Podcasts about zinzi

NAPOLI (ITALPRESS) - "Zinzi è un eccellente nome in campo. Non dispongo io della sua candidatura. Però, se fosse lui, da campano ne sarei contentissimo". Lo ha detto il ministro dell'Interno Matteo Piantedosi a Napoli, margine della cerimonia in piazza Municipio per la targa in memoria di Giovanbattista Cutolo, medaglia d'oro al valore civile, in merito alle prossime regionali in Campania. "Assolutamente no - ha aggiunto il ministro rispondendo a una domanda sul possibile passo indietro dell'eurodeputato di Forza Italia Fulvio Martusciello -. Non vedo quale sia il motivo. Anche lui sarebbe, credo, un eccellente candidato. Credo che anche lui abbia dimostrato in precedenti occasioni di riscuotere grande apprezzamento e grande stima dai campani". xm9/sat/mca1

NAPOLI (ITALPRESS) - "Zinzi è un eccellente nome in campo. Non dispongo io della sua candidatura. Però, se fosse lui, da campano ne sarei contentissimo". Lo ha detto il ministro dell'Interno Matteo Piantedosi a Napoli, margine della cerimonia in piazza Municipio per la targa in memoria di Giovanbattista Cutolo, medaglia d'oro al valore civile, in merito alle prossime regionali in Campania. "Assolutamente no - ha aggiunto il ministro rispondendo a una domanda sul possibile passo indietro dell'eurodeputato di Forza Italia Fulvio Martusciello -. Non vedo quale sia il motivo. Anche lui sarebbe, credo, un eccellente candidato. Credo che anche lui abbia dimostrato in precedenti occasioni di riscuotere grande apprezzamento e grande stima dai campani". xm9/sat/mca1

Episode #191 In this episode of The Fasting Method podcast, Megan Ramos interviews Dr. Nadia Pateguana and her incredible daughter, Zinzi, about their new podcast - Forbidden.  Dr. Nadia previously shared she was stepping away from TFM to focus on her daughter's health, as well as a big move to Dubai.  Dr. Nadia and Zinzi share all of the incredible insights and work they've been doing to help Zinzi as she navigates disordered eating.  Megan and Dr. Nadia discuss how so many women are often undiagnosed with conditions like ADHD in childhood and how that can go on to impact their eating habits later in life. The importance of understanding neurodivergence, as ADHD often presents differently in women and girls compared to boys. [08:01] [30:25] The role of a supportive community, especially the Fasting Method Community, in providing guidance and a safe space to share their story. [13:41] Encouraging others, especially women, to advocate for themselves and seek proper diagnosis and support for ADHD and eating disorders, as these conditions are often overlooked or misdiagnosed. [15:54] [20:23] [26:28] Strategies Nadia and Zinzi have implemented at home, such as using calendars and schedules to help Zinzi stay organized, as well as avoiding restrictive diets and instead focusing on building a healthy relationship with food. [19:02] There is a video of this podcast which you can watch here: https://youtu.be/sI68Aoqq5xc Dr. Nadia's Links: Instagram: https://www.instagram.com/nadia_pateguana YouTube: https://www.youtube.com/@DoctorNadia   Transcripts of all episodes are available on the Podcast page at www.thefastingmethod.com Please Submit Your Questions for the Q&A episodes here: https://bit.ly/TFMPodcastQs Learn More About Our Community: https://www.thefastingmethod.com Join our FREE Facebook Group: https://bit.ly/TFMNetwork Watch Us On YouTube: https://bit.ly/TFMYouTube Follow Us on Instagram: @fastingmethod   This podcast is for educational purposes only and is not a substitute for professional care by a doctor or other qualified medical professional. You should always speak with your physician or other healthcare professional before doing any fasting, changing your diet, taking or adjusting  any medication or supplements, or adopting any treatment for a health problem. The use of any other products or services purchased by you as a result of this podcast does not create a healthcare provider-patient relationship between you and any of the experts affiliated with this podcast. Information and statements regarding dietary supplements have not been evaluated by the Food and Drug Administration and are not intended to diagnose, treat, cure, or prevent any disease.

In this captivating episode, Zinzi Bianca joins Kristen Leigh Griffiths to uncover the powerful connection between astrology ✨ and career choices

In this episode of the Pet Care Report Podcast by Pet Summits, host Dr. Megan Barrett discusses feline health and longevity tips with Shanti Zinzi, a renowned feline behavior consultant. They explore the impact of indoor air quality on cats, methods to reduce household chemicals, and practical ways to enrich an indoor cat's life. Shanti also shares insights on sacred palliative care and tips for holistic pet care to enhance the well-being and happiness of cats. Show Notes: (01:39) Hidden Factors Affecting Cat Health (02:01) Indoor Air Quality and Pollution (06:52) Practical Tips for Improving Indoor Air Quality (12:47) The Debate on Indoor vs. Outdoor Cats (16:40) Enriching Your Cat's Indoor Life (20:14)Recognizing and Addressing Cat Stress (32:39) Sacred Palliative Care for Older Cats (37:56) Final Thoughts and Recommendations Follow Shanti Zinzi:https://shanti-zinzi.squarespace.com/ https://www.instagram.com/the_nature_of_the_beast_sz/ Follow our Cat Health Host, Dr. Meghan Barrett, here: https://drbarrettvet.com. Dr. Meghan Barrett's Pet Nutrition Blueprint here: https://drbarrettvet.com/from-basic-to-bougie-book Want to see more from Pet Summits? Subscribe to the PetSummits YouTube channel here: https://www.youtube.com/@PetSummits Check out the latest free events here: https://petsummits.com/events/

I was shopping for a gift with my girls and we stumbled across a series of books- each one representing the individual zodiac signs. The books were aimed at children, so I thought it'd be nice to get one for each of us so the girls could understand a little about what being a cancer and Aquarius means. Truth is, I was also secretly excited to learn a little myself as my understanding of astrology is very basic.  The girls have loved learning their star sign symbols, what the constellations look like in the nights sky and yes, they've even fought over wanting each other's birth gemstones.  When it comes to the stars, it appears many of us are missing out on real nuggets of wisdom that could be guiding us to live an aligned, purposeful life. To help talk us through the fascinating topic of Vedic Astrology, I have with me the beautiful Zinzi Bianca. We cover: What inspired Zinc's love for Vedic Astrology Vedic Astrology 101 & what 'reading your chart' means What is Mercury Retrograde and how does it impact us? How can the stars impact can impact our daily life and how Zinzi personally follows practises according to the stars. How to live life aligned to your purpose, using the stars as guidance. Plus more! ......................................... PODCAST SHOWNOTES & MORE FROM ZINZI: https://www.glowingmumma.com/blog/episode112  RADIATION PROTECTION PRODUCTS: https://radiasmart.com/?aff=85 (use code BABY for a soecial price) SAY HI ON INSTAGRAM @BackToThePaddock & @KaseyWillson.Naturopath WORK WITH KASEY: https://www.glowingmumma.com/KaseyWillsonwaitlist     

