Discussing the Chicago community of midwives and the book "The New Our Bodies, Ourselves: a Book By and For Women" (published by Simon & Schuster) with one of the book's authors Norma Swenson and midwife and author Ina May Gaskin.

Art historian Roxana Robinson discusses and reads from her book “Georgia O'Keeffe: A Life.” Robinson discusses the different eras of painting O’Keeffe went through during her lifetime and the outside forces that inspired these changes in subject matter, such as her attending the Art Students League of New York, her moving to Santa Fe, and her relationship with Alfred Stieglitz. Studs plays “Tosca, Act II: Vissi d’arte, vissi d’amore” - Renata Tebaldi, George London, Francesco Molinari-Pradelli (1959).

British feminist and journalist Jill Tweedie discusses and reads from her book “In the Name of Love” with British journalist and humorist Alan Brien. Tweedie explores the scientific and psychological nature of what it means to “love” and how this differs from passion and romance. Studs plays "Loveless Love" - Billie Holiday (1940) and "Douce Dame Jolie" - Roland Hayes (1966).

French writer Anais Nin discusses her book “Under a Glass Bell” and its influences with Studs Terkel. Nin reads a few excerpts from her recently published work “Under a Glass Bell.”

Dr. Benjamin Spock and Dr. Michael B. Rothenberg discuss the 40th anniversary edition of the book “Baby and Child Care.” The two discuss the changes they've made to the book, criticism they’ve faced since releasing the book, and how they’ve rethought gender roles in childcare. Studs plays “Hush Little Baby” - The Weavers (1955).

Terkel interviews activist and children's author Dagmar Wilson. She discusses how she goes from a children's author to an activist for anti-nuclear testing.

Now being a professional playwright, William Gibson talked about being able to write one of his plays in 8 days. A lot of the discussion is about his play, "The Miracle Worker". After reading one of Annie Sullivan's letters, and learning about a battle royale that Sullivan had with Helen Keller, Gibson envisioned what that battle royale would look like. It became a now famous part of the play.