a detour from aphasia care — it is aphasia care. And the tools she brings, the collage, the listening guide, the willingness to simply sit and wait, are more accessible than we might think. What began as a chance conversation in a parking lot in Philadelphia in 2019 has grown into something neither of us anticipated. Rianne, together with colleagues Sabine Corsten and Bianca Spelker, and alongside my own work through the Strong Story Lab, we have been developing and studying training programs for future clinicians in life storytelling approaches — across the US, Germany, and the Netherlands. It is the kind of international collaboration that only happens when people are genuinely working toward the same thing. On behalf of Aphasia Access, thank you for listening. For references and resources mentioned in today's show, please see our show notes, available on our website at www.aphasiaaccess.org. There you can also become a member of our organization, browse our growing library of materials, and find out about the Aphasia Access Academy. If you have an idea for a future podcast episode, email us at info@aphasiaaccess.org. For Aphasia Access Conversations, here at Central Michigan University in the Strong Story Lab, I'm Katie Strong.   Resources Brinkman, R. (2018). Bouwen aan identiteit. behandeling van afasie – met 25 werkvormen [Building identity. Breindok. Treatment of aphasia – with 25 methods]. http://refhub.elsevier.com/S0021-9924(26)00012-2/sbref0006  Brinkman, R., Cardol, M., Neijenhuis, K., Luinge, M., & Leget, C. (2026). "Leave the thorn, enjoy the rose" identity formation of people with aphasia in the early rehabilitation phase. Journal of Communication Disorders, 120, 106627. https://doi.org/10.1016/j.jcomdis.2026.106627  Brinkman, R., Neijenhuis, K., Cardol, M., & Leget, C. (2024). Who am I now? A scoping review on identity changes in post-stroke aphasia. Disability and Rehabilitation, 47(5), 1081-1099. https://doi.org/10.1080/09638288.2024.2367606  Gilligan C., & Eddy J. (2017). Listening as a path to psychological discovery: An introduction to the Listening Guide. Perspectives on Medical Education, 6(2),76-81. https://doi.org/10.1007/S40037-017-0335-3  Pound, C., Parr, S., Lindsay, J., & Woolf, C. (2000). Beyond aphasia: Therapies for living with communication disability. Routledge. https://doi.org/10.4324/9781315169057  Shadden, B. B., Hagstrom, F., & Koski, P. R. (2008). Neurogenic communication disorders: Life stories and the narrative self. Plural Publishing. https://www.pluralpublishing.com/publications/neurogenic-communication-disorders-life-stories-and-the-narrative-self  Strong, K. A., & Shadden, B. B. (2020). The power of story in identity renegotiation: Clinical approaches to supporting persons living with aphasia. Perspectives of the ASHA Special Interest Groups, 5(2), 371-383. https://doi.org/10.1044/2019_PERSP-19-00145   

Columbus has a surprising and incredibly diverse food scene. From Algerian Pizza to a Chinese meal that doesn’t seem Chinese at all, and a dish called Johnny Marzetti. Plus, Columbus style pizza. All this from Bethia Woolf, founder of Columbus Food Adventures, named best food tour by USA Today! [Ep 385] Show Notes: Food & Travel guides from Destination Eat Drink Foodie videos from Destination Eat Drink Columbus Food Adventures The Columbus Foodletter

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

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

En este episodio de eQultura, te invito a recorrer la vida y la obra de Virginia Woolf, una de las mentes más brillantes de la literatura moderna.Woolf entendió algo esencial: que para escribir no basta con talento. Se necesita tiempo, dinero, una habitación propia y, sobre todo, libertad interior. En esta narración hablamos de escritura como acto íntimo y político, de la rabia y la belleza que conviven en su obra, y de lo que significa narrarse sin pedir permiso.Este episodio es una invitación a pensar en la voz propia, en la memoria y en el precio que muchas mujeres han pagado por atreverse a pensar y escribir desde sí mismas.Este episodio llega a ti gracias a Actinver, acompañándote a construir las mejores historias de tu vida.¡Hola, soy Elisa Queijeiro!Nací para contar historias. Soy humanista, escritora y académica, pero sobre todo, soy una mujer hambrienta de aprender. Descubrí que las verdades del pasado pueden inspirarnos hoy si las sabemos escuchar.