Learn about burlesque, Afro-diasporic dance, telling Black stories, and whether BIPOC travelers can be colonizers too. ____________________________ SUPPORT OUR SPONSOR: GALACTIC FED I use Galactic Fed for SEO and CRO on The Maverick Show website, but they are an end-to-end digital marketing agency that also offers social media, website design, paid media and more. Get Your Free Marketing Plan at www.GalacticFed.com and mention "Maverick" for 10% off your first month of services. ___________________________  Janna Zinzi joins Matt from New Orleans and they talk about meeting at Nomadness Fest.  Janna then talks about growing up in New York during the golden era of hip-hop in the 90s.  She reflects on the role of dance in her life as a young person, and the history and significance of BIPOC women in burlesque.  Janna then talks about how she started traveling the world and telling Black stories.  She shares some of her top travel experiences from Haiti to Napoli to Costa Rica and reflects on the type of travel stories she chooses to write about. Janna then shares some key takeaways from her talk to Nomadness Fest about whether BIPOC travelers can be colonizers too.  She also offers tips for people from dominant groups on how we can be better allies as we move through the world and create content about our travels.  Janna then reflects on teaching burlesque, connecting with cultures through dance, and the impact that travel has had on her.  Finally, she talks about co-founding WanderWomxn for BIPOC women and gender-expansive travelers.  FULL SHOW NOTES AVAILABLE AT: www.TheMaverickShow.com  ____________________________________ Subscribe to The Maverick Show's “Monday Minute” Newsletter where I personally send you an email with 3 short items of value to start each week that you can consume in under 60 seconds: www.TheMaverickShow.com/Newsletter See My “Top 10 Apps For Digital Nomads” www.TheMaverickShow.com/Apps See My “Top 10 Books For Digital Nomads” www.TheMaverickShow.com/Books See My “7 Keys For Building A Location-Independent Business” (Even In A Space That Is Not Traditionally Virtual) www.TheMaverickShow.com/Keys  Watch My Video Training On “Stylish Minimalist Packing” and Learn How to Travel the World with Carry On Luggage: http://www.TheMaverickShow.com/Packing See The Travel Gear I Use And Recommend: https://ww.TheMaverickShow.com/Gear Learn How You Can Buy Turnkey Rental Properties In The Best U.S. Real Estate Markets From Anywhere: http://www.TheMaverickShow.com/RealEstate See How I Produce The Maverick Show Podcast (The Equipment, Services And Vendors I Use): https://www.TheMaverickShow.com/Production FOLLOW THE MAVERICK SHOW ON SOCIAL MEDIA: Instagram: https://www.Instagram.com/MaverickShowPod/ Twitter: https://www.Twitter.com/MaverickShowPod Tiktok: https://www.TikTok.com/@MaverickShowPod Facebook: https://www.Facebook.com/MaverickShowPodcast LinkedIn: https://www.linkedin.com/company/MaverickShowPod/ YouTube: https://www.youtube.com/@themaverickshow874 BUY ME A COFFEE: Enjoying the show?  Espressos help me produce significantly better podcast episodes!  Now you can support The Maverick Show by buying me a coffee:  https://www.buymeacoffee.com/TheMaverickShow  

Esta es una de la serie de entrevistas llevadas a cabo en Guatemala, durante la cumbre de ALAPE, (Asociación Latinoamericana de Pediatría), este episodio fue grabado en la VI Conferencias de Actualización Pediátrica de la Asociación Latinoamericana de Pediatría y el LXVI Congreso Nacional de Pediatría ASOPEDIA 2023. Nuestra invitada es la Dra. Zinzi Raquel Ríos García y en este episodio abordamos la importancia de la detección temprana de cardiopatías, desde el periodo prenatal y neonatal.  Además, identificamos los grupos más vulnerables a tener cardiopatías, los tipos más comunes que se presentan y cómo un diagnóstico temprano puede marcar una gran diferencia en el paciente. La Dra. Ríos García estudió medicina en la Universidad de San Carlos en Guatemala, maestría en ciencias médicas con especialidad en pediatría en la misma universidad y en el Instituto Guatemalteco de Seguridad Social. Cursó su especialidad en cardiología pediátrica en el Instituto Nacional de Cardiología “Ignacio Chávez”, Universidad Autónoma de México. Alta especialidad en angiotomografía y resonancia magnética de corazón y ecocardiografía pediátrica por la Universidad Autónoma de México. Diagnóstico prenatal y del recién nacido con cardiopatía congénita crítica: los tres pilares del tamiz cardiaco: www.medigraphic.com/cgi-bin/new/resumen.cgi?IDARTICULO=110870 ¿Tienes algún comentario sobre este episodio o sugerencias de temas para un futuro podcast? Escríbenos a pediatrasenlinea@childrenscolorado.org.   

In this episode I spoke to Zinzi Bianca about how her burn out at work led her to changing her life around for the better. We spoke about how she got into a burnout at work, how she got out of it and what this experience taught her. Zinzi gives valuable advice to women who are feeling burnt out, undervalued and uninspired at work. We spoke about how you can find out what you truly want, how to become more confident and how to work on your mindset when trying to find something you are more passionate about. With this podcast I hope to inspire you that change is possible. If you are unhappy in your career and you are feeling burned out it's not too late. You can do something about, you can seek help and you can find your dream career. Would you rather like to watch this episode? Then click on the following link: https://youtu.be/VE_rL_6PbE4 Request a FREE Connection Call: https://calendly.com/kristy_weterings/45min Follow me on Instagram: https://www.instagram.com/kristy_weterings/ Follow me on Facebook: https://web.facebook.com/kristyweterings Send me a mail: kristy@kristyweterings.com Visit my website: https://kristyweterings.com/

On Crime Time this evening we talk to the Executive Producer and Producer of the docuseries, Imibuzo, Zinzi Velelo Alake and Lizette Strijdom, about this fascinating true crime documentary that looks at some of the highly known crime cases that happened. The series talks to experts, journalists, investigators, family members in order to get to the bottom of what happened, and this evening Zinzi and Lizette talk to us about the process of making this series possible.See omnystudio.com/listener for privacy information.

The Art Newspaper's editor, Alison Cole, and London correspondent, Martin Bailey, join our host Ben Luke to review the National Portrait Gallery after its £41m revamp. We talk to Nancy Ireson at the Barnes Foundation in Philadelphia about the exhibition William Edmondson: A Monumental Vision. Edmondson was the first African American artist to have a solo show at the Museum of Modern Art in New York in the 1930s, but has rarely been shown in museums on the US East Coast since. And this episode's Work of the Week marks the 75th anniversary of the arrival in the UK of the Empire Windrush, a boat carrying passengers from the Caribbean. Zinzi Minott, the choreographer and artist, has made a film called Fi Dem about the Windrush on this anniversary every year since 2017. She tells us about the latest iteration, which is at the heart of a new exhibition at Queercircle in London.The National Portrait Gallery is open now. Yevonde: Life and Colour, until 15 October.William Edmondson: A Monumental Vision, Barnes Foundation, Philadelphia, 25 June-10 September.Zinzi Minott's Fi Dem VI is part of her exhibition Many Mikl Mek Ah Mukl, Queercircle, London, until 27 August. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, listeners will learn more about our special guest Janna Zinzi who is the CEO of WanderWomxn Travels.  Our discussion explores Janna's amazing free-spirited journey including the notion of conformity, individualism and even being single as a Black woman over 40. She shares other gems for listeners to consider as they navigate their second half of life, including self-care tips and how to value life differently after 40. To learn more about Janna, connect and follow on IG @wanderwomxntravels or on LinkedIn Listen to bonus episodes, receive self-care newsletters and access to upcoming curated virtual and in-person events by joining our Patreon membership at any tier level at patreon.com/findingyourvoice For other services, this week's events and information, including Kenya's music visit https://linktr.ee/kenyamjmusic To attend our Summer (June 24, 2023) One Day Virtual Summit "Healthy Vagina Monologues: What your mama didn't and society won't tell you!" CLICK HERE Use promo code SUBGIFT1 for 50% discount on your registration. To purchase your special new gratitude t-shirt and affirmation products from A Beautiful Fix CLICK HERE. Tune into Kenya & Keisean's "Black HERstory" new YouTube Live Series every Thursday at 8p CT/9p ET, be sure to click: SUBSCRIBE to KENYA's YOUTUBE CHANNEL & TURN ON NOTIFICATIONS LADIES: Join our  VIP Thrive Tribe or S.H.E Collective Patreon Membership for FREE for a 30-Day trial!  Experience what podcast host KENYA lives by in order to create a lifestyle of harmony and alignment.  Membership includes a weekly “woo-sah” of self-care resources and activities, virtual monthly healthy habits meet-up including self-care journaling, guided meditation with breathwork, discussion and an info session about creating and sustaining healthy habits including de-stressing. Visit patreon.com/findingyourvoice Are you curious to know how astrology can help you with your self-care? CLICK HERE to book an Astro Self-Care coaching session!  This extremely unique and special coaching session will guide you through your birth chart and provide information about how to use your personal gifts and energy to overcome challenges in order enhance your personal self-care. To learn more about Finding Your Voice coaching services, retreats, memberships and to connect with Kenya for a free discovery call in order to THRIVE and begin your personal transformation, visit www.findingyourvoiceafter40.com. Follow Kenya on social media using @kenyamjmusic for Instagram, Facebook, Twitter and YouTube *Podcast music written, performed and co-produced by KENYA; Song Title: "Starting Over (Reprise)"  Full length version of "Starting Over" is available on all major streaming platforms including Spotify, Apple Music and Google Play. --- Send in a voice message: https://podcasters.spotify.com/pod/show/findingyourvoiceafter40/message

