George Hovis's guest appearances

George Hovis

Boston Athenæum

Charlotte Readers Podcast

Barack Obama

Steven Pinker

Kimmery Martin

Craig Johnson

Sarah McBride

Jack Allison

Stephen Kinzer

David Collins

Richard Bell

Sarah Parcak

Mary Norris

Robert Gould

Robert Shiller

Nina Campbell

Lisa Jewell

OwlTail

In today’s episode, we meet George Hovis, author of “The Skin Artist,” an edgy story set in the shadows of the shiny banking city we know as Charlotte, North Carolina.   Fred Chappel, author and winner of the North Carolina Award for Literature, says that “Hovis displays a world we know and try to turn our gaze from. But the story is too powerful…and we readers watch, hypnotized, as the descent gathers friends, lovers and family into its vortex. Can such dark passages lead to hope?”  George starts the show with a reading early in the book where the main character ends up at a historic Charlotte bar after learning that his wife is having an affair and he sees Lucy for the first time, a woman covered in tattoos, with jet black hair down to her back.    You can connect with the show at: charlottereaderspodcast.com

In today’s episode, we meet George Hovis, author of “The Skin Artist,” an edgy story set in the shadows of the shiny banking city we know as Charlotte, North Carolina. Fred Chappel, author and winner of the North Carolina Award for Literature, says that “Hovis displays a world we know and try to turn our gaze from. But the story is too powerful…and we readers watch, hypnotized, as the descent gathers friends, lovers and family into its vortex. Can such dark passages lead to hope?” George starts the show with a reading early in the book where the main character ends up at a historic Charlotte bar after learning that his wife is having an affair and he sees Lucy for the first time, a woman covered in tattoos, with jet black hair down to her back. You can connect with the show at: <a href="http://charlottereaderspodcast.com" rel="nofollow" target="_blank">charlottereaderspodcast.com</a>

George Hovis’ “The Skin Artist” Is an Edgy Story Set in the Shadows of the Shiny Banking City of Charlotte, NC

Thomas Wolfe

December 10, 2015 at the Boston Athenæum. This lecture is sponsored by the William Orville Thomson Endowment. Despite his protests to the contrary, American novelist Thomas Wolfe, whose writings are well represented in the Athenæum’s collections, is remembered as a representative of the “Lost Generation,” a generation of artists who renounced the outmoded verities of their forebears as useless in the Modern age. With the advent of the Great Depression, Wolfe confronted widespread suffering, especially in New York City, where he was living at the time, and this newfound concern for the plight of others made him reconsider not only the solipsism that had threatened his earlier fiction but the Modernist aesthetic that had informed it. In his posthumous novel, You Can’t Go Home Again (1940), Wolfe grew away from the bildungsroman to write proletarian fiction on a global scale. After exposing the unjust distribution of wealth in Manhattan and Brooklyn, he exposes the class system of England and the rise of Nazi oppression in Berlin. Just as he had earlier broken with the conventional truths of his hometown to become an artist, he now found it necessary to outgrow his own youthful assumptions and to understand more fully that his own material and spiritual health were tied up with that of his fellow man.

December 10, 2015 at the Boston Athenæum. This lecture is sponsored by the William Orville Thomson Endowment. Despite his protests to the contrary, American novelist Thomas Wolfe, whose writings are well represented in the Athenæum’s collections, is remembered as a representative of the “Lost Generation,” a generation of artists who renounced the outmoded verities of their forebears as useless in the Modern age. With the advent of the Great Depression, Wolfe confronted widespread suffering, especially in New York City, where he was living at the time, and this newfound concern for the plight of others made him reconsider not only the solipsism that had threatened his earlier fiction but the Modernist aesthetic that had informed it. In his posthumous novel, You Can’t Go Home Again (1940), Wolfe grew away from the bildungsroman to write proletarian fiction on a global scale. After exposing the unjust distribution of wealth in Manhattan and Brooklyn, he exposes the class system of England and the rise of Nazi oppression in Berlin. Just as he had earlier broken with the conventional truths of his hometown to become an artist, he now found it necessary to outgrow his own youthful assumptions and to understand more fully that his own material and spiritual health were tied up with that of his fellow man.

George Hovis, “Thomas Wolfe and the Lost Generation”