Episode 90 Letter to My Mother by Suzannah V. Evans   Suzannah V. Evans reads ‘Letter to My Mother' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/90_Letter_to_My_Mother_by_Suzannah_V_Evans.mp3 This poem is from: Under the Blue Available from: Under the Blue is available from: The publisher: Bloomsbury Poetry Amazon: UK | US Bookshop.org: UK   Letter to My Mother by Suzannah V. Evans You, pedalling your armsabove your head in bed,that bad arm suddenlymobile and flexible.You, meeting me at school,feeling something stir, sprinting across the grass . . . the two of us laughing, Mr. Tarpin peeringquizzically from the gate.You, with your bright lipstick.You, with your hands like mine.You, with your floppy hat.You, with your easy laugh.You, with the ellipsesof your emails. Your strongfront crawl. Your assertivegestures as you motionthrough talk. Now, when I swim, the movement of my armsis for you. A high arc,fingertips cleaving bright.Shuddering kick of legs.The sea pool in Seixalis for you. Craggy rocksand my head dipped to blue.Grey crabs line the rocks:I think of the limpets that spot McClure's paintingwith the reading woman,sun hat, white paper sheaf.Memory of last summer,absorbed in Woolf outside.A sudden rush of windcaused the parasol to liftand your own hat to spin right up from your head – where it hovered longerthan seemed possible, black ribbon flapping. Porto Moniz   Interview transcript Mark: Suzannah, where did this poem come from? Suzannah: So this poem emerged towards the end of my writing process for writing the poems in Under the Blue which is my first poetry collection. And the first two parts of the book… The book is a triptych of sequences, sort of playing with epistolary forms, so postcards and letters. The first two parts of the book are playing quite specifically with the form of the postcard, and the poems are quite private poems, in some ways. And I was interested in using the postcard form because it is a form which is both private and, in a sense, public in that, when you're writing a postcard, you're writing it to an individual. But a postie can turn that postcard over and read what's on the back. Anyone can read what's on the back. And with this third section in the book, I wanted to directly address some of the earlier figures who had appeared in the first two sections, and I suppose, to address them and to kind of write directly to people. So this poem is written to my mother, and it's in the form of a letter. And I'd say that the writing of this particular poem, this section of the book, was much more deliberate in some ways than the first two sections, which kind of emerged. And then, once I'd written those sections, I had sort of most of a manuscript, and these letters were really kind of, for me, kind of sealing and sending the manuscript off and kind of finishing it in that sense. Mark: Okay. It's really interesting to know that, the postcards come first in the book, and they're all prose poems, aren't they? Suzannah: Yeah. Mark: So they look like postcards on the page. And then, at the end, you've got the sequence of letters, which are kind of long and thin, maybe, to me, suggesting letters are longer than postcards. So, how did you start writing postcards, to begin with? And then we'll move on to the letters. Suzannah: That's a good question. So the postcards, I think I'm always looking for formal inspiration in the things around me. So I am a formal poet in the sense that I've written sonnets. I've written rondels, a lot of rondels. And I'm very interested in traditional form, but I'm also interested in the way that the world can provide forms for the poet. And I was on holiday, visiting my partner's father, when… So this is the first postcard in the book, although it's not sort of titled as a postcard. It's called ‘Under the Blue'. It's the title poem. And that sort of was drawn from a roughly real-life event, where sort of there was this incident with a kayak. My partner was swept off his feet, and it really just brought back to me an earlier experience of actually witnessing a seizure. And that was an experience which had really, really shocked me, and it had come completely out of the blue, really just out of nowhere. And I don't know why, but I had wanted to write about it. Maybe that's a kind of processing thing, or maybe it's just a way to kind of hold close different things that happen in your life. But I'd known for a while that I'd wanted to write about it, and this was years and years later. But seeing this figure being kind of knocked over and sort of just being sort of buffeted in that way really took me back to that night with the seizure. And I felt like these two events were kind of doubled, and I could kind of see both of them at the same time. So it started off with writing about that. And it was, because I was on holiday, a postcard seemed like an apt way to write about that. And so I suppose, kind of, it really started with that first poem. And it's quite subtle, I think, the moment with the seizure. It sort of comes towards the end of the poem. You can sort of read it almost without thinking about the seizure too much. But it does. I think, sort of, that event refracts across the collection. So even though there are moments sort of later in the book where the word seizures is used, someone seizes someone else's wrist in that sort of, a kind of reference back, there's a lot of falling over in the book, a lot of stumbling. And yeah, so I think the impetus for the postcards, kind of, it came from that first section. And actually, they were literal postcards, because I sent some of them. I kind of printed them off and sent them to friends in the post. Because I love…I'm a big letter writer. I send a lot of postcards. Like, postcards are really a big…it sounds weird to say that postcards are a big part of my life, but they kind of are. Like, I really love postcards. I like to collect them from galleries. And so it's partly a homage to my love of the postcard. And I think, also, with postcards, you have the art or the image on the postcard as well. And there's a few kind of ekphrastic moments in the book. So, kind of, all of that is woven in, I think. And the idea of what you can't say in a postcard, I think that's what the middle section of the book, for me, kind of turns the form on its head a little bit more to kind of write about things that maybe you actually wouldn't necessarily write in a postcard. So, to me, I kind of think of them as anti-postcards, almost. Yeah. Mark: So, the form is actually rooted in your life, that you do send postcards. It's not just a conceit for you. Suzannah: Oh, yeah, yeah, yeah. Mark: And of course, when a poem is framed as a postcard or a letter, there is a sense of it feels personal. You know, ‘I' and ‘you' are always… Quite often, there can be quite a lot of ambiguity about who the I is and who the you is. But if you signal it as a letter, like last month, I did Alexander Pope's Essay on Man, which was four verse epistles to Viscount Bolingbroke. And so that puts a different frame on it when you know that he's addressing, ‘My Lord,' and we're kind of overhearing that. Suzannah: Yeah. Mark: There's a sense that this is a personal communication, that maybe there's a real relationship underpinning. Suzannah: Yes. And I think that's something that the whole collection kind of plays with in a way. When I teach poetry, I'm always very adamant, or sort of something that I talk about with students is this idea that you never really can conflate the I of the poem with the poet. Even when there is autobiographical kind of crossover, I think there's something that happens. When you write a poem, it becomes an art object. It becomes something that is changed. I almost want to say it's not a photograph, but I think photographs are kind of complex as well in the way that they capture reality. So I think, for me, there is a real distinction between the first and second sections and the third section of the book. But something that I kind of have been thinking about as well is there's a poem that T.S. Eliot wrote to