Podcast appearances and mentions of Colson Whitehead

Brea and Mallory tick off another box on the 2025 Reading Glasses Challenge - read an award winning book by an author of color! Plus, they test out a book cart and give tips on reading beaten up paperbacks. Email us at readingglassespodcast at gmail dot com!Reading Glasses MerchRecommendations StoreSponsors -Ancient Nutritionwww.ancientnutrition.com/GLASSESTeasperiencewww.teasperience.comCODE: GLASSESLinks -Reading Glasses Facebook GroupReading Glasses Goodreads GroupAmazon Wish ListNewsletterLibro.fmTo join our Discord channel, email us proof of your Reading-Glasses-supporting Maximum Fun membership!www.maximumfun.org/joinMallory in NY in August!Book CartBooks Mentioned - Sky Daddy by Kate FolkWhy We Love and Hate Twilight by Sarah Elizabeth GallagherNatural Beauty by Ling Ling HuangThe Nickel Boys by Colson Whitehead

In Ep. 194, Catherine (@GilmoreGuide) and Sarah head back to the year 2017 in the book world with this second annual special retrospective episode!  They share big bookish highlights for that year, including book news, award winners, and what was going on in the world outside of reading. They also talk about how their own 2017 reading shook out, including their favorite 2017 releases.  Plus, a quick run-down of listener-submitted favorites!  This episode is overflowing with great backlist titles to add to your TBR!   This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights The big news that was going on outside the book world. The book stories and trends that dominated 2017. How similar 2017 and 2025 are. The 2017 books that have had staying power.⁠ Was this as dismal a year in books as Sarah remembers? Sarah's and Catherine's personal 2017 reading stats.⁠ Listener-submitted favorites from 2017.⁠ Bookish Time Capsule (2017) [2:12] The World Beyond Books No books mentioned in this segment. The Book Industry Wonder by R. J. Palacio (2012) | Amazon | Bookshop.org  [9:59] Milk and Honey by Rupi Kaur (2015) | Amazon | Bookshop.org [10:04] A Gentleman in Moscow by Amor Towles (2016) | Amazon | Bookshop.org[10:40] The Underground Railroad by Colson Whitehead (2016) | Amazon | Bookshop.org [10:44] Uncommon Type by Tom Hanks (2017) | Amazon | Bookshop.org  [12:08] My Absolute Darling by Gabriel Tallent (2017) | Amazon | Bookshop.org  [12:18] The Hate U Give by Angie Thomas (2017) | Amazon | Bookshop.org  [13:03] If We Were Villains by M. L. Rio (2017) | Amazon | Bookshop.org  [13:13] We Were the Lucky Ones by Georgia Hunter (2017) | Amazon | Bookshop.org [13:23] Sweetbitter by Stephanie Danler (2016) | Amazon | Bookshop.org  [13:46] Homegoing by Yaa Gyasi (2016) | Amazon | Bookshop.org  [13:48] The Nest by Cynthia D'Aprix Sweeney (2016) | Amazon | Bookshop.org  [13:50] Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org  [14:57] Martyr! by Kaveh Akbar (2024) | Amazon | Bookshop.org  [15:03] James by Percival Everett (2024) | Amazon | Bookshop.org  [15:04] Bookish Headlines and Trends Becoming by Michelle Obama (2018) | Amazon | Bookshop.org  [20:41] A Promised Land by Barack Obama (2020) | Amazon | Bookshop.org  [20:43] The Audacity of Hope by Barack Obama (2006) | Amazon | Bookshop.org [20:48] My Brilliant Friend by Elena Ferrante (2011) | Amazon | Bookshop.org  [23:04] The Road to Dalton by Shannon Bowring (2023) | Amazon | Bookshop.org [23:31] Big Books and Award Winners of 2017 A Man Called Ove by Fredrik Backman (2012) | Amazon | Bookshop.org  [26:01] Beartown by Fredrik Backman (2017) | Amazon | Bookshop.org  [26:06] The Handmaid's Tale by Margaret Atwood (1985) | Amazon | Bookshop.org [26:21] Hillbilly Elegy by J. D. Vance (2016) | Amazon | Bookshop.org  [26:27] The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid (2017) | Amazon | Bookshop.org  [26:48] Lessons in Chemistry by Bonnie Garmus (2022) | Amazon | Bookshop.org [28:09] The Hate U Give by Angie Thomas (2017) | Amazon | Bookshop.org  [28:39] Little Fires Everywhere by Celeste Ng (2017) | Amazon | Bookshop.org  [29:23] Everything I Never Told You by Celeste Ng (2014) | Amazon | Bookshop.org [29:40] Eleanor Oliphant is Completely Fine by Gail Honeyman (2017) | Amazon | Bookshop.org  [31:31] Olive Kitteridge by Elizabeth Strout (2008) | Amazon | Bookshop.org  [32:09] Pachinko by Min Jin Lee (2017) | Amazon | Bookshop.org  [32:51] Conversations with Friends by Sally Rooney (2017) | Amazon | Bookshop.org [33:16] Normal People by Sally Rooney (2018) | Amazon | Bookshop.org  [33:41] Sing, Unburied, Sing by Jesmyn Ward (2017) | Amazon | Bookshop.org  [34:32] Salvage the Bones by Jesmyn Ward (2011) | Amazon | Bookshop.org  [34:38] Lincoln in the Bardo by George Saunders (2017) | Amazon | Bookshop.org [35:09] The Sellout by Paul Beatty (2015) | Amazon | Bookshop.org  [35:52] What Happened by Hillary Rodham Clinton (2017) | Amazon | Bookshop.org [36:56] Killers of the Flower Moon by David Grann (2017) | Amazon | Bookshop.org [37:21] The Underground Railroad by Colson Whitehead (2016) | Amazon | Bookshop.org [37:45] Before the Fall by Noah Hawley (2016) | Amazon | Bookshop.org  [38:04] The Stone Sky (The Broken Earth, 3) by N. K. Jemisin (2017) | Amazon | Bookshop.org [38:30]  Our Top Books of 2017 The Heart's Invisible Furies by John Boyne (2017) | Amazon | Bookshop.org [40:46] Beartown by Fredrik Backman (2017) | Amazon | Bookshop.org  [41:20] Dead Letters by Caite Dolan-Leach (2017) | Amazon | Bookshop.org  [41:22] Emma in the Night by Wendy Walker (2017) | Amazon | Bookshop.org  [42:02] If We Were Villains by M. L. Rio (2017) | Amazon | Bookshop.org  [42:16] Quicksand by Malin Persson Giolitio (2017) | Amazon | Bookshop.org  [42:23] The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid (2017) | Amazon | Bookshop.org  [42:36] This Is How It Always Is by Laurie Frankel (2017) | Amazon | Bookshop.org [42:38] Trophy Son by Douglas Brunt (2017) | Amazon | Bookshop.org  [42:48] White Fur by Jardine Libaire (2017) | Amazon | Bookshop.org  [43:05] Final Girls by Riley Sager (2017) | Amazon | Bookshop.org  [46:38] Sing, Unburied, Sing by Jesmyn Ward (2017) | Amazon | Bookshop.org  [46:44] Eleanor Oliphant is Completely Fine by Gail Honeyman (2017) | Amazon | Bookshop.org [46:46] Young Jane Young by Gabrielle Zevin (2017) | Amazon | Bookshop.org  [46:49] The Rules of Magic by Alice Hoffman (2017) | Amazon | Bookshop.org  [47:10] Practical Magic by Alice Hoffman (1995) | Amazon | Bookshop.org  [47:15] Goodbye, Vitamin by Rachel Khong (2017) | Amazon | Bookshop.org  [47:19] The Heirs by Susan Rieger (2017) | Amazon | Bookshop.org  [47:34] The Takedown by Corrie Wang (2017) | Amazon | Bookshop.org  [47:53] Feast of Sorrow by Crystal King (2017) | Amazon | Bookshop.org  [48:01] Girl in Snow by Danya Kukafka (2017) | Amazon | Bookshop.org  [48:09] Everything I Never Told You by Celeste Ng (2014) | Amazon | Bookshop.org   [48:17] Lincoln in the Bardo by George Saunders (2017) | Amazon | Bookshop.org [48:28] The Hate U Give by Angie Thomas (2017) | Amazon | Bookshop.org  [48:33] Listeners' Top Books of 2017 Pachinko by Min Jin Lee (2017) | Amazon | Bookshop.org  [49:33] Eleanor Oliphant is Completely Fine by Gail Honeyman (2017) | Amazon | Bookshop.org [49:51] The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid (2017) | Amazon | Bookshop.org [50:03] The Heart's Invisible Furies by John Boyne (2017) | Amazon | Bookshop.org[50:07] Beartown by Fredrik Backman (2017) | Amazon | Bookshop.org  [50:13] Little Fires Everywhere by Celeste Ng (2017) | Amazon | Bookshop.org [50:15] The Hate U Give by Angie Thomas (2017) | Amazon | Bookshop.org  [50:18] The Alice Network by Kate Quinn (2017) | Amazon | Bookshop.org  [50:24] This Is How It Always Is by Laurie Frankel (2017) | Amazon | Bookshop.org [50:25] Goodbye, Vitamin by Rachel Khong (2017) | Amazon | Bookshop.org [50:27]