2022 is over and this is our last episode for the year. Don't worry. We will be back in 2023 after our NYE party with the Baltimore Symphony Orchestra (BSO).  Check it out at www.bsomusic.org.In this episode, we stopped by a tastemakers event in Columbia at Chicken + Whiskey curated by our friend Heidi Klutzman. Donte stops by the ZINZI industry holiday party in DC. Impulse visits the friends at the Darling Nicky party in DC. Jason is hungover from the night before and is fully washed up. We also talk about pop culture and wrapped up the year.This episode was recorded at Hotel Revival in Baltimore, MD and edited by DJ Impulse.  Make sure you subscribe, comment and share. Check out @thenightbrunch on Instagram. Dj Impulse (@djimpulse)Jason C Bass (@jasoncbass)Donte Johnson (@thehoodiehotelier)Come thru thenightbrunch.com and stay updated.

We in the studio with Zinzi this week talking about their polyamorous relationships, being bait, and navigating social spaces. Plus we answer a whole heap of questions and dilemmas. SEND DILEMMAS, ask questions, or share stories too saucy for socials HERE (or by DM'ing @ChirpseHurtsPod on IG or Twitter) and we'll answer it on the podcast! (All dms will be kept anonymous.) IG - @ChirpseHurtsPod @Glowiny @Sharloola / Twitter - @ChirpseHurtsPod #chirpsehurtspod Tag us on Twitter to let us know your thoughts, questions, or suggest a topic for the next episode.

POTERE AL POPOLO – S.VARIN – ON. G. ZINZI – E. PANINI – E. MONTI – 22 – 11 – 2022

POTERE AL POPOLO – S.VARIN – G.ZINZI – F.DE BELLIS – R.SELCI – M.MICHELI – 11 – 05 – 2022

In the face of the ongoing and various violences experienced by Black women in the UK and across the world, Zinzi Minott wonders why more people don't ask, “What do Black women's bodies need?” It's a question I've been sitting with since we recorded our conversation, which includes us exploring what our duty of care is to each other. Zinzi is a dancer, artist and filmmaker and she's interested in ideas of broken narrative, disturbed lineage and how the use of the "glitch" can help us to consider notions of racism one experiences through their life. She is specifically interested in telling Caribbean stories, highlighting the histories of those enslaved and the resulting migration of the Windrush Generation. In this sweeping conversation, we explore her work commemorating the Windrush Generation, how we might show up better and more meaningfully for Black women and how her queerness kicked the doors open to her acceptance of what she calls her weirdness. Zinzi also explores her rearing in both the Pan Africanist and Black Radical traditions, and credits her belief in abolition with helping her hold space for those she encounters among her archival work and artistic practice. As she makes clear, the generations who came before us may not have had the attitudes or the language to hold who we have become in the world, but no one is to be discarded. About Zinzi Minott Zinzi Minott's work focuses on the relationship between dance, bodies and politics. Zinzi explores how dance is perceived through the prisms of race, queer culture, gender and class. As a dancer and filmmaker, she seeks to complicate the boundaries of dance, and sees her live performance, filmic explorations and made-objects as different but connected manifestations of dance and body-based outcomes and inquiry. ​​BLOODSOUND is Zinzi's latest work and features newly commissioned prints, moving image, sound and sculpture and expands on her durational film work(s) FI DEM, released annually on 22 June to commemorate the Windrush Generation. About Busy Being Black Busy Being Black is the podcast exploring how we live in the fullness of our queer Black lives. Thank you to our partners: UK Black Pride, BlackOut UK, The Tenth, Schools Out and to you the listeners. Remember this, your support doesn't cost any money: retweets, ratings, reviews and shares all help so please keep the support coming.  Thank you to our funding partner, myGwork – the LGBT+ business community. Thank you to Lazarus Lynch – a queer Black musician and culinary extraordinaire based in New York City – for the triumphant and ancestral Busy Being Black theme music. The Busy Being Black theme music was mixed and mastered by Joshua Pleeter. Busy Being Black's artwork was photographed by queer Black photographer and filmmaker Dwayne Black. Join the conversation on Twitter and Instagram #busybeingblack Busy Being Black listeners have an exclusive discount at Pluto Press. Enter BUSY50 at checkout. Learn more about your ad choices. Visit megaphone.fm/adchoices

#ChristianHopHop Show talks with the 2x Crown Gospel Music Awards Zinzi Kahnish “Church Girl” on her journey as a female rapper.

Janna invites us all to be a little more quartz curious. Episode Discussed: Watchmen, Episode 3, “She Was Killed by Space Junk” Special Guest: Janna Zinzi https://www.jannazinzi.com/ Binging/Cringing: Lori is cringing at Naomi Wolf's antivax shenanigans Leila is binging Two Set Violin https://www.youtube.com/channel/UCAzKFALPuF_EPe-AEI0WFFw For more on "The dysfunctional sex of Watchmen" check out this SyFi Wire piece from Jenna Busch https://www.syfy.com/syfywire/the-dysfunctional-sex-of-watchmen There is now an actual Dr. Manhattan dildo! https://shevibe.com/dr-manhattan-silicone-glow-in-the-dark-dildo-by-uberrime/ Some people think the dildo is a weapon https://gizmodo.com/these-are-the-exact-dimensions-of-watchmens-doctor-manh-1840157418 Credits: Our editor is Karen Y. Chan https://karenychan.com/ Judith Walker created our logo and cover art Dallas DL Engram created our theme song https://soundcloud.com/dadollars Our ad music is by Sidhartha Corses https://siddharthamusic.bandcamp.com/ Support this podcast on Patreon! https://www.patreon.com/cringewatchers

Shanti Zinzi wears different hats when it comes to helping her clients. Discover what makes her worth of her Game Changer nomination in this interview with Dr. Karen Becker.