his wife, and he says something, like, ‘These are private words addressed to you in public.' And so I think this idea of what is private and what is public is really…it makes it quite hard for me to talk about the book sometimes, I think, but it's really at the crux of what it is, the sense of sort of letting the reader into some kind of quite private spaces and the importance of doing that as well, how the private is political. Just all of those things are kind of in there. But I think, in particular, the letters are really public declarations of love and trust, and they are very felt poems that are intended to honour particular people. And the collection ends with a letter to my father, who… The father figure is sort of less present in the earlier sections of the book, but it sort of attributes to my dad. That is an autobiographical kind of poem at the end of the book, which is in thanks really for everything that he does to hold up the people who are in earlier parts of the book and to kind of celebrate his role, to celebrate what he does as a carer, but also just to kind of… I think the letters are just…they're like praise poems really. They're just intended to celebrate these people. Mark: That's a nice idea, isn't it? The praise poem. That should maybe be more prominent, shouldn't it? Suzannah: Yeah. Mark: So with this one, specifically, what could you say about your intention in writing the letter to your mother? Suzannah: I think that this was one of the letters that I found more difficult to write, because the figure of the mother…and again, I won't say my mother because I think, for me, there's still this distinction between, even while the book draws on lived experience, it's not a direct reflection of that. But I think because of the earlier sections of the book, which are, at times, quite stark, I really wanted to write a poem that, I don't know, that sort of dwelled on movement and closeness and joy, I guess, just the delight, the sheer kind of delight of someone moving how they want to move. I think that I was kind of looking at this poem again before, thinking that we were going to talk about it. And that movement, to me, there's a shift after all the sort of you, you, you parts of the poem, which sort of have more kind of…the lines sort of go more to the end of the line. And then, when it starts talking about swimming, there are sort of full stops towards the middle of the lines. And I sort of wanted there to be almost like a kind of pull through those lines, as if someone is swimming through those lines, and you feel the arm going down, your strong front crawl, pause, your assertive gestures as you motion through talk. So kind of like having that pulling movement as swimming in the poem. And my mum, who is disabled, she was diagnosed with a neurological illness when I was 12. She used to be a really keen swimmer. And I remember as a child seeing her do front crawl and being, like, ‘Wow.' I actually only learned to do front crawl properly when I was in my late twenties. And I now love… I really love doing front crawl. I absolutely love it. And again, I swim in celebration of my mum. So if I swim front crawl, I'll always do a length for my mum and kind of dedicate that length to her. So all of those things, again, they're kind of these quite private things that are kind of in the poem, but not fully in the poem. But I think that if you have those kind of reverberations of these kind of memories or feelings, even if you don't write about them directly, they're kind of pulled into the poem through the energy of the language that you do decide to use. Mark: And interestingly, as you talk about the relationship between the real person and the person in the poem, I guess another effect, for me, at least, as a reader, is when I read this, it just makes me think, Oh yeah, people do have their different ways of moving and opening a book or eating a salad, or whatever it may be. That's their kind of signature style in life. Or the little quirks in the way they punctuate their emails. Suzannah: Yeah, yeah. Mark: And so there's the thing of it's very specific, but it's also very suggestive, I think, that we easily identify with a relationship like this, even if the circumstances are different. Suzannah: Yeah, yeah. Yeah. I mean, I like what you say about movement, though. And I feel like every person has their own kind of form, like, if we're thinking about form in poetry. It's what I think about when I watch people run a lot of the time. I'm thinking about, ‘Wow.' Really, really, really different form, really different ways of moving, even though that repetitive motion is very… There are only so many ways that you can run, and yet it is so different for everyone. And I think, with this poem as well, something that I was interested in doing was kind of going back to an earlier point, kind of. So, that ‘You, meeting me at school,' kind of thinking about earlier times as well. And again, the ‘sprinting across the grass' kind of goes back in a way to that opening epigraph to the book, which is from Virginia Woolf's novel, To the Lighthouse, Virginia Woolf being a modernist writer. And it's… Oh, not Virginia Woolf, sorry, what am I saying? It does go back to that, but I'm actually thinking of Charles Baudelaire, who talks about ‘the ecstasy and horror of life'. Mark: He's great, isn't he? Suzannah: Yeah, really. But this idea of the kind of sprinting across the grass, it was just such a joyful thing, such an incredibly out-of-the-blue, again, to go back to that phrase, sudden burst of energy and motion. And I think we were laughing, but also probably crying, so we probably looked pretty strange. And again, I think the book is really interested in those kind of doubled states where maybe there's sort of deep despair, but also real joy, or anger, but delight. So kind of there's a sense of these cyclical movements through those different states, different emotions, or even a kind of merging of those two things together at the same time. Mark: And can I pick up on the Virginia Woolf reference, because that…I mean, in your writing, there's a lot of summer seaside imagery, and you've got the epigraph from To the Lighthouse. So, I would bet that the person reading Woolf outside was reading To the Lighthouse in this poem. And of course, that's a novel with a mother very much at the centre of it. I mean, it's clearly artfully placed in the poem. So I was curious about, what was your decision to put that in? Suzannah: Yeah. I mean, I think it's a very sort of associative poem. It kind of goes from the reference to Daphne McClure, who is an artist, and she has this wonderful, kind of quite humorous painting of a woman reading. And then it kind of goes to actual reading. Mark: Yes. Suzannah: But then it kind of goes back to McClure as well, because in the painting, this woman is reading, she's got this big sheaf of papers or this big kind of white book paper that she's reading. And then the poem kind of has that in mind. And then, when the hat lifts at the end of the poem, sort of, you've got all of it there. So it's kind of going back to that visual image and making its own kind of different visual image at the end of the poem. And I really love, in Woolf's novel, there's this idea of, like, Lily, the painter, and she's thinking about sort of making her mark. And how do you make a mark? How do you begin? How do you create? How do you have a vision? So I suppose that's part of it. And then the epigraph to the book is really just my favourite sort of thing, and it's this idea that Woolf is writing about that if you're watching, if you're looking at waves from far off, kind of, they look very symmetrical, and they look very regular. But if your perspective changes and you're suddenly the swimmer in those waves, it's completely different. You're having this entirely other experience where, you know, how a painter might paint those waves from far off, these lovely, kind of, they're all the same size, they're kind of coming regularly. And then, to be that swimmer, who is having to kind of arch over each wave or