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Send us a textIn this episode, our stack of books is tied together with the common theme of all being books that are Tiny and Cute.  Each of these titles are treasures that come in under 300 pages. These little gems pack a big punch!Featured Books:Victorian Psycho by Virginia Feito (LH) (208 pages)Normal Rules Don't Apply by Kate Atkinson (LH) (224 pages)Lark Ascending by Silas House (LP) (288 pages)Three Days in June by Anne Tyler (LP) (176 pages)Book in Hand: Not Tiny and Cute ;)Reckless by Lauren Roberts (#2 in the Powerless Trilogy)Books Mentioned in This Episode:The Accidental Tourist by Anne TylerThe Beginner's Goodbye by Anne TylerLife After Life by Kate AtkinsonA God In Ruins by Kate AtkinsonThe Jackson Brodie Series by Kate AtkinsonAdditional Books That Go Along with Our Stack:Goodbye, Vitamin by Rachel Khong (208 pages)My Name is Lucy Barton by Elizabeth Strout (208 pages)The Mothers by Brit Bennett (288 pages)The Nickel Boys by Colson Whitehead (224 pages)Ways to contact us:Follow us on Instagram - @thebookbumbleFacebook:  Book BumbleOur website:  https://thebookbumble.buzzsprout.comEmail:  bookbumblepodcast@gmail.comHey Friends, please rate and review us!

Colson Whitehead, author of Pulitzer Prize-winning novels “The Underground Railroad” and “The Nickel Boys,” began his career as a journalist writing about television, books, and music. Whitehead is in St. Louis to accept the 2025 St. Louis Literary Award, presented annually by the St. Louis University Libraries. He discusses his work, its lasting resonance, and its adaptability to the screen.

Finding a cause worth dying for is no great trick—the Universe is full of them. Finding one worth living for is the genuine problem! Orphans of the Void by Michael Shaara. That's next on The Lost Sci-Fi Podcast.How many vintage science fiction authors won a Pulitzer Prize? Ray Bradbury never won a Pulitzer Prize for Fiction, but received a Pulitzer Special Citation in 2007 for his impact on literature. The answer is three. Booth Tarkington, MacKinlay Kantor and Michael Shaara. Booth Tarkington is one of only four novelists to win the Pulitzer Prize for Fiction more than once, along with William Faulkner, John Updike, and Colson Whitehead. Tarkington wrote only three short sci-fi stories. MacKinlay Kantor wrote eight short sci-fi stories and one science fiction novel If the South Had Won the Civil War released in 1961.Michael Shaara is the most well known of the three. Shaara was born in Jersey City, New Jersey in 1928. Before he began selling sci-fi for 2 cents a word in the 1950s he was a boxer and a police officer. He won his Pulitzer for his novel about the Battle of Gettysburg, The Killer Angels which won the award in 1975, and was showcased on the big screen in the 1993 movie Gettysburg starring Tom Berenger and Martin Sheen.Shaara also wrote the 1991 novel For Love of the Game which was made into the 1999 film with the same name starring Kevin Costner and Kelly Preston. But it all began back in 1952. He wrote two dozen short sci-fi stories and this was his first. From Galaxy Science Fiction in June 1952, we will discover this tale of artificial intelligence, and the fate of a forgotten world on page 78, Orphans of the Void by Michael Shaara...Next on The Lost Sci-Fi Podcast, Renwick, with too much time on his hands, was bored. He turned to Mead, in his discontent, only to discover some frightening aspects of his friend's hobby of collecting children's games and rhymes. Before the Fact by Zenna Henderson.☕ Buy Me a Coffee https://www.buymeacoffee.com/scottsV===========================

This week on Black on Black Cinema, the crew returns to discuss the film Nickel Boys. Based on the Pulitzer Prize-winning novel by Colson Whitehead, "Nickel Boys" chronicles the powerful friendship between two young African-American men navigating the harrowing trials of reform school together in Florida.

Nesta edição do podcast cinematório café, nós analisamos os três filmes que faltavam na nossa cobertura do Oscar 2025:  "O Reformatório Nickel", de RaMell Ross, "O Brutalista", de Brady Corbet, e "Um Completo Desconhecido", de James Mangold. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema "O Reformatório Nickel" (Nickel Boys) é baseado no livro de Colson Whitehead, vencedor do Pulitzer, e narra a poderosa história de amizade entre dois jovens negros que passam juntos pelas angustiantes provações de um reformatório juvenil na Flórida, nos anos 1960. Indicado ao Oscar de Melhor Filme e de Melhor Roteiro Adaptado, o longa-metragem chama a atenção por sua história impactante e pela direção habilidosa, com planos feitos em ponto de vista de primeira pessoa. "O Brutalista" se tornou o segundo filme com mais prêmios no Oscar 2025, perdendo apenas para "Anora". Venceu as estatuetas de Melhor Ator, para Adrien Brody, Melhor Fotografia (assinada por Lol Crawley) e Melhor Trilha Sonora Original (para o compositor Daniel Blumberg). Filmado em 70mm, com VistaVision, o longa acompanha a jornada do arquiteto húngaro László Toth, que sai da Europa no pós-guerra para reconstruir sua vida nos Estados Unidos, onde encontra uma série de dificuldades pessoais e profissionais. O elenco também conta com Guy Pearce e Felicity Jones, ambos indicados ao Oscar como coadjuvantes. Encerramos com "Um Completo Desconhecido", cinebiografia do músico Bob Dylan, com recorte nos primeiros anos de sua carreira. Timothée Chalamet interpreta Dylan na influente cena musical de Nova York do início dos anos 1960, quando iniciou o relacionamento com Sylvie Russo (Elle Fanning) e conviveu com artistas como Pete Seeger (Edward Norton), Joan Baez (Monica Barbaro), Woody Guthrie (Scoot McNairy) e Johnny Cash (Boyd Holbrook). O filme concorreu a oito estatuetas no Oscar 2025: Melhor Filme, Direção, Roteiro Adaptado, Ator (Chalamet), Ator Coadjuvante (Norton), Atriz Coadjuvante (Barbaro), Som e Figurino. Sentam-se à mesa conosco neste podcast para discutir "Emilia Pérez" e "Wicked": - Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, autora dos livros "O Filme Dentro do Filme: a Metalinguagem no Cinema" e "Entretenimento Inteligente: O Cinema de Billy Wilder"; - Larissa Vasconcelos, jornalista, crítica e redatora do cinematório. O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Quer mandar um e-mail? Escreva seu recado e envie para contato@cinematorio.com.br.

Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald (2015) vs The Nickel Boys by Colson Whitehead (2019)

This week on Black on Black Cinema, the crew returns to announce the next film, Nickel Boys. Based on the Pulitzer Prize-winning novel by Colson Whitehead, "Nickel Boys" chronicles the powerful friendship between two young African-American men navigating the harrowing trials of reform school together in Florida. The random topic this week is all about how MAGA republicans are exposing themselves just 5 weeks as the political cowards and soulless ghouls we always knew they were.

In this week’s episode, Jon Negroni and Will Ashton take a deep dive into Nickel Boys, the latest film from director RaMell Ross (Hale County This Morning, This Evening). An adaptation of Colson Whitehead’s Pulitzer Prize-winning novel, the film follows two Black teenagers trapped in the harrowing realities of Nickel Academy, a reform school in 1960s Florida that crushes hope as efficiently as it enforces silence. With Ethan Herisse and Brandon Wilson leading the cast and a uniquely immersive first-person perspective, Nickel Boys has drawn a lot of critical acclaim, but does it earn its accolades? Jon and Will unpack the film’s daring cinematography, its unconventional narrative structure, and Ross’s refusal to hold the audience’s hand. They debate the film’s Oscar prospects, its underwhelming box office reception, and why its use of silence might be its most powerful weapon. Plus, how does Nickel Boys fit into the tradition of documentary filmmakers transitioning into narrative storytelling? And yes, Will finds a way to compare it to The Tree of Life, because of course he does. Links: Email your feedback for the show to cinemaholicspodcast [at] gmail.com Join our Discord and chat with us! We have a Cinemaholics channel here. Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Connect with Cinemaholics on Facebook and Instagram. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.

RaMell Ross is a multi time Academy-Award nominee in documentary and narrative, a filmmaker, photographer, academic, and writer. You may have seen his directorial debut Hale County This Morning, This Evening, an experimental documentary about black life in Hale County, Alabama. RaMell's most recent directorial work is the historical drama Nickel Boys, based on the novel of the same name by Colson Whitehead. It's nominated for Best Picture at this year's Academy Awards and RaMell Ross and co-writer Joslyn Barnes are both nominated for Best Adapted Screenplay. You can stream the film at home or watch in theaters right now.RaMell joins Feeling Seen to talk about the film, cultural criticism, and the 1992 biographical drama Malcolm X, directed by Spike Lee. Plus, notes on basketball, Bart Simpson, and Black feminist author Bell Hooks. Then Jordan has one quick thing about season 3 of the action series Reacher. God bless Alan Ritchson! We can't help but stan the man.  Feeling Seen is hosted by Jordan Crucchiola and is a production Maximum Fun. Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

Check out this week's discussion on Academy Award-nominated Best Picture NICKEL BOYS also known as “Nickel Boys based on the novel The Nickel Boys by Colson Whitehead, Which Forces Us to Examine Art in Moviemaking.” Contains spoilers. Thank you for listening!  www.orwhatevermovies.com 818-835-0473 orwhatevermovies@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Support us on Patreon: https://www.patreon.com/CumpostingPodcastJoku and Rosa review 'Nickel Boys' a 2024 American historical drama film based on the 2019 novel The Nickel Boys by Colson Whitehead. It was directed by RaMell Ross, who wrote the screenplay with Joslyn Barnes. We then review 'I Want to be Neenja: The Movie' a 2024 mistake of a film which I hope becomes lost media. Our Podcast Artist is the incredibly talented Vero (she/they) of Praxisstvdio who you should check out here: https://linktr.ee/praxisstvdioTwitch: http://www.twitch.tv/cmpostingThe Cumposting Power Ranking: https://letterboxd.com/cumposting/list/cumposting-all-movies-watched-ranked/Donate: https://throne.com/cumpostingSend Us a Voice Message: https://www.speakpipe.com/cumpostingReddit (Cringe): https://www.reddit.com/r/cumpostingpod/Follow Rosa: https://www.youtube.com/@ReddestRosaFollow Joku: https://www.youtube.com/channel/UC6MqDAGSrKEVBzHtgBBbT0wIrish Shorts Editor Rosaburgs: https://x.com/marxlsmusFeaturing music from @newjazzunderground Outro guitar solo performed by @djangoklumppguitarImage of the Week: https://imgur.com/a/9YGr3yFChapters: 0:00 Intro4:45 'Nickel Boys' (2024) Review & Analysis15:18 Scoring & Ranking 'Nickel Boys'16:24 'I Want to be Neenja: The Movie' (2024) Review & Analysis43:04 Scoring & Ranking 'I Want to be Neenja: The Movie'44:46 Album Time45:20 Sweet Trip - 'Velocity, Design, Comfort' Review51:01 Pharoah Sanders - 'Karma' Review56:32 Q&A 59:08 Outro & Next Week's FilmsTags:movie podcast, comedy podcast, movie review podcast, leftist podcast, marxist podcast, communist podcast, socialist podcast, progressive podcast, film podcast, film review podcast, lesbian podcast, trans podcast, lesbian film critics, transgender movie review, lesbian movie review, left communism, leftcom, leftist film review, leftist movie review, communist film review, communist movie review, socialist movie review, socialist film review, woke movies, woke film, queer film review, queer movie review, best podcast, i want to be neenja movie, i want to be neenja movie trailer, i want to be neenja movie review, i want to be neenja song is now a movie, i want to be neenja full movie, i want to be neenja the movie, i want to be neenja the movie trailer, i want to be ninja movie bobby lee, i want to be ninja the movie, i want to be ninja full movie, i want to be ninja movie, i wanna be neenja movie, i want to be ninja movie review, i want to be ninja movie trailer, i want to be neenja the movie 2024, i want to be neenja the movie 2024 trailer, jennifer murphy, jennifer murphy i want to be ninja music video, jennifer murphy bad friends, jennifer murphy ninja, jennifer murphy gogirl, jennifer murphy i want to be ninja live, jennifer murphy beds, jennifer murphy bobby lee, jennifer murphy apprentice, jennifer murphy trump, jennifer murphy go girl i want to be neenja, jennifer murphy batman, jennifer murphy i want to be neenja, bad friends jennifer murphy, i want to be neenja by jennifer murphy gogirl, i want to be ninja jennifer murphy gogirl, i want to be neenja jennifer murphy, i want to be ninja jennifer murphy live, jen murphy comedian, jen murphy fitness, gogirl jennifer murphy, the plan · jennifer hannah-murphy, jennifer murphy interview, i want to be ninja jennifer murphy, i want to be ninja jennifer murphy interview, jennifer murphy trump kiss, bobby lee jennifer murphy, jennifer murphy movie, ninja song jennifer murphy, ninja jennifer murphy, ninja song jennifer murphy reaction, jennifer murphy podcast, jennifer murphy i want to be ninja, jennifer murphy star stuff, jennifer murphy the apprentice, jennifer murphy gogirl - i want to be neenja, jennifer murphy go girl, jennifer murphy neenja, who is jennifer murphy, jennifer...

[REBROADCAST FROM Dec. 12, 2024] The Colson Whitehead novel The Nickel Boys is a brutal story of an abusive reform school in segregated South Florida. Filmmaker RaMell Ross discusses writing and directing the new film adaptation of the novel, "Nickel Boys," which is nominated for 'Best Picture' at this year's Academy Awards,  and shares how his background in documentary filmmaking helped him create a unique take on this novel.

Feature: ‘Nickel Boys’ writer-director RaMell Ross discusses creative ways of adapting Colson Whitehead’s novel Since the book was released in 2019, Colson Whitehead's historical fiction novel The Nickel Boys has reached great critical acclaim, having most notably won the 2020 Pulitzer Prize for fiction. So to adapt the book into a feature-length film seems like it’d offer a lot of pressure, but it’s one the RaMell Ross seemed willing to take on following his Oscar-nominated documentary Hale County This Morning, This Evening. This year, Ross now finds his Nickel Boys adaptation nominated for multiple Oscars, including Best Adapted Screenplay and Best Picture. Similar to the book, the film follows the lives of two boys at the now-defunct Nickel Academy, a reform school in Florida that had a track record of abusing the African American children who attended. Ross also takes a unique approach, leaning heavily into his protagonist’s perspective, with most of the film switching between Elwood and Turner’s first-person point of view. Joining us to discuss the work put into Nickel Boys is the film’s co-writer and director, RaMell Ross. Nickel Boys is out in select theaters and is now on VOD/digital.

How do you adapt an "unadaptable" book? Today, host Brittany Luse finds out with RaMell Ross, director of the Oscar nominated adaptation of Colson Whitehead's The Nickel Boys.The story, set in the Jim Crow South, follows two Black boys doing everything they can to survive their tenure at the abusive Nickel Academy in Tallahassee, Florida. The film brings us a new perspective on Black life and complicates the discourse surrounding Black films.Support public media and receive ad-free listening & bonus. Join NPR+ today.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ep. 297: RaMell Ross on Nickel Boys Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. One of the great films of 2024 and now nominated for Best Picture and Adapted Screenplay, Nickel Boys is the fiction feature debut of RaMell Ross, who adapted Colson Whitehead's novel with Joslyn Barnes, after previously directing the Oscar-nominated Hale County This Morning, This Evening. I was lucky enough to speak with Ross about making the movie, especially crafting the form, screenwriting, representations of race, what he brought from documentary filmmaking, casting, and some of his influences. Ross and his DP Jomo Fray use an innovative mix of extended first-person camerawork to tell the stories of two boys, Elwood (Ethan Herisse) and Turner (Brandon Wilson), in a Jim Crow-era reform school in Florida that's essentially a prison, including additional impressionistic glimpses of the world through archival video and film. (Aunjanue Ellis-Taylor co-stars as Elwood's grandmother, Hattie.) (Note: this interview was recorded earlier.) Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ryan and Dylan review RaMell Ross's adaptation of Nickel Boys.

This week we review RaMell Ross's Nickel Boys, an adaptation of Colson Whitehead's novel of the same name. The story of two Black boys who form an unshakeable bond at a segregated reform school in the Jim Crow South, Nickel Boys transcends its first person conceit, its Oscar-bait trappings, and the swerve of its twist ending to deliver a major work of American cinema. Keep an eye on this one.

When the filmmaker and photographer RaMell Ross first read “The Nickel Boys,” Colson Whitehead's Pulitzer Prize-winning novel about two Black boys in a dangerous reform school in the 1960s, he couldn't help but put himself in the shoes of its protagonists, Elwood and Turner.In his film adaptation of the book, Ross does that to the audience: You see what the characters see, because it's filmed from the main character's point of view. “I wondered,” Ross said, “how do you explicitly film from the perspective of a Black person?”It was an experiment that has paid off in critical acclaim. “Nickel Boys” has been nominated for two Academy Awards: best adapted screenplay and best picture.In the first episode of our special series devoted to Oscar-nominated films adapted from books, host Gilbert Cruz talks with Ross about why he made the film this particular way. Produced by Tina Antolini and Alex BarronWith Kate LoPrestiEdited by Wendy DorrEngineered by Sophia LanmanOriginal music by Elisheba IttoopHosted by Gilbert Cruz Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

With some movies, you don't want to know what you're in for. Processing the unexpected is part of the experience, whether it's a great twist (The Usual Suspects). or a jaw-dropping comedic element (Something About Mary). Other films absolutely require some form of preparation. Nickel Boys is one of those.Based on the Pulitzer Prize-winning novel by Colson Whitehead, Nickel Boys — as the synopsis states — “chronicles the powerful friendship between two young Black teenagers navigating the harrowing trials of reform school together in Florida.” What the synopsis doesn't say is how wrecked the movie will leave you.As Dori and Kpolly make very clear in this episode, the devastation is worth it based on the care and creativity poured into this film by all involved.

Colson Whitehead's Pulitzer-winning novel The Nickel Boys tells a haunting story of two young men whose identities are forever changed by their experiences at a brutal institute for boys in 1960s Florida. It's not easy subject matter, but Whitehead's wonderfully economic prose keeps it engaging all the way to the downright surprising end.This episode is sponsored by Squarespace. Go to squarespace.com/overdue for 10% of your first purchase of a website or domain.Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Host Meg Wolitzer presents two stories from a live evening at Symphony Space celebrating the prolific writer Stephen King.  It was hosted by Pulitzer Prize-winning author Colson Whitehead.The program presents King in two different modes: the legendary scare-master who entered the horror genre with Carrie, and the author of stories that draw on memory and family like “The Last Rung on the Ladder.”  An excerpt from Carrie is read by Carrie Coon, and “The Last Rung on the Ladder” is read by John Benjamin Hickey. Colson Whitehead speaks briefly from the stage. 

Finally we get to sit down and talk about one of the most acclaimed movies of 2024, Nickel Boys. Directed by RaMell Ross and based on the Pulitzer Prize winning book by Colson Whitehead, it's a stunning portrait of Black life and incredible piece of filmmaking.  We discuss the use of POV and how it forces empathy, our theater experiences, and the dreamlike qualities of the film.  Things are crazy and we hope you're doing okay. We have a couple of things in the works that will hopefully offer some escape and also help give focus. Follow us on @whitepeoplewontsaveyoupod on IG and TikTok for updates on Book Club and Film club as well as Patreon stuff. 

The Nickel Boys, the Pulitzer Prize-winning novel by Colson Whitehead, is a story of injustice and ultimately hope about two young men at a Florida reform school. We love this interview with Miwa Messer and Whitehead from the novel's release in 2019.    This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                      New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app.  Featured Books (Episode):  The Nickel Boys by Colson Whitehead  

In Episode 186, Catherine (@GilmoreGuide) and Sarah share the best backlist books they read in 2024. They discuss their top 5 backlist books from last year, highlight some underrated backlist gems, and review their backlist reading statistics. Devoting an entire episode to backlist reading is now an annual tradition at Sarah's Bookshelves Live — a team and listener favorite!  This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Announcement 2024's Best of the Backlist Guide is available now! 25 of the Sarah's Bookshelves Live Patrons share the best backlist book they read last year in a beautiful PDF guide. To get the guide, you can sign up to be a Superstars patron here. You'll also get access to a 3 bonus podcast episodes per month and my Rock Your Reading Tracker and our all-new Lite Reading Tracker. Highlights Sarah and Catherine share their full stats for backlist reading in 2024. Backlist reading quantity was down a bit again last year for Sarah, but backlist reading quality