Episode Notes Hi its Ada. I hope you are taking good care of yourself and doing well. In this episode, I will be reviewing Kintu by Jennifer Nansubuga Makumbi. Ok, guys 2 quick things you have brought to my attention which I'll address real quick. First I know I usually say the author’s full name throughout all the episodes but it’s intentional to you know put respeck on their name as is spelled out on the book cover. My thinking is that that’s how the author wants to be addressed. And that’s that. I”m not gonna call them Jennifer or Angie or Abubakar or Zinzi.  We’re not bffs. It’s really that simple. Something else that I don’t know if you’ve noticed or not is I usually avoid mentioning if the book is award winning or whatever. And it’s not to diminish the award or a failure to acknowledge. After all that information is publicly available anyway. The reason I try to avoid mentioning awards or literary prizes where possible is to refrain from making any false distinctions between award winning books and otherwise. Because while awards are incredible especially for minority writers. Awards bring more publicity to the book. Just like you know an oscar winning movie, gets more attention and viewership. Or in the case of books, more readership. People make buying decisions around prizes and awards and all that great stuff. So awards are extremely helpful for writers, especially less visible, minority writers. They can use all the visibility they can get. Also the awards come with considerable monetary compensation which is phenomenal for writers because writing is not like your typical 9-5 guaranteed income stream. Umm look at me. I’m podcasting. So, overall back to my point is that while awards are extremely useful and in many cases, actually necessary, and trust me, I’d love to win a couple of them, but honestly to me, awards are not the final or comprehensive determiner of what makes good literature. Literature like all other forms of art is subjective.  There are so many magnificent books out there that could go toe to toe and even surpass award winning books by a clear mile. So that’s the reason I don’t bring awards up. Unless of course it’s mine. To me, great literature is great literature, whether or not it’s award winning. So, let’s start as we typically do with a teaser of what Kintu by Jennifer Nansubuga Makumbi is about. Kintu is an intergenerational epic saga set in Uganda. So guys yeah, we off to Uganda in this episode. East Africa, baby! Quick sidebar. My claim to fame with Uganda is I was on a flight once that stopped in Entebbe airport to refuel and pick up passengers. So I’ve been on Ugandan soil  or maybe more accurately, a Ugandan tarmac. Anyway this book kicks off in 1750 in the kingdom of Buganda (so the pre-colonial Uganda) Here we meet Kintu, after whom this book is obviously named. Kintu is a powerful and wealthy man, He is the Ppookino or governor of the Buddu province within the Buganda kingdom and is married to identical twins. Kintu has a lot of children, many of whom are twins. And he also adopts a boy, Kalema,  who is the child of a Tutsi immigrant, Ntwire, who lives in  their community. Kintu loves Kalema just like he does his biological children but something happens between Kintu and Kalema. And in response Ntwire, the Tutsi immigrant aka Kalema’s biological father, I hope you’re following this?, lays a curse on Kintu and his future generations. And so the book follows the manifestation of the curse on Kintu’s descendants.  As I was reading this novel, very early on I saw the obvious influence of Chinua Achebe's seminal Things Fall Apart. And not because of the pre-colonialism aspects of Kintu but also because of that pivotal relationship between Okonkwo and Ihemefule in Things Fall Apart echoed in the relationship between Kintu and Kalema. Are you guys still following me?  My suspicions were confirmed on page 312 where the author references Things Fall Apart as a work that is being explored as a sociological study by one of the characters. So it felt good to be right haha So let’s talk about what I loved about Kintu. The scale of this novel is grand. If this novel were a building it would be a stately manor. This book runs over 400 pages with about 20something major characters. I’m not gonna lie, when I bought the book and saw it ran 400 pages in small print, I was nervous because I didnt wanna spend that much time reading a book I wouldn’t enjoy. I’ll post a picture of my copy on social media so you’ll see what I mean. At over 400 pages it felt daunting to even start but I’m glad I did. It was compulsively readable, a page turner. Like I mentioned, this novel is intergenerational, spans several descendants of Kintu, the breadth of the novel is formidable. But in the hands of this writer, it was never an unwieldy beast. From Pages 1 to 410, Jennifer Nansubuga Makumbi was always in charge. She never lost control of her story or characters. It was terrific. This is the type of novel of such an impressive scale that challenges me in my own writing to squeeze myself for more juice, for more story to be told.  This is the book that I wish that Homegoing by Yaa Gyasi was. Have you guys read Homegoing? Homegoing by Yaa Gyasi was also intergenerational but to me the descendant stories didn't feel connected. And I get that you could totally argue that Homegoing was about the disconnect, to say the least, that happened because of the transatlantic slave trade. However, the biggest frustration that I had with Homegoing was that  it felt to me like a book of short stories, like a collection of vignettes, and not a cohesive novel. Homegoing got a lot of really great accolades and it did have its shining moments and I loved a few of the stories, it had a great theme, but overall I personally found it to be underwhelming.I think it got a lot of buzz because it was an issue book. Listen to Episode 1 for my fuller  take on issue books. But  although Kintu is not about the transatlantic passage, I just think Jennifer Nansubuga Makumbi’s ability to tell that really good story of generations of Africans interrupted by European influence (in Kintu’s case, colonialism) is just so masterfully done here. This novel is divided into 6 books. Also, I loved, loved, loved, did I say loved, Book I. Book I covers the first 15 chapters. These chapters are where we meet Kintu, his complicated family, and also watch him execute his duties as governor of Buddu province in service to the kabaka, that is the king of Buganda. These 15 chapters of Book I were chef’s kiss, superb. I rarely reread books but I’ll reread these chapters again at some point. And I think what was particularly impressive is that the  author balances the plottings of Kintu’s household on one hand, and the political machinations that happen at the kabaka’s palace with such jaw-dropping finesse.  For me these were the best parts of Kintu by far. Beautiful, beautiful work. Thirdly, all of the different descendants of Kintu that appear in this novel are all very well done, fleshed out, very solidly three-dimensional, they arrive on the page with a history,  you get to pay witness to their current lives and peek into where they're headed. It is so very well done, it’s an outstanding achievement of a novel that Jennifer Nansubuga Makumbi has written. So, lemme talk about the writing for a moment. Jennifer Nansubuga Makumbi writes with such exhilaration and pride. In Kintu, she tells the story of a country through its people. The writing doesn't try hard, it’s not self conscious. It is both masterful and unpretentious at the same time. I’ll read you a few examples of her sentences to illustrate why I mean by masterful yet unpretentious. On page 123, “when there is no one to remind you of who you are, then you belong” you see how profound that sentence is but also like humble at the same time? Here’s another example from the next page 124 “who strangled the toothpaste?” one word, strangle, that successfully captures what the ordinary person would describe as squeezing from the middle of the tube. And one more example from page 228, “From then on the disease accelerated - night sweats, fevers, fatigue, a funny rash on the left arm, sometimes her mind went and her feet hurt. She suffered from this, that, and everything. Then her weight dropped. Before we knew it she had lost her hair. Then her feet hurt so much, I put her in a wheelchair. From the wheelchair, Nnayiga hopped into the coffin.”  So I thought this was so well done because it was about the tragedy of a prolonged illness. But there is an effortless humorous affect to the passage. Also,  I hope you didn’t miss the irony of someone who lost their ability to walk but still hopping into death. The author has a wry sense of humor which I appreciate. Jennifer Nansubuga Makumbi’s insights on colonialism are so incredibly keen. On page 314, she writes. But before I read it, just for context the passage I’m gonna read is about a character named Miisi. Miisi is an intellectual who was raised by colonial-era missionaries, Irish priests who raise Miisi in such a manner that degrades and dehumanizes everything that’s African.The Irish missionaries imbue themselves with a pseudo Messianic nature. You know we’re here to save the savages and bring Christ to the heathens. So Miisi comes to associate whiteness with goodness, godliness,intelligence and he imagines that Europe must be heaven. And so that's the kind of effective brainwashing that the white, European missionaries did on Miisi who ingests these messages and even grows up being grateful to the colonialists for saving him from his savagery and heathenism. At some point later on in his life Miisi goes to Britain to study for a PhD and in the process of studying and living in Britain he finds that British people do not exactly fit the illusion the colonialists brainwashed into him. And in response to the dismantling of this false reality he’s carried all of his life, Miisi builds for himself instead an idealized Wakandaesque narrative of Africa. So with this background and context, I’ll read you the quote on page 314."The image Miisi had constructed in Britain of the noble African rooted in his cultural values and shunning Westernization was a myth. What he returned to were people struggling to survive, who in the process had lost the ability to discern vivid colors of right and wrong. Anything that gave them a chance to survive was moral. To make matters worse people around him including his family called him muzungu. Miisi had become European among his people.” Moving along, so Jennifer Nansubuga Makumbi also writes against the backdrop of key historical events in Uganda’s post colonial life. One of them being the rise and fall of Idi Amin. While Idi Amin has never featured too much in my political consciousness, the author resurrects him and makes the reader rethink what they think they know of Idi Amin. He has been widely painted as a wild cannibalistic tyrannical despot. And I’ve never before questioned this caricature of him. But Jennifer Nansubuga Makumbi for the first time made me step back and reconsider who has been responsible for painting Idi Amin in such colors? Western media. It’s sad how I never questioned the caricature of Idi Amin. I’m sure he was tyrannical and perhaps unhinged as most depots tend to be. But who created the conditions for an Idi Amin to rise? Who revels in the narrative of the savage cannibalistic African? Those are the questions we should be asking. And we know the answers. Overall, this book is a mic drop, a feat, an achievement. It's the kinda book if a random stranger by way of conversation as Americans tend to do, were to ask Jennifer Nansubuga Makumbi, what she does, you know like hey girl hey Jennifer nice to meet you what do you do and then Jennifer can be like THAT while pointing to Kintu. She can die happy knowing she wrote this novel and accomplished something astounding. And I don't use astounding flippantly. So there it is, you guys. That is what I loved about Kintu by Jennifer Nansubuga Makumbi. But before I launch into what I didn’t like quite as much, here is a message from my sponsor. Stay with me. Welcome back to the Misty Bloom Book Club. Thank you for hanging with me. So let’s jump into what I didn’t care for about Kintu. I hated the prologue. I felt like the novel should have started with Chapter 1, Kintu’s story. So the prologue was a narrative of the grisly, violent murder of one of Kintu’s descendants. It was impactful in the sense that for the novel’s opening it grabbed your attention but it left me with a very bad taste in my mouth that took me a good while to shake off. For me, there was no literary merit to the outright violence. It was disconcerting and felt like it was done for shock value and I always find shock value to a cheap ploy.   Also the prologue had your classic,almost  paint by numbers style MFA writing. I even googled to see if Jennifer Nansubuga Makumbi had an MFA and she does. While MFA writing is good writing don’t get me wrong, but it feels the same to me, I can spot it anywhere, churned out from the same creative writing workshops and factories and for that reason it feels soulless to me. So I was immediately disappointed starting this novel. But I was so glad I stuck with it  and I didn’t have to wait long at all because the tides quickly turned on Chapter 1. But basically I didn’t care for the prologue. Okay so moving along, So let’s talk about the character, Miisi. On one hand Miisi is vehemently intellectual, you know an atheistic, cerebral and rational person who is out of place and sticks out like a sore thumb in the village because of his you know intellectualism. But Miisi also has visions and has some metaphysical experiences. And while I do think people can be both, I don’t think the author did a great job of reconciling the two aspects of Miisi. Miisi himself, the staunch atheist rationalist does not interrogate these opposites within himself. It was not believable at all.  Also, Miisi arrived late in the book and we spend the final 16, yes you hear that right, 16  chapters on this guy. I was sick of him. He was cool for like 2 or 3 chapters tops but I did not find him to be particularly interesting or fascinating for 16 chapters so I got tired pretty quickly reading about the character, Miisi.  And here’s a tip for new or aspiring writers. Please do not introduce important characters late in your novel. Bring them on board early on or in the middle somewhere. Otherwise the reader, like me in this case is constantly questioning the character’s significance instead of focusing on the story. It’s very distracting. Also when you delay introducing us to a character who has a very important role to play in your story, they end up not feeling like real people but like plot devices. It’s very deus ex machina. Imagine meeting Jon Snow for the first time ever in Season 6. I found two typos in this book. I think finding a rare typo is super cute. I forgot to log what the first typo I found was. But I smiled when I encountered the second one. The second one I found was on page 335 and it reads "Miisi changed subject.” Did you catch that? Miisi changed subject not Missi changed the subject  I find typos like that to be cute in the sense of someone forgetting to fix their collar or a strand of hair is out of place. Of course like everyone else I don't want to see typos galore, typos everywhere. It’s horrible, that’s not cute, it’s poor quality control but seeing the odd, rare one or two throughout the book is super cute. I don't know it. It just makes me smile. Those imperfections are sweet and it feels relatable you what I mean. I don’t know. Maybe I’m just weird. Ok, finally the ending was a jumbled mess of a resolution. It was similar to how I felt reading the ending of The Hate U Give. The writing itself, in terms of artistry was still fantastic. But it was the cramming of too much into the final chapters, the author’s manic dedication to giving all of the characters a resolve. It was an exhausting note to end on. Another tip for writers, watch your pacing, please. It’s like being a conductor of an orchestra. All of the musicians and instruments can’t all be playing at the same tempo during the crescendo. So that’s what I didn’t care for about Kintu. Let’s turn now to guessing who Jennifer Nansubuga Makumbi is like. But before I do that, here is a super quick message from my sponsor. Stay with me. Welcome back to the Misty Bloom Book Club. Thank you for hanging out with me. So, what do I think Jennifer Nansubuga Makumbi is like? I think she is a person of integrity, the kind of person whose word you can rely on. But also expects the same in return and will hold people accountable to what they’ve said they’re gonna do. I also think she is a hardworking, grounded, sensible type individual. So that’s my guess of who Jennifer Nansubuga Makumbi is. If you know her, let me know if I pegged her correctly or got it wrong. Final thought, I profusely, enormously loved Kintu. It’s freaking epic in the truest, most authentic sense of the word, epic. If you’re in the mood for a novel that straddles the traditional and the modern in the vein of Things Fall Apart by Chinua Achebe, definitely check out Kintu. Support Misty Bloom Book Club by donating to their Tip Jar: https://tips.pinecast.com/jar/mistybloombookclub Find out more at https://mistybloombookclub.pinecast.co

Hey hey hey, it's Ada. how are you doing? I hope you're taking good care of yourself and doing well. In this episode of The Misty Bloom book club I am going to be reviewing What We Lose by Zinzi Clemmons. You ready? Let's go into the clubhouse. Before I launch into my review of what we lose by Zinzi Clemmons, I want to talk a little bit about honesty. So grab your coffee, water, wine, whatever your drink of choice is, sit back and relax. Because it's about to get real. So there's this great advice that I’ve seen floating around the internet. I’ve seen two versions of the same advice and I don’t know who to originally attribute the quotes to but if you do know, let me know. Okay, so the first quote is truth without love is brutality. And the second quote is honesty without compassion is cruelty. So both of these quotes are essentially saying the same thing. And it's stuck with me because honesty is a virtue. And that is unquestioned. We are taught from a young age not to lie, to always speak truth to power, we are taught honesty is the best policy. There's no negotiating honesty. We should all strive for honesty as one of the greatest virtues to pursue and practice. However, honesty is not an excuse for us to hurt people. You know in the exercise of being blunt there's no need for us to administer blunt force trauma. There has to be a way, and I'm learning this as well, to be honest without inflicting harm on someone. So finding a balance between being honest and truthful but also couching the honesty and truth in the way that minimizes harm. So why am I bringing this up? No, I'm not taking a detour from talking and being about books to becoming a virtue guru. Although if that pays more I might reconsider. I still want everyone, including myself, to be kind. It makes for a better world and a gentler existence when we're all kind to each other. But the reason I was bringing up the whole honesty and truth cruelty brutality thing is because I thought about perhaps not doing reviews for books that I didn't enjoy reading but I also think that's completely unrealistic. You know, sort of pandering to the whole if you have nothing nice to say don't say anything at all. Which to me can sometimes be a cowardly piece of advice in my opinion because it is taking the path of least resistance. If you're willing to do the work you can always find something nice to say. It's a little bit passive and kinda wack to just absolve yourself of the responsibility of saying nothing at all. Rather than plumbing the depths to finding the good about someone or a situation. Also the podcast would start to come across as fake because after a while you'd notice that I love absolutely everything that I read. Which is impossible. Life is not just a pond of lilies. It would not give The Misty Bloom Book Club any sort of dimension, I would not be a reliable source of literary commentary, critique, or appreciation. You guys are smart. You would pick up on the artifice that I'd be putting out. And even as a published author, I'm still growing and always learning to be a better writer and seeing the work of others, where their novels shine and where they fail, helps to sharpen my own craft. And the bottom line is that it is immature to avoid conversations that are difficult or uncomfortable. And, like you, I also want to challenge myself to be honest without being brutal. So now that I've given you my whole spiel on honesty and brutality, let me start my review of What We Lose with a quick and dirty overview. See what I did there? What We Lose is written in the first-person, the I, and follows Thandi who's born and raised in Pennsylvania to a South African mother and an American father. Partway through the novel, Thandi’s mother is diagnosed with cancer and very unfortunately passes away. And the novel transforms into a meditation on dealing with terminal illness, grief, and loss. So going into what we lose by Zinzi Clemmons, I had high hopes for the book. And the reason I had such high hopes is because the writer Zinzi Clemmons. Ok, hold on let's talk about her name for a second. I love her name, Zinzi, by the way. It just sounds glorious and she has the coolest initials. Zee Cee baby. Zee Cee in da building!!!. Anyway Zinzi Clemmons is part South African and part African-American so I was looking forward to getting her extremely unique and distinctive perspective on race and race relations. You know with her coming from this dual heritage that's very loaded on both sides with very different but both extremely intense race histories and that's putting it mildly. And no I'm not putting this burden on Zinzi Clemmons to talk about race. You guys know exactly how I feel about black and minority writers being forced to take on social issues. If not, go listen to Episode 1 of The Misty Bloom Book Club where I talk about this in a little bit more detail. I had this expectation for Zinzi Clemmons to address race issues not because of her heritage. But because the actual book jacket describes the protagonist of What We Lose, Thandie, as being caught between being black and white. So there you go. The first thing I thought about What We Lose is that this novel, for me read like a memoir or maybe even more accurately a non chronological diary. Or maybe a fusion of all these things together. Like part novel part memoir part diary. Which I thought of as an unconventional approach to creative writing. I totally saw what the author was trying to do here. Zinzi Clemmons took what we know of as the conventional novel, you know the traditional approach to crafting a novel and turned it on its head. It had like untitled mini chapters under chapters, there are graphs included in the book, it is wildly non-chronological, there is some philosophy thrown in, there are expositions on South Africa. With What We Lose, the author attempted to do something inventive. But not just trying to be inventive for its own sake. I saw very clearly that the unorthodox structure Zinzi Clemmons adopted for this novel is meant to reflect that grief is not linear or a tidy emotion. The emotions of grief are all over the place. Grief is disorganized. Your feelings are a jumbled mess. Your memories of the person you lost switch back and forth between the recent past and way way back. And the non-chronological narrative choice of What We Lose reflects this. And I always respect when anyone is truthfully and doggedly pushing the boundaries of what we think is possible. It was certainly brave of Zinzi Clemmons to attempt to do something innovative here. Like I said earlier taking what we know of as the orthodox approach to novel writing and turning it on its head. And I respect Zinzi Clemmons for writing What We Lose in the manner that she felt was best suited to this story. I'm gonna speculate that Zinzi Clemmons would have come up against some resistance so it must have taken guts to push forward with and fight for a novel structured in this manner. Aside from that, What We Lose had some profound moments. And I'll give you some examples. I really liked the part of the book where Thandi's father is moving on and finding a new relationship after the death of his wife. And Thandie is understandably resistant to her father moving on from her mother. And I'll read the scene to you from page 164. "I want to be happy again" he says, his voice breaking. "Don't you think I deserve happiness?" "of course, I say." you deserve much more than that. I only wish I could be okay with what form of happiness you've chosen." That right there is a pearl of wisdom that I want you to think about in your life. For example I think many of us are not really resistant to other people finding happiness. We only question their methods for doing so. Whether or not is our business to do so but it's something to definitely think about. There was one line I really liked on page 145 and it reads "I realized that that was how heartbreak occurred. Your heart wants something but reality resists it." So true, you guys! So true. I also like this paragraph from page 182. It reads “Love and marriage are completely unrelated enterprises. Marriage bears little resemblance to love as competing in the Olympics does to your afternoon jog. Sometimes I think with regret of how our love might have grown if we hadn't driven a pregnancy, then a marriage, like two speeding 18-wheelers straight into it.” I mean that right there is a lot of food for thought. I also liked this line on page 185, “Peter sighs, reaches for the pacifier, and pops it nervously into M's mouth, as if our child is a bottle of champagne threatening to explode.” I thought that was a fun sentence. Here’s another great line page 206. It reads, “sometimes I sniff the bottle of perfume of hers that I saved, but it doesn't come close to the robustness of her smell. It is her, flattened.” It is a heavy sentence and it made me sad. I think the sentence was so effective because we associate smell with memories and nostalgia so I think that's what was so profound about this particular sentence. So those are the things that I appreciated about What We Lose. Now, I'm gonna flip the script and talk about what I didn't like quite as much about What We Lose by Zinzi Clemmons. But before I do that here is a quick message from my sponsor. Don't go anywhere. Welcome back to the Misty Bloom book club thanks for staying with me. So now I'm going to talk about what frustrated me about What We Lose So, overall, I'm going to admit that I struggled with What We Lose. Sadly, it didn't hit the spot for me. And I hate that it didn't because like I said earlier, I had such high hopes for this book. However, I wouldn't call what I didn't like about the book as weaknesses per se. But I see this more as a cataloging of my frustrations with the What We Lose. What We Lose totally was a worthy and admirable attempt at being experimental and innovative with fiction However and ultimately for me. I’m sorry. it just didn't work. While I wholeheartedly understood that the author was making a deliberate eclectic artistic choice, I struggled with the way the book was structured. I mentioned that it had like untitled mini chapters under chapters, there are graphs, it is wildly non-chronological making it difficult to follow, the philosophy felt like it was thrown in, there are what I found to be problematic expositions on South Africa that I'll talk about a little bit later . The inconsistency of the novel's structure crippled my enjoyment of it. It interrupted the flow of the novel and gave it a distinctly jerky quality that felt like whiplash. I appreciate the author’s experimentation. But to me, it just read as disjointed and came off as gimmicky. Or maybe I just simply have boring, stock, archetypal tastes in literature. You tell me, I don’t know. But my advice here for any new and aspiring writers who are listening, my advice for whatever it's worth is to be aware of the line between avant garde and gimmicks. You should always, always aim to express your own originality or uniqueness like Zinzi Clemmons did here. However, please remember that your originality or uniqueness is like a fingerprint, it’s innate in you. And you don't need the gimmicks, bells and whistles, or whatever the writing version of auto-tune is. Trust yourself that your work will reflect your individuality. Period. Apart from the stylistic and structural choices that Zinzi Clemmons made in What We Lose, I also found that unfortunately there was nothing special about the writing itself. And that was another problem for me. The writing overall was pretty basic. But it did have some very strong, thoughtful moments which I shared with you earlier in the episode. And those were the shining moments. I didn’t like that beyond those examples that I shared earlier, most of the rest of the prose was pretty basic. Like describing winter as a “long dark and cold period”. Or saying “The sun is shining with full strength.” I don’t expect descriptions like this from someone with an MFA in Creative Writing. And for those who don’t know, an MFA is a Masters in Fine Arts. Which is an advanced degree for fiction writing. So, when I get descriptions like winter is long dark and cold period or the sun is shining with full strength I get genuinely confused and frustrated.These are some of the ways in which I found What We Lose to be frustrating. I mentioned before that What We Lose contains expositions on South Africa. These expositions on South Africa did not resonate with me at all. I wasn't feeling them because the protagonist’s story would suddenly stop, and then the author would randomly veer off into unrelated discussions sprinkled through the book on South Africans and South Africa. Like talking about Oscar Pistorius, talking about the Pulitzer Prize winning photojournalist, Kevin Carter, the author inserted a blog post about crime in Durban, there were sections on Winne Mandela. And then we'd return to the novel’s main plot, Thandie's story. It was totally disruptive to the story’s narrative arc. And the hard part about reading these expositions on South Africa was it didn't feel like I was reading it from an insider, it wasn't a knowing, intimate, and heartfelt perspective of a South African but felt like it was coming from a foreign, touristy gaze. These South African sidebars had the quality of reading as academic, like something copied and pasted from Wikipedia or a newspaper article. They were all things that anyone who even has a tiny micro familiarity with events in South Africa already knows. It wasn’t new information or like you know a new take on these people or events. And there was no emotional connection or narrative links between these events and Thandie. And this matters because Thandie is supposed to be half South African. It really really frustrated me because all it did was to say "hey I'm Thandie, I'm half South African and I'll prove this to you by talking about some South African things. " It just felt like a cheap shot, like these South African events and people were used as filler, to fill in pages in the book. And it made me honestly feel defensive and protective of South Africa being used this way. Something else I had mixed feelings about was that this book is very unapologetically upper-middle-class. I felt like Thandie kept trying to emphasize the fact that in South Africa she is a colored and therefore higher up the social ladder than a black person. And in America, she comes from an upper middle class black pedigree. The issue is not in having these social advantages. The issue here is that they're not stated merely as fact but stated as a sort of point being made about social separation. And I'm not sure who that point is being made to because this book is written in the first-person. Hmmmm. I honestly cannot see it appealing to a diverse array of literary tastes. I mentioned that this book is a meditation on Grief. And grief is a universal emotion and feeling that everyone across every social category will go through. We will all experience loss. We will all experience bereavement. We will all mourn people that we love. That's bound to happen to all of us unfortunately. So I feel like this book should have read as universal but it didn't. It's very specific in its target audience, very specific in who it would appeal to. And it would appeal to firmly upper middle class readers. But maybe ultimately there's nothing wrong with that. You know there's an old saying - know your audience. Something else I wanna discuss and this is not just specific to what we lose or Zinzi Clemmons but broadly across the literary world. Literature has a lot of jobs. You know? To inform. To help us empathize. To reveal who we are as a people. To introduce us to new worlds. Blah Blah Blah. But there's another function of literature which I feel is often minimized or not seen as important as the other functions of literature. And I'm just going to say it. Literature also has a duty to entertain. It's like other forms of art whether it's film or music or paintings or fashion. I don't care how high brow or indie or niche or upscale your sensibilities are. Art should also be aesthetically pleasing and part of being aesthetically pleasing is the duty to entertain, to please my senses you know. It's kind of like those super, super indie movies that only like two people that get what the filmmaker is trying to do . Or those haute couture outfits that only 10 people in the world will ever wear not because of the price tag but because there's no normal everyday event to wear them to. In those cases, you're ultimately producing art for yourself and not to please an audience. And this is how I felt reading What We Lose entertaining. My opinion is that yes make art for you. But, if you expect to have an audience participate in your art, then you have to think beyond yourself. Look, I get it this book is not a $100 bill so it's not going to appeal to every single person that reads it. Including me. But I would have at least liked to have been able to relate to a tiny aspect of it. And speaking of being unable to relate to this novel I think I figured out what the crux of the issue was for me. What We Lose reads like the diary of a moody, conflicted teenager. Even though Thandie is not a teenager. So you're immersed in this conflicted, jumbled reality of a person who doesn't even know who they are, who has no sense of direction, who's simply aimless. And there was no inner growth or progression as Thandie got older. I was disappointed. Very disappointed. I found Thandie to be very tiresome. And the reason I found her to be tiresome is because she is one of those people that's very feelings based who is so severely inward looking. You know those people who never really look outward, who don’t seem to be concerned about how other people are feeling or how they're doing. They're just so into the supposed complexity of their own super important feelings. You know those kinds of people who define themselves by their feelings and think that somehow the complexity of their feelings makes them cool. But all it does for the rest of us is it make them appear selfish because they don’t care about how other people feel. They come across to us as insufferable because they don't have the capacity to realize that other people besides them also experience very complex emotions.I said earlier that What We Lose is a novel about handling grief. It also deals with the depression that accompanies grief which I think is a really powerful subject to always address in fiction. But the problem with Thandie as a fictional character is that she was always inward looking and feeling sorry for herself even before tragedy hit so we never saw her degradation from normalcy into grief. Thandie was mourning life waaay before death came along. Another aspect to this was that I didn't feel like I could latch onto the secondary characters even if I wanted to ignore Thandie. Thandie was so me me me, that I never got the chance to really get to know the secondary characters in a tangible way. So guys, that's the main gist of my catalog of frustrations of What We Lose. Next up, I'll do the fun personality profile of Zinzi Clemmons and guess what I think she is like as a person. And then I'll end with some final thoughts. But before I do that, here's a quick message from my sponsor. Per usual, don't go anywhere. Okay I'm going to do a personality profile of Zinzi Clemmons. Of course this is purely fun guesswork from reading What We Lose. Soooo, I'm gonna guess that Zinzi Clemmons is probably a spontaneous, adventurous type person, who wears her heart on her sleeve. If you know Zinzi Clemmons, let me know if I hit the bullseye with this or if I'm completely way off base. Finally I'll close with saying that i admire the unconventional eclectic style and structure of what we lose. Even though i think would have been incredibly successful if it was written as a straightforward memoir. But I also realize it's a selfish thing for me to say because by saying that, I'm wanting the author to adapt her art to suit my own particular preference. And I suspect, and of course this is pure but respectful speculation, that it was a deliberate choice for Zinzi Clemmons not to write this book as a memoir to intentionally put some distance between herself and the grief, and shield herself from direct pain. And I completely understand this. So, if you've read What We Lose by Zinzi Clemmons or if you do plan to read it, let me know what you think. I'd love to have a conversation with you on social media. Support Misty Bloom Book Club by donating to their Tip Jar: https://tips.pinecast.com/jar/mistybloombookclub Find out more at https://mistybloombookclub.pinecast.co

In this episode, our host Pamela Cohn speaks to dancer and artist Zinzi Minott about her work in the context of society, performance and identity. Zinzi says: "You see scattered images of me in beautiful classic ballet shots next to something blowing up because that’s actually my life. That’s what going to dance school was."

Circus Voices, a podcast brought to you by CircusTalk is pleased to present an interview with Zinzi Oegama. Zinzi Oegema is a circus artist, a director, a dramaturge, and an author based in Holland. In her book GRIP, produced with the support of TENT Circustheater Producties, Oegema set out to satisfy her own curiosity about the elements and methods that can be used to construct a circus show. Drawing on her own expertise and weaving in her interviews with seven circus directors, the book takes a non-linear approach to exploring the emerging codes of contemporary circus. Listen to the podcast to learn more about Oegama's work.

COMETSA Heritage Development Agency NPC. TYPE: a non-profit making organization focusing on the preservation of the cultural inheritance and safeguarding the legacy of the society VISION: to be the culturally diverse heritage and legacy preservation organization MISSION: by identifying, developing, hosting, and promoting cultural, heritage, and legacy development initiatives, programmes and projects MAIN OBJECTIVES: research, design, develop, and implement programmes to preserve the culture, heritage, and legacy of the society for the current and future generations --- Send in a voice message: https://anchor.fm/sam-tsima/message

COMETSA Heritage Development Agency NPC. TYPE: a non-profit making organization focusing on the preservation of the cultural inheritance and safeguarding the legacy of the society VISION: to be the culturally diverse heritage and legacy preservation organization MISSION: by identifying, developing, hosting, and promoting cultural, heritage, and legacy development initiatives, programmes and projects MAIN OBJECTIVES: research, design, develop, and implement programmes to preserve the culture, heritage, and legacy of the society for the current and future generations --- Send in a voice message: https://anchor.fm/sam-tsima/message

COMETSA Heritage Development Agency NPC. TYPE: a non-profit making organization focusing on the preservation of the cultural inheritance and safeguarding the legacy of the society VISION: to be the culturally diverse heritage and legacy preservation organization MISSION: by identifying, developing, hosting, and promoting cultural, heritage, and legacy development initiatives, programmes and projects MAIN OBJECTIVES: research, design, develop, and implement programmes to preserve the culture, heritage, and legacy of the society for the current and future generations --- Send in a voice message: https://anchor.fm/sam-tsima/message

We sat down with Janna A. Zinzi (also known as Goddess Jaz) to discuss her journey, obstacles, achievements, and teachable moments.Janna A. Zinzi (also known as jaz) is a strategist and storyteller using language and performance to uplift the voices and stories of people of color, especially women and gender non-conforming people. Her communications consulting is rooted in social justice; while her writing and dancing explores themes of artistic expression, pop culture, race, feminism, politics, spirituality and travel.Learn more about Janna Zinzi by visiting her site https://www.jannazinzi.com/.Follow on IG: @jannazinziFollow on Twitter: @JannaZinziFollow on Medium: @jannazinzi

In episode 144, Kestrel welcomes Zinzi Edmundson, the editor + cofounder of Knit Wit Magazine, to the show. A website for fiber freaks, Knit Wit explores everything about fiber arts and their makers. “Just like cutting out fast fashion and knowing about your materials and the process behind where your clothing is coming from, that’s equally as important with buying your materials for crafting.” -Zinzi Edmundson, Founder of Knit Wit Throughout this chat, Zinzi shares more on Knit Wit's recent shift from print to digital, and how listening to her readers was an integral piece of this decision. Additionally, she shares more with us on which crafts are "all the rage" right now, and how even though there are trends in crafting, makers tend to not ditch the past trends when they find a new one - instead, they just add them to their fiber art arsenal.  The below thoughts, ideas + organizations were brought up in this chat: Sashiko, Mend and Make New, article Kestrel wrote for Knit Wit about Jessica Marquez’s new book Make + Mend DMC embroidery thread Wool and the Gang x DMC Partnership What’s currently “trending” in the maker scene according to Zinzi? embroidery, needle tufting, rag rugs “That is very old vs new media - old media tells you what’s what and you’re like ok I guess you’re the authority - I will do that or I should like that - and then new media can kind of adapt and respond.”

‘She comes to me in snatches - I remember pieces of her laugh, the look she gave when she was upset. Sometimes I sniff the bottle of perfume of hers that I saved, but it doesn't come close to the robustness of her smell. It is her, flattened. This is what it's really like to lose. It is complete and irreversible. How pernicious these little things called memories are. They barbed me once, but now that I no longer have many of them, I am devastated.' — Zinzi Clemmons, What We Lose Zinzi Clemmons was raised in Philadelphia by a South African mother and an American father. Her debut novel, What We Lose is about a young woman coming of age while navigating loss, difficult relationships and self identity. Written as auto fiction in both emotional and poignant prose. In this episode, Dr Alma-Nalisha Cele sat down with Zinzi to discuss her novel. Zinzi recalls talking a creative writing class in college and how that sparks her writing journey. Alma-Nalisha and Zinzi have a frank conversation about writing, literature and her book which Alma-Nalisha describes as ‘a deeply personal meditation on loss is and how we deal with grief'. The discussion touches of a myriad of topics such as grief, identity, relationships, mental health, displacement, sex, race, mortality and other musings. Both lighthearted and but deeply reflective. This is a powerful conversation on our interaction with loss, grief and relationships.

The property, which housed struggle icon Winnie Madikizela-Mandela and earmarked for renovations, remains in a shoddy condition. Madikizela-Mandela was banished to house number 802 in Brandfort in the Free State with her daughter Zinzi from 1977 until 1986. The house was bombed twice while Madikizela-Mandela was staying there. Thabiso Radebe reports..

Hey there word nerds! Today I am delighted to have author Zinzi Clemmons on the show! Zinzi’s gorgeous debut novel, What We Lose, has already taken the literary world by storm establishing her as a strong new voice to watch. Raised in the Philadelphia suburbs by a South African mother and American father, Zinzi has much in common with the main character of her novel, Thandi, so much so that What We Lose has been described as autobiographical fiction. Listen in as we dive into Zinzi’s novel and how to craft fiction and reality in a novel that defies normal expectations. In this episode Zinzi and I discuss: Autobiographical fiction, and how to decide what pieces of reality to include in your novel. How to weave big topics—such as race and identity—into your novel organically. What to do when you receive pushback about your story, and how to preserve that emotional truth. Why art and literature can shine a light on the grey areas of life. When to keep pursuing a novel and when to throw it out. Plus, Zinzi’s #1 tip for writers. For more info and show notes: DIYMFA.com/165

Ryan Gattis is the author of Kung Fu and All Involved, which won the American Library Association’s Alex Award & the Lire Award for Noir of the Year in France. Gattis lives and writes in Los Angeles, where he is a member of the street art crew UGLARworks & a founding board member of 1888, a Southern California literary arts non-profit. Ryan’s latest novel is Safe. Zinzi Clemmons was raised in Philadelphia by a South African mother and an American father. Her writing has appeared in Zoetrope: All-Story, the Paris Review Daily, Transition and elsewhere. She is a cofounder and former publisher of Apogee Journal and a contributing editor to Literary Hub. Clemmons lives in Los Angeles and teaches at the Colburn Conservatory and Occidental College. Zinzi’s debut novel is What We Lose. See acast.com/privacy for privacy and opt-out information.

In this episode, Janna Zinzi tells our Race Forward Senior Research Associate Tara Conley about what it's like to grow up in a multiracial family when one side of that family clings to racist notions of relationship norms. They discuss formative moments in their youth that shaped their understanding of the complex, racist and stereotypical lenses some people use, to view interracial girls and their parents through. Be sure to rate and subscribe to this podcast on iTunes at http://bit.ly/frpodcastraceforward and be sure to join us at Facing Race 2016 this November. Visit http://facingrace.raceforward.org to register now.

Get to know Zinzi Edmundson, the editor of Knit Wit Magazine, a print magazine that celebrates the dynamic world of contemporary fiber arts and craft. Rita & Zinzi talk about the process of starting a print magazine, the current crafting movement, and the feminism in the textile arts world.

Gianluca Figini - Radio LiMe

Sponsor: We Are Knitters is a young, modern, and fashion-forward brand with a focus on DIY and the handmade community. They believe in spreading the joy of knitting through unique, original kits that provide the recipient with everything they need to knit their own individual item – from start to finish. Kits contain yarn, needles (or a hook for crocheters!), a pattern, a little sewing needle and tag, and a recyclable bag to keep all your knitting supplies in! They source only the highest quality of fibers from Peru and work with their partners to ensure an ethical supply chain from start to finish – resulting in a product that you can truly feel good about (and also in!).  Join their knitting revolution on Instagram at @weareknitters and make sure to become part of the community with the hashtag #weareknitters when you post pictures of your work and for a chance to be automatically entered into a number of monthly giveaways. And make sure to checkout We Are Knitters most recent cotton collection for this Spring…featuring some beautiful lightweight garments for the upcoming warmer weather. My favorites are the Saxon Top and the Abruzzo Sweater. You can find this and all […]

Club St. Somewhere Radio is back, and shooting for weekly Postcast starting January 2014. So, here's a sample of what you can look forward too.Roger Barlett will join Jackson on the phone to talk about Roger's new CD, Manhattan, his new gig as composer for a play and movie Zinzi, and his days on the concert trail with Buffett, opening for Hoytt Axton, and flying out to Boston to open for "the Dawg,"Three Dog Night.Listen Live, and call in with a question...

Club St. Somewhere Radio is back, and shooting for weekly Postcast starting January 2014. So, here's a sample of what you can look forward too.Roger Barlett will join Jackson on the phone to talk about Roger's new CD, Manhattan, his new gig as composer for a play and movie Zinzi, and his days on the concert trail with Buffett, opening for Hoytt Axton, and flying out to Boston to open for "the Dawg,"Three Dog Night.Listen Live, and call in with a question...