sort of get over each wave, and relentlessly, just wave after wave, and each one is different, you know. So again, there's that kind of repetition idea in there, but also this idea of scale and perspective, and the idea that you might kind of look at something from far away, and it seems very orderly, and it seems very symmetrical, and it seems very easy to deal with, essentially. But if you are the swimmer, that's not the case. And each thing requires a lot of consideration. And that's really what the middle section of the book is interested in, sort of how to write about care and how to write about things, which are just very different, I think, when you're in the midst of them, and every particular thing is something that needs to be negotiated in that way. So the image of waves in the Woolf novel is very important, and also the idea of, in the novel, obviously, the lighthouse is this kind of ever-present, sort of, almost like a character. And I wanted the sea to have that role in this book. So a lot of my earlier writing has been about the sea. And this book is less directly about the sea, but the sea is always present, and I wanted it to be heard and felt, even when it's not kind of being described in detail. Mark: That's a very interesting point about different perspectives, because I think we experience that throughout the book. So some of the postcards are very much about the more difficult aspects of care, caring for a parent. So we read this one in the light of that, and vice versa, and so this is, if you like, the praise poem, the joy, the celebratory. Suzannah: Yes. And I think I'm very, very interested in the relationship between prose… I was going to say prose poetry and line-broken poetry, but also just poetry and prose. And a lot of my influences for writing are quite prose-y, often. I'm interested in prose writers, and I'm interested in where that line is between this idea of what makes a prose poem a poem. And I think if you give a reader a kind of extensive amount of prose, and that sets up a particular kind of rhythm, a particular kind of feel, but then, to follow that with very short-lined poems, line-broken poems, it's a different kind of… I think I wanted it to be almost like a kind of lift at the end of the book, where you've kind of had this kind of, I don't want to say denser, but definitely starker prose. And then there's kind of a much shorter section at the end of the letters, it's very short, but it's kind of just a movement into a different kind of writing. And I wanted that to be a noticeable kind of contrast. Mark: Yeah, definitely. I mean, even visually on the page, the prose looks denser, whereas these, I don't know, it feels like you pick your way a bit more nimbly through these. How did you arrive at that as the solution to how you represent a letter on a page? And was this one of the later ones? So in a sense, the form was predetermined, but it's like you're writing a sonnet sequence, and then you know that there's going to be another one like that. Suzannah: Yeah. So I really do like a sequence. A huge amount of my writing involves sequences, and I think there's something about, if you do something one time and you like it, I think it's worth doing it again. So my first pamphlet is a sequence of poems about the British surrealist artist Eileen Agar. And I often just keep going. If I'm writing something, kind of, I keep going with that. So yes, this was part of an earlier sequence in the sense that the first letter in the book is the first letter that I wrote, and I think, in that sense, the form was kind of set out. And then, in terms of it being kind of, like, a longer shorter-lined poem, I was thinking a little bit about how if you unfold a letter from an envelope, you would have to do that with this poem. Mark: Oh, yes, I remember that. Suzannah: Yeah. And it can be quite tricky, actually. I find it quite tricky to fold letters so they fit correctly in their envelope. But yeah, there's something about that. Whereas the postcard poems, they are, like, poems that you could almost kind of fit to the back of a postcard. But the ones that kind of escape from that or kind of defy that form, I think, are also…that's interesting to me as well, kind of, to flip that. So, for example, I think the most…the postcard that, to me, is the crux of the middle section is the postcard on Christmas night, which is one that I had thought that I would not ever really want to read out loud because it's quite an intense poem. But I did read that one at the London launch for my book at Burley Fisher Books because I was kind of surrounded by people that I knew, and it felt right. But that poem is a much longer postcard. And again, I like the idea of a postcard where you're defying the amount of space that you have to write in. And again, I think that prose poems also do that, because there's a similar kind of sense of overspill in a prose poem, because you're tipping over that line end, and that's quite defiant as well. So I think, if you then tip over the form of the postcard, it's kind of a doubly defiant, formally, kind of way of writing. Mark: Thank you, Suzannah, for sharing such a personal and beautiful poem today and a joyful one. And I would encourage listeners to go and check out the rest of the book and see how it fits into the sequence, because this is really one of those books where the parts really do make up something bigger than the whole. So let's have another lesson to ‘Letter to My Mother'. Suzannah: Thank you.   Letter to My Mother by Suzannah V. Evans You, pedalling your armsabove your head in bed,that bad arm suddenlymobile and flexible.You, meeting me at school,feeling something stir, sprinting across the grass . . . the two of us laughing, Mr. Tarpin peeringquizzically from the gate.You, with your bright lipstick.You, with your hands like mine.You, with your floppy hat.You, with your easy laugh.You, with the ellipsesof your emails. Your strongfront crawl. Your assertivegestures as you motionthrough talk. Now, when I swim, the movement of my armsis for you. A high arc,fingertips cleaving bright.Shuddering kick of legs.The sea pool in Seixalis for you. Craggy rocksand my head dipped to blue.Grey crabs line the rocks:I think of the limpets that spot McClure's paintingwith the reading woman,sun hat, white paper sheaf.Memory of last summer,absorbed in Woolf outside.A sudden rush of windcaused the parasol to liftand your own hat to spin right up from your head – where it hovered longerthan seemed possible, black ribbon flapping. Porto Moniz   Under the Blue ‘Letter to My Mother' is from Under the Blue, published by Bloomsbury Poetry. Available from: Under the Blue is available from: The publisher: Bloomsbury Poetry Amazon: UK | US Bookshop.org: UK   Suzannah V. Evans Suzannah V. Evans is a poet, researcher, and educator. Her debut collection Under the Blue is shortlisted for the Dylan Thomas Prize, and her work has received the Ivan Juritz Prize and a Northern Writers' Award. Her poetry pamphlets are Brightwork and Marine Objects / Some Language. She teaches poetry in adult education and works with Poetry By Heart. suzannahvevans.com Photograph by Naomi Woddis   A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Letter to My Mother by Suzannah V. Evans Episode 90 Letter to My Mother by Suzannah V. Evans  Suzannah V. Evans reads ‘Letter to My Mother' and discusses the poem with Mark McGuinness.This poem is from: Under the BlueAvailable from: Under the Blue is available from: The publisher: Bloomsbury Poetry... From An Essay on Man by Alexander Pope Episode 89 From An Essay on Man by Alexander Pope Mark McGuinness reads and discusses an excerpt from Epistle II of An Essay on Man by Alexander Pope.Poet Alexander PopeReading and commentary by Mark McGuinnessFrom An Essay on Man Epistle II By Alexander Pope Know... Occupied by Tim Rich Episode 88 Occupied by Tim Rich  Tim Rich reads ‘Occupied' and discusses the poem with Mark McGuinness.This poem is from: Dark Angels: Three Contemporary PoetsAvailable from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK...

