Pigeons: rats with wings or wonder birds? Rosemary Mosco, science writer and naturalist, enters the dovecote with Eve and Julie to settle the debate. The author and illustrator of A Pocket Guide to Pigeon Watching: Getting to Know the World’s Most Misunderstood Bird, Rosemary defends her feral, feathered friends with an extraordinary (yet widely unknown) historical and anatomical tour. She discusses how the once-wild rock pigeon grew into a domesticated military tool capable of turning “the global tide of politics.” And, in a Book Dreams first, Rosemary illustrates what it would mean for a pigeon to be endowed--yes, that kind of endowed. As Julie’s grandmother would say, this episode has “got some sexy in it.”

What happens when an author takes a genre that's considered a bedrock of American culture and flips the wagon upside-down? As Tom Lin puts it, “I’m not following the rules of the American Western.” The author of the debut novel The Thousand Crimes of Ming Tsu, Tom subverts the “old, old notions of what makes an American” and redefines the classic genre by telling his story through the eyes of a Chinese American gunslinger assassin in the 1860s. Tom discusses with Eve and Julie how the American Western evolved into mythology, not only glorifying the westward expansion of the American people but also justifying the violence, colonialism, and genocide used to achieve it. He also shares why, almost 150 years later, Americans continue to return to the Western and the potential connection the genre has to the “consciousness of ourselves.”

What if our experience of ancient Greek plays, rather than involving stultifying boredom, could instead evoke powerful emotions? Bryan Doerries–author of many books involving ancient Greek plays and Artistic Director of Theater of War Productions–talks with Julie and Eve about the tragic loss in his life that caused Greek plays to suddenly begin “sp[eaking] directly to me as if they've been written for me.” As a director, he has since sought “audience[s] that have experienced the extremities of life”--he’s performed at hospitals, for the military, in prisons, for addicts, and for the survivors of natural disasters. Bryan discusses what it is about ancient Greek plays that make them resonate all these centuries later. He also details why the audience discussions that follow the play can be more meaningful than the performances themselves. Finally, Bryan explains how the protocols of theatergoing today are a “kind of violence.”