Podcasts about bookslut

In this week's episode of the New Flesh Podcast, Ricky and Jon interview return Guest Jessa Crispin. Jessa is the founder and editor of the magazines Bookslut.com and Spolia. She is the author of The Dead Ladies Project, The Creative Tarot and Why I Am Not a Feminist: A Feminist Manifesto. Her provocative podcast Public Intellectual featuring guest interviews with artists and thinkers ran from 2019 until November 2021. Her Substack is called The Culture We Deserve. Topics covered include; the arts funding crisis in the US, Hannah Gadsby's It's Pablo-Matic Picasso art exhibition, Claire Dederer's book Monsters: A Fan s Dilemma, what to make of monstrous artists and their work, how to get society to care about art again AND more. ---ARTICLES AND LINKS DISCUSSED---Find Jessa on Substack:https://theculturewedeserve.substack.com/---Cancel culture is real – but this is the worst possible way to discuss it - The Telegraph:https://www.telegraph.co.uk/books/non-fiction/review-monsters-claire-dederer/---SUPPORT THE NEW FLESHBuy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Ricky: @NewfleshRicky on TwitterFollow Jon: @thejonastro on Instagram---Theme Song: Dreamdrive "Vermilion Lips" 

In this week's episode, Ricky and Jon interview Jessa Crispen. Jessa is the founder and editor of the magazines Bookslut.com and Spolia. She is the author of "The Dead Ladies Project", "The Creative Tarot" and "Why I Am Not a Feminist: A Feminist Manifesto". Her provocative podcast Public Intellectual featuring guest interviews with artists and thinkers ran from 2019 until November 2021. Topics covered include podcasting in the age of misinformation, the performative nature of cancel culture, the sanitisation of art, why difficult art matters AND more!---ARTICLES AND LINKS DISCUSSEDListen to Jessa and the Public Intellectual podcast:http://www.jessacrispin.com/podcast---FOLLOW THE CONVERSATION ON reddit:https://www.reddit.com/r/thenewfleshpodcast/---SUPPORT THE NEW FLESHBuy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Jon: @thejonastro on Instagram---Logo Design by Made To Move: @made.tomove on InstagramTheme Song: Dreamdrive "Chase Dreams"

Con una scrittura lapidaria Jessa Crispin, fondatrice ed editorialista del magazine online Bookslut e giornalista che conta fra le proprie pubblicazioni testate come il New York Times, the Guardian, e the Washington post, mette in discussione il metodo femminista "della scelta", quello che premia l'empowerment o, come abbiamo imparato a chiamarlo, neoliberista. Un libro che ha il potenziale di innervosirvi, ma che vi invitiamo a leggere per farvi travolgere da una serie di sentimenti contrastanti che inevitabilmente smuoveranno il vostro pensiero critico. È ormai da tempo che volevamo parlarvene e finalmente lo aggiungiamo alla nostra libreria femminista: perchè non sono femminista. Un manifesto femminista!

We're joined by long-time book reviewer Michael Schaub (NPR, Kirkus, Bookslut, elsewhere) to discuss a book that changed the way he thought about books: Ander Monson's debut, Other Electricities. We talk about what separates experiments in form that feel organic to a story versus those that feel superfluous or inscrutable. Also: the ethics of book reviewing, horse ownership, and is everything actually bigger in Texas? You can find Michael on Twitter here: https://twitter.com/michaelschaub. And see his reviews at NPR here: https://www.npr.org/people/151841337/michael-schaub If you like the show, and would like more of it, we're releasing two bonus episodes a month to our Patreon subscribers, for only $5: https://www.patreon.com/BookFight

This is Part 1 of a two-part episode. Part 2 is free to all paid subscribers over at www.patreon.com/posts/57044228. Become a paid subscriber for $5/month over at patreon.com/champagnesharks and get access to the entire archive of subscriber-only episodes, the Discord voice and chat server for patrons, detailed show notes for certain episodes, and our newsletter. This episode is hosted by Trevor. Today we have returning guest Jessa Crispin! Jessa is the founder and editor of the magazines Bookslut.com and Spolia. She is the author of The Dead Ladies Project, published by The University of Chicago Press, The Creative Tarot, published by Touchstone, and Why I Am Not a Feminist: A Feminist Manifesto. She has written for many publications, some of which are still in existence. Using the TV series "I May Destroy You" as an anchor, Trevor and Jessa discuss the factors of impostorism within media. Co-produced & edited by Aaron C. Schroeder / Pierced Ears Recording Co, Seattle WA (www.piercedearsrec.com). Opening theme composed by T. Beaulieu. Closing theme composed by Dustfingaz (https://www.youtube.com/user/TheRazhu_)

A new addition to Lipp Media, bookslut is a fortnightly podcast about sex, feminism and erotic literature. In this episode, Abby and Sam look at the anthology 'Curvy Girls: Erotica for Women' to examine ideas around body positivity, fat phobia and sex. This is an episode dedicated to the womxn who feel they’re being watched when they eat because their bodies don’t fit the mainstream definition of physical beauty.Listen to bookslut wherever you listen to us! See acast.com/privacy for privacy and opt-out information.

Surprise! It’s a Witch Wave bonus episode to tide you over until our Season 3 return on October 30th.This is a live episode: a conversation between Pam and Spolia Tarot’s Jessa Crispin and Jen May, recorded at Catland Books this summer.Jessa Crispin is the founder and editor of Bookslut.com and Spolia magazine. She is the author of The Dead Ladies Project (The University of Chicago Press), The Creative Tarot (Touchstone), and Why I Am Not a Feminist: A Feminist Manifesto. She has written for many publications, some of which are still in existence.Jen May is an artist whose illustrations and collages have been featured in such outlets as New York Magazine, Catapult, and The Toast.On this episode, Jessa and Jen discuss the tenuous relationship between creativity and magic, the ubiquity of the terms “witch” and “feminist,” and their collaboration on the Spolia Tarot and their new zine, Screaming Women.Pam also reads an excerpt about art witches from her new book, Waking the Witch.Our sponsors for this episode are Weiser Books and the Mystical Menagerie Market.

Mattilda Bernstein Sycamore is the guest. Her new novel SKETCHTASY is available from Arsenal Pulp Press. Described as "startlingly bold and provocative" by Howard Zinn, "a cross between Tinkerbell and a honky Malcolm X with a queer agenda” by the Austin Chronicle, and “a gender-fucking tower of pure pulsing purple fabulous” by The Stranger, Mattilda Bernstein Sycamore is the author of a memoir and three novels, and the editor of five nonfiction anthologies. Sycamore's memoir, The End of San Francisco(City Lights 2013), won a Lambda Literary Award, and her most recent anthology, Why Are Faggots So Afraid of Faggots?: Flaming Challenges to Masculinity, Objectification, and the Desire to Conform (AK Press 2012), was an American Library Association Stonewall Honor Book and a finalist for a Lambda Literary Award. Mattilda's novels include So Many Ways to Sleep Badly (City Lights 2008) and Pulling Taffy (Suspect Thoughts 2003). She is the editor of four additional nonfiction anthologies, Nobody Passes: Rejecting the Rules of Gender and Conformity (Seal 2007), That’s Revolting! Queer Strategies for Resisting Assimilation (Soft Skull 2004; 2008), Dangerous Families: Queer Writing on Surviving (Haworth 2004), and Tricks and Treats: Sex Workers Write about Their Clients (Haworth 2000), which now also appears in Italian (Effepi Libri 2007). Mattilda has written for a variety of publications, including the San Francisco Chronicle, BOMB, Bookforum, The Baffler, the New York Times, New Inquiry, Los Angeles Review of Books, Truthout, Time Out New York, Utne Reader, AlterNet, Bitch, Bookslut, and The Stranger, and for ten years, Mattilda was the reviews editor and a columnist for the feminist magazine Make/shift. Mattilda made a short 16mm film, All That Sheltering Emptiness, in collaboration with Joey Carducci. The film premiered in 2010, and has screened around the world. Mattilda created Lostmissing, a public art project about the friend who will always be there, and what happens when you lose that relationship. Mattilda’s activism has included ACT UP in the early ‘90s, Fed Up Queers in the late ‘90s, Gay Shame, and numerous lesser-known (or even unnamed) groups. Mattilda's papers are archived at the San Francisco Public Library, and are accessible to the public. Mattilda lives in Seattle, Washington, but will be on tour for Sketchtasy from fall 2018 through spring 2019. In the past, she has appeared in independent bookstores, community centers, performance venues and universities across the US (and Canada), from Yale to Evergreen, UCLA to Harvard to Mills to McGill. Mattilda loves feedback, so contact her, okay? Mattilda is now on Twitter. Don't tell anyone, but she kind of loves it. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the Marvel and DC cinematic universes to small screen caped-crusaders and vigilantes, superheroes are more popular than ever. But how do superheroes reflect our place and power within society? Whether it’s symbolic representations of asylum seekers and First Nations people on Cleverman, Jessica Jones battling PTSD or The Watchmen exploring the moral ambiguity of individuals with tremendous power, superheroes have the power (dare we say great responsibility?) to tell nuanced, reflective and universal stories. Join us to discuss how our heroic representations hold a mirror up to contemporary views on ethics, justice and equality. About the panel Martyn Pedler Martyn Pedler is a writer and academic who focuses on superhero stories. He's published chapters and presented internationally on subjects like how the Flash runs in a medium without movement and why Doctor Doom cried after 9/11. He's also been a longtime pop culture critic for Bookslut, Time Out Melbourne, Triple J Magazine and more. He is the writer of the 2012 feature film EXIT, and has several other screenplays in development. Dr Liam Burke Dr Liam Burke is the Cinema and Screen Studies coordinator at Swinburne University of Technology. He has written and edited a number of books on comic books and cinema including Superhero Movies, Fan Phenomena Batman, and The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre. Liam is a chief investigator on the Superheroes & Me research project with ACMI. He recently directed the documentary short film @HOME, which was screened at a number of international film festivals and was broadcast on Irish television. Brooke Maggs Brooke Maggs is a freelance narrative designer and writer for games, VR and other creative industries. She one of the women featured in ACMI's Code Breaker's exhibition where you can play one of her latest projects, The Gardens Between, an adventure puzzle game.Recently, she received the 2017 MCV Pacific XBOX Women in Games Creative Impact award for her work in the games industry. Brooke is writing a science fiction novel for which she was shortlisted for the Ray Koppe Writer’s Residency and awarded a residency at the Varuna House. Her other writing includes academic research in creative writing practice. Copyright Acknowledgments: Title: The Avengers (2012) Copyright: Marvel Studios / Walt Disney Production Company Title: Spiderman (2002) Copyright: Marvel Enterprises / Columbia Pictures Title: Superman (1978) Copyright: Warner Bros Title: Man of Steel (2013) Copyright: DC Entertainment / Warner Bros Pictures Title: Daredevil Season 1 Episode 2 Copyright: Marvel Television / Netflix Title: Cleverman Season 1 Episode 2 Copyright: Sundance Studios / ABC TV Title: Superman Returns (2006) Copyright: Legendary Pictures / DC Comics / Warner Bros Pictures

Keanu Reeves, idealized love, and the joys of celebrity fixation

Vuorossa suuri feminismijakso!!! Noh, yksi niistä monista, mutta nyt Johannaa ja Jonnaa puhuttavat aivan erityisen mahtavat mirkut. Moderni feminismi on paskaa, väittää Bookslut-bloggaaja Jessa Crispin juuri ilmestyneessä Why I'm not a Feminist – a Feminist Manifesto -kirjassaan. Siksi, että se on kulutuskeskeistä lifestyle-feminismiä, jolla ajetaan vain omia individualistisia tarpeita. Feminismin ei pitäisi pelata patriarkaatin ja kapitalismin säännöillä vaan puolustaa taas vähemmistöjen ja heikompien asemaa. Me olemme innoissamme feminismin politisoitumisesta ja nostamme Jessan saman tien kaapin päälle. Sen sijaan vanhan idolimme Chimamanda Ngozi Adichien mielipiteet transnaisista herättävät kummastusta. Samansuuntaisia ovat laukoneet edellisen sukupolven feministit, kuten vanha jäärä Germaine Greer, mutta toiset, kuten Gloria Steinem, ovat päivittäneet päänsä 2000-luvulle. Meidän mielestämme Chimamanda todistaa, ettei kukaan ole täydellinen, ei edes feministi. Oppimisprosessi tämä on kaikille. Ennen kaikkea puhumme Roxane Gaysta ja Koko Hubarasta. Roxane Gay on supertähti, "feminismin J. K. Rowling", jonka kirjat myyvät Jenkeissä satojatuhansia, jonka luennot ovat aina täynnä ja jolla on omistautuneita faneja, mustia ja valkoisia, miehiä, naisia ja muita. Hänen juuri suomennettu esseekokoelmansa Bad Feminist on itseironinen, hauska, kivuliaan henkilökohtainen ja räyhäkkään poliittinen. Myös Ruskeat Tytöt -blogin perustajan ja -median päätoimittajan Koko Hubaran esikoisteos ponnistaa henkilökohtaisesta. Kummankin kirjat herättävät tunteita: avartavia, järkyttäviä, samastuttavia, riemastuttavia, surullisia. Samalla ne todistavat, että tunne on tietoa ja joskus myös ainoa tapa perustella asioita. Jaksossa selviää myös, mitä eroa on kultakalan ja ihmisen keskittymiskyvyssä, mistä kirja-ala juorusi Lontoon kirjamessuilla ja miksi on ihan ok käyttää huutomerkkejä. Kirjalista alla. JAKSOSSA MAINITUT KIRJAT: Roxane Gay: Bad Feminist (suom. Koko Hubara, Anu Partanen, Like Kustannus) Koko Hubara: Ruskeat Tytöt – Tunne-esseitä (Like) Adam Alter: Irresistible: The Rise of Addictive Technology and the Business of Keeping Us Hooked Ben Blatt: Nabokov’s fvaourite word was mauve Jessa Crispin: Why I’m Not a Feminist: a Feminist Manifesto Liv Strömquist: Uppgång och fall

Jessa Crispin is the founder and editor of the magazines Bookslut.com and Spoliamag.com. She is the author of The Dead Ladies Project, published by The University of Chicago Press, and The Creative Tarot, published by Touchstone. In this episode she gives a somewhat disheartening, but also hilarious, tarot reading for the Ace Lady Network. 

Bookslut founder Jessa Crispin rejoins the show (here's her 2014 episode) to talk about her new book, Why I Am Not A Feminist: A Feminist Manifesto (Melville House), while I gripe over the fact that it's the third book she's published since we recorded in 2014. We also get into learning to stop reading reviews, the aftereffects of carrying her belongings on her back for 18 months, the black magic revival and her experience as a tarot card reader, her detachment from NYC publishing culture, her fascination for Catholicism and female saints, falling in love with opera, never quite getting over the core guilt of her Protestant upbringing, and why she won't leave the US for good and won't write about expat Paris! • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Yeah, so, if y’all hadn’t noticed, we’ve lagged a bit in getting new episodes posted this year. We blame life. To make up for being assholes, here’s ANOTHER bonus episode to keep you occupied until our next real episode posts. Which will be soon. Like, it’s been recorded, we’re just editing, and it should be ready in, like, a week. Get psyched. You can also stream the episode on iTunes and Stitcher. Find us on Tumblr at drunkbooksellers.tumblr.com, and follow us on Twitter at @drunkbookseller for updates, book recs, and general bookish shenanigans. Check out our show notes, below. Epigraph Bitches in Bookshops Our theme music, Bitches in Bookshops, comes to us with permission from Annabelle Quezada. It’s the best.   Introduction   [0:30] In Which Emma’s Excited About an Event That You Can’t Attend ‘Cause It Already Happened and We Discuss the Awesomeness of Tactile Covers Emma’s drinking Schlafly Oatmeal Stout Kim’s drinking Sierra Nevada’s Hop Hunter IPA Emma’s reading: See You in the Morning by Mairead Case   Also mentioned: Slab by Selah Saterstrom, The Creative Tarot: A Modern Guide to an Inspired Life by Jessa Crispin (of Bookslut fame) Kim’s reading: Adulthood is a Myth by Sarah Andersen   Eruption: The Untold Story of Mount St. Helens by Steve Olson Listening to: Redefining Realness: My Path to Womanhood, Identity, Love & So Much More by Janet Mock Chapter I   [7:07] In Which Your Noble Hosts Look Back at Their Favorite Books of 2015 Emma’s Picks: Uprooted by Naomi Novik The Bread We Eat in Dreams by Catherynne M. Valente Vivian Apple at the End of the World by Katie Coyle Nimona by Noelle Stevenson (also mentioned: Lumberjanes) Witches of America by Alex Mar The Thrilling Adventures of Lovelace and Babbage: The (Mostly) True Story of the First Computer by Sydney Padua Never Judge a Lady By Her Cover by Sarah MacLean Kim’s Picks: Supermutant Magic Academy by Jillian Tamaki (also mentioned: Skim & This One Summer) Bitch Planet by Kelly Sue DeConnick The Small Backs of Children by Lidia Yuknavitch Women by Chloe Caldwell Between the World and Me by Ta-Nehisi Coates The Argonauts by Maggie Nelson Chapter II   [27:00] In Which Your Hosts Look Forward to 2016 Naked Money: A Revealing Look at What It Is and Why It Matters by Charles Wheelan (pubs 4 April 2016) The Abundance: Narrative Essays Old and New by Annie Dillard What Is Not Yours Is Not Yours by Helen Oyeyemi (also mentioned: White is For Witching and Boy, Snow, Bird) Tuesday Nights in 1980 by Molly Prentiss (pubs 5 April 2016) The Crimson Skew by SE Grove (pubs 12 July 2016) The Girl Who Raced Fairyland All the Way Home by Catherynne M. Valente (also mentioned: Radiance, Six Gun Snow White) Solutions and Other Problems by Allie Brosh (pubs 25 October 2016) (also mentioned: Hyperbole and a Half, as well as Let’s Pretend this Never Happened and Furiously Happy by Jenny Lawson) The Lesbian Sex Haiku Book (with Cats!) by Anna Pulley, illustrated by Kelsey Beyer (pubs 19 April 2016)   Chapter III   [40:53] In Which Booksellers from Across The Land Recommend the Books They’re Looking Forward to in 2016 Ariana from Country Bookshelf in Bozeman, MT recommends The Reputations by Juan Gabriel Vasquez (pubs 20 September 2016) Genevieve from the Boulder Book Store in Boulder, CO recommends Jane Steele by Lyndsay Faye (pubs 22 March 2016) Sam from Village Books in Bellingham, WA recommends Into the Sun by Deni Ellis Bechard (pubs 6 September 2016) Carson from Country Bookshelf in Bozeman, MT recommends My Best Friend’s Exorcism by Grady Hendrix (pubs 17 May 2016) Stacy from Book Bar in Denver, CO recommends After the Crash by Michel Bussi (published 5 January 2016) Epilogue   [43:33] In Which There Are Exciting Things On the Horizon Have a favorite bookseller you’d like us to chat with on the show? Shoot us an email at drunkbooksellers@gmail.com with their name, store, and contact info so that we can reach out to them! Follow us on Twitter @drunkbookseller. Emma tweets @thebibliot and writes nerdy bookish things for Book Riot. Kim occasionally tweets at @finaleofseem. Share the love by rating/reviewing us on iTunes. And don’t forget to subscribe from your podcatcher of choice. We’ll be back soon (in a week or so?) with a for-realsies episode. Until then, read ALL the books.    

In her new book, author Jessa Crispin travels the world solo, following in the footsteps of artists who've come before. Caroline and Cristen chat with the writer and Bookslut founder about trading complacency for carrying your own bag. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Erika Krouse is the guest. Her new novel, Contenders, is available now from Rare Bird Books. It is the official April pick of The Nervous Breakdown Book Club. Bookslut says "Krouse...writes with a pulse-pounding and engaging ferocity that grabs at the reader...Contenders is heart-racingly original." And Steve Almond says "Contenders is a knockout! I've never read anything like it. The marvelous Erika Krouse has crafted one of the most unforgettable heroines in modern fiction. Nina Black is not the kind of woman you'd want to meet in a dark alley. But she's precisely the kind of character I always hope to encounter in fiction: a badass streetfighter forced by fate to confront her capacity for maternal tenderness, her need for love, and the anguished contents of her heart." Monologue topics: San Diego, roadtrips, carsickness, wipes, fatherhood, going to see a bluegrass band, catching up, the antisocial nature of live music.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessa Crispin, founder of Bookslut and Spolia, joins us to talk about 12 years of book-blogging, the downsides of learnign to write online, how she learned to love Henry James, why lack of ambition may have been Bookslut's key to success, and more!

Author Charles Blackstone drops in to talk about his new novel Vintage Attraction! Along the way, we talk about his managing editor role at Bookslut, what it's like to be married to a Master Sommelier, how deconstruction resembles molecular gastronomy, and more!

Kathleen Alcott is today's guest.  Her debut novel, The Dangers of Proximal Alphabets, is now available from Other Press. Bookslut raves Heartbreaking, honest, and wholly engrossing, The Dangers of Proximal Alphabets dredges the depth of love that divides us, unites us, and ... Continue reading → Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessa Crispin is editor and founder of Bookslut.com "a monthly web magazine and daily blog dedicated to those who love to read. We provide a constant supply of news, reviews, commentary, insight, and more than occasional opinions." Author Jana Martin describes her this way:  "Certainly she's a reader, a great reader, and she knows how to make one good party after another, whether in a beer-poster-clad upstairs room at the Hopleaf or Bookslut. She's a hostess for all of us, a sundress'd impressario. In that way she belongs on the same hearty category as Mike McGonigal: self-made, peripatetic, generous but with standards and boundaries. The other thing is that, like McGonigal, she gives off a slightly timeless vibe: a bit San Francisco 1950s, a bit Chianti in Greenwich Village, a bit rockabilly, a bit Christina's World." We met at her home in Chicago, and talked about, among other things, the origins of Bookslut, her under-employment at Planned Parenthood, ex-boyfriends, blog advertising, hiring writers, shrinking book review sections, writing for oneself, inexplicable successes, the name ‘Bookslut' and thoughts of changing it, Somerset Maugham, favourite novels, and the future of blogs.  

A conversation about food writing, Lost Girls and the disappointing DVD of David Lynch's Lost Highway with Jessa Crispin, founder and editor of Chicago-based literary webzine and blog Bookslut.

Chicago report from Bookslut.com's Jessa Crispin, UK report from Mark Thwaite, and an interview with Rick Simonson of the Elliot Bay Book Company of Seattle, WA.

Chicago report from Bookslut.com's Jessa Crispin, UK report from Mark Thwaite, and an interview with Rick Simonson of the Elliot Bay Book Company of Seattle, WA.