Send us Fan MailJoin hosts Ben Kornell and special co-host Steve Shapiro, Founder of Finetune.AI, as they break down the biggest stories shaping AI, workforce disruption, K–12 policy, and the future of higher education. ✨ Episode Highlights: [00:05:10] NVIDIA signals the shift from AI experimentation to a full-scale platform “land grab” [00:08:19] Early signs of AI-driven productivity gains point to real workforce disruption [00:13:16] Governments invest in AI retraining, labor upskilling, and workforce preparedness [00:15:27] Apprenticeships emerge as a critical pathway as entry-level jobs decline [00:17:17] AI “agent armies” could make one-person businesses more viable than ever [00:19:23] Schools balance AI literacy initiatives with rising pressure for screen bans [00:21:23] Debate grows over big tech's responsibility in supporting education systems [00:24:14] Media backlash questions edtech's impact on student learning outcomes [00:28:00] School choice expands rapidly, with mixed impacts across states [00:32:09] ASU highlighted as a leading model for AI-ready higher education [00:34:10] Edtech funding shifts to more deals with smaller check sizes [00:36:01] Startups scale faster with less capital due to AI-powered development [00:37:41] Optimism grows for edtech innovation over the next 12–24 monthsPlus, special guests: [00:38:59] Aaron Cuny, CEO of AI for Equity, on building AI leadership capacity in school systems [01:06:39] Joshua Broggi, CEO and Founder of Woolf, on rethinking higher education with competency-based models

In Part 2 of our discussion on Virginia Woolf's A Room of One's Own, editor Dora Zhang returns to discuss the original cover and the design of the Norton Library edition, her first encounter with Woolf's writing during college, and a few of her favorite moments in the text. Dora Zhang is Associate Professor of English and Comparative Literature at the University of California, Berkeley. She is the author of Strange Likeness: Description and the Modernist Novel (University of Chicago Press, 2020), which studies the works of Henry James, Marcel Proust, and, centrally, Virginia Woolf in order to reinvigorate our understanding of the ubiquitous but undertheorized category of novelistic description. Her writing has also appeared in the Los Angeles Review of Books, Public Books, The Chronicle Review, and The Point.To learn more or purchase a copy of the Norton Library edition of A Room of One's Own, go to https://wwnorton.com/books/9780393893991. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter at @TNL_WWN and Bluesky at @nortonlibrary.bsky.social. 

To jest mocno wyrośnięta Miesiączka na Wielkanoc i na kwiecień, a w niej, serial o Murdochach lepszy niż serial Sukcesja, nowy polski serial szpiegowski rodem z początku lat 90, książka o biografiach Austen, Bronte i Woolf, opowieść o brudnych kulisach Facebooka, kolekcja Burberry w hołdzie Elżbiecie II, nowa książka o Harrym i Meghan, która wkurzyła samych zainteresowanych, możemy pojechać Orient Expressem do Amalfi i polskim pociągiem Nieśpiesznym, jest polska Olivia Dean, Anna Próchniak gra w kolejnej zagranicznej produkcji, a Joanna Kulig nagrywa płytę; będzie przepis na chleb a la Fiolka, przegląd prasy, felietony Sulej o Carolyn Kennedy, Kiszy o memach, Makselona o wywyższaniu się, Kasi o Dubaju i podatkach, Mochnaczewskiej o małpce Punch i czułości oraz Fiolka o tym, czego nie wkładać do buzi! Masa bonusów dla Patronów od progu 25, dzięki którym ten podcast powstaje. Ten podcast powstaje dzięki Patronite: https://patronite.pl/karolinakp 0:00:00 Intro 0:01:30 Wiosna 0:04:02 Felieton Macieja Makselona 0:11:49 Newsy i newsiki 0:13:14 Spice Girls - Wannabe 0:15:59 Newsy i newsiki 0:33:07 Sistars - Sutra 0:37:10 Comiesięczna księgarnia 0:43:52 Felieton Anny Mochnaczewskiej 0:52:43 W kinie i na kanapie 0:57:14 Joanna Kulig - Dwa Serduszka 0:59:08 W kinie i na kanapie 1:08:06 Przegląd prasy 1:12:54 Natalia Muianga - Beznamiętnie 1:16:19 Wystawa zdjęć Elliotta Erwitta 1:18:21 Felieton Soni Kiszy 1:28:15 asiaf_kornelia o szklankach duralex 1:30:25 Królowa Elżbieta II i Burberry 1:32:41 Felieton Karoliny Sulej 1:44:36 Przepis na chleb 1:47:49 Felieton Fiolki Najdenowicz 1:55:52 Felieton Katarzyny Kasi 2:01:22 Outro 2:03:17 HELA ME RY - Butterfly M W odcinku wykorzystano nagrania i materiały: Odgłosy żurawi Autor: Daniel Pękalski (wildinlens_photography) Instagram: https://www.instagram.com/wildinlens_photography Nagranie: https://www.instagram.com/reels/DWCLTxSjYA6/ Duralex Autor: asiaf_kornelia Instagram: https://www.instagram.com/asiaf_kornelia Nagranie: https://www.instagram.com/reel/DVwWec-AF2Q/ Muzyka w odcinku: „Spring, Mvt 3 (Allegro)” - John Harrison with the Wichita State University Chamber Players Licencja: CC BY-SA 3.0 Źródło: Free Music Archive

This week we've commissioned all thirteen of our clones to record thirteen other versions of this podcast, because we're just such busy guys that we can't do them all ourselves. So are you listening to us, or the clones? And if you're listening to clones, which ones??Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In Part 1 of our discussion on Virginia Woolf's A Room of One's Own, we welcome editor Dora Zhang to discuss the author's early life in a literary and artistic household, the enduring nature and distinctive prose of Woolf's works, and the argument of certain necessary material conditions for creating art. Dora Zhang is Associate Professor of English and Comparative Literature at the University of California, Berkeley. She is the author of Strange Likeness: Description and the Modernist Novel (University of Chicago Press, 2020), which studies the works of Henry James, Marcel Proust, and, centrally, Virginia Woolf in order to reinvigorate our understanding of the ubiquitous but undertheorized category of novelistic description. Her writing has also appeared in the Los Angeles Review of Books, Public Books, The Chronicle Review, and The Point.To learn more or purchase a copy of the Norton Library edition of A Room of One's Own, go to https://wwnorton.com/books/9780393893991. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter at @TNL_WWN and Bluesky at @nortonlibrary.bsky.social. 

In this episode, Ali speaks with Professor Matthew Beaumont, an English literature professor at University College London, who has just published his book, How We Walk: Frantz Fanon and the Politics of the Body about how the body reflects political and social oppression. They delve into topics such as the impact of racial oppression on physical movement, the cultural significance of walking, and how both personal and societal factors influence and restrict body expression. The conversation also touches on the influence of climate change on mental and physical health, the body's experience during the COVID-19 pandemic, and the intersection of dance, religion, and bodily freedom.To be an angel to the podcast, click hereTo read more about the podcast, click hereMORE ALI MEZEY:Website:  www.alimezey.comPersonal Geometry® and the Magic of Mat Work Course information:www.alimezey.com/personal-geometry-foundationsTransgenerational Healing Films: www.constellationarts.comConstellation Work is a highly effective method to delve into healing transgenerational trauma, unburdening consequent generations from the influences of traumas which can be transmitted epigenetically.MORE MATTHEW BEAUMONT:Instagram: @matthewhbeaumontUCL WebsitePublisher WebsiteBOOKS:How We Walk: Frantz Fanon and the Politics of the Body (London: Verso, 2024)The Walker: On Losing and Finding Oneself in the Modern City (Verso, 2020)Lev Shestov: Philosopher of the Sleepless Night (Bloomsbury, 2020)Nightwalking: A Nocturnal History of London, Chaucer to Dickens (Verso, 2015)BIO:Matthew's research interests centre on various aspects of the metropolitan city, especially London. He is currently writing a history of literature about London for Cambridge University Press. He is also working on a book-length project about the role of insomnia in nineteenth and twentieth-century literature, painting and philosophy. His most recent books are The Walker: On Losing and Finding Oneself in the Modern City (Verso, 2020), a series of chapters on writers including Chesterton, Dickens, Ford, Wells and Woolf, all of whom have placed the experience of walking in the metropolis at the centre of their attempts to understand and represent modernity; and Lev Shestov: Philosopher of the Sleepless Night (Bloomsbury, 2020), a book that revives the reputation of a neglected early twentieth-century Russian thinker by placing him in dialogue with Adorno, Benjamin, Deleuze and other continental philosophers.LINKS, RESOURCES & INSPIRATION:Wilhelm ReichAlexander Lowan Frantz Fanon HG Wells  Marcel Mauss, French Anthropologist “Technique du Corp” essay 1935Charlie Hertzog Young: SPINNING OUT: Climate Change, Mental Health and Fighting for a Better FutureSigmund Freud The Polyvagal Theory/Stephen PorgesThe Ecstasy of Saint Theresa by Gian Lorenzo BerniniWalking Somatic Empathy with Joseph Culp: The Mind-Body Process of Walking-In-Your-ShoesDEFINITIONS:Cartesian Divide: The conceptual separation between mind and body, coined after René Descartes, emphasizing a dualistic view of human existence, isolating mental and physical aspects.The Window of Tolerance articleHELP US SHARE OUR MESSAGEOur resources remain free as part of our mission to awaken people to the boundless potential of our bodies, inviting them to explore the profound knowledge, memory, brilliance & capacity within. By delving into the depths of our bodily intelligence as a healing resource for not just ourselves, but as a part of the larger, global body, we have the potential for meaningful change and experiences as bodies. Join us in this journey of transformation as we redefine our understanding of the human body and its infinite capabilities. While our events remain free, any contributions are deeply appreciated and are seen as a generous gesture of support and encouragement in sharing our messages with the world.

In this episode of Climate Positive, Gil Jenkins speaks with Malcolm Woolf, President and CEO of the National Hydropower Association (NHA). They discuss the current state of the U.S. hydropower industry, its role in providing carbon-free electricity, and the challenges and opportunities facing the sector. A central focus of the conversation is the hydropower relicensing process -- how it works, where projects can stall, and how lengthy reviews can delay investment, upgrades, and in some cases lead facilities to shut down.Malcolm shares real-world examples to illustrate what's at stake, while also exploring the potential to add generation to non-powered dams, the role of pumped storage in supporting grid reliability, and emerging marine energy technologies.Links:NHA WebsiteMalcom Woolf LinkedInNHA on LinkedInPress Release: The Hydropower Foundation and NHA Align to Strengthen Workforce Development EffortsArticle: US hydropower is at a make-or-break momentArticle: Google to buy up to 3 GW of hydro power from BrookfieldVideo: Whooshh Innovations' "Salmon Cannon" Gives Fish A Boost Over Dams Email your feedback to Chad, Gil, Hilary, and Guy at climatepositive@hasi.com.

Arthur Marchetto e Cecilia Garcia Marcon discutem Mrs. Dalloway, de Virginia Woolf. A apresentação do livro inclui pontos de seu contexto de publicação, situando a obra dentro do modernismo e do período entreguerras.A conversa analisa os principais temas da narrativa, como a experiência subjetiva do tempo, a investigação da consciência através do fluxo de pensamento e as tensões sociais e psicológicas da Inglaterra pós-Primeira Guerra. O episódio também comenta o livro e o filme "As Horas", que dialogam diretamente com a obra de Woolf. Então, aperta o play e conta pra gente: já leu o livro? vai ler? VOCÊ TEM MEDO DE VIRGINIA WOOLF?

In this episode, Word&Way President Brian Kaylor talks with American Baptist ministers Anna Piela and Michael Woolf on Islamophobia, immigration, and how Christians can better engage with interfaith efforts. Anna and Michael are coauthors of the new book, Confronting Islamophobia in the Church: Liturgical Tools for Justice. Watch a video version of this conversation here. Here are a few pieces related to the episode: Brian wrote about Michael's advocacy outside an ICE facility in Illinois Michael wrote for Unsettling Advent about Advent in a time of soldiers in the streets Brian recently testified against anti-Sharia law legislation in Missouri Brian wrote about Franklin Graham preaching at the Pentagon Note: Don't forget to subscribe to our award-winning e-newsletter A Public Witness that helps you make sense of faith, culture, and politics. And order the new book by Brian Kaylor, The Bible According to Christian Nationalists: Exploiting Scripture for Political Power.

Being a widow is complicated. On top of the earth-shattering grief you experience, there's a huge societal pressure to be the perfect image of a grieving partner, missing the love of your life. But what if the person who died was actually kind of a huge jerk? How do you take care of someone who doesn't really deserve it? And what does it mean to be a good woman or a good widow? All of This: A Memoir of Death and Desire by Rebecca Woolf The Widow's Guide to Dead Bastards by Jessica Waite Watch us on YouTube here! Get this episode ad-free here! Listen to Geoffrey's album on Spotify and Apple! Learn more about your ad choices. Visit megaphone.fm/adchoices

Did you think we already knew everything there was to know about Virginia Woolf? Think again! In this episode, Jacke talks to scholar and editor Urmila Seshagiri about The Life of Violet: Three Early Stories, which presents three interconnected comic stories chronicling the adventures of a giantess named Violet, which Woolf wrote in 1907, eight years before she published her first novel. The story of Seshagiri's discovery is nearly as fantastical as the stories themselves. PLUS literary biographer Jake Poller (Christopher Isherwood: A Critical Life) stops by to discuss his choice for the last book he will ever read. Join Jacke on a trip through literary England (signup closing soon)! The History of Literature Podcast Tour is happening in May 2026! Act now to join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠. Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Find out more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠. Or visit the ⁠⁠⁠⁠⁠⁠⁠⁠History of Literature Podcast Tour itinerary⁠⁠⁠⁠⁠⁠⁠⁠ at ⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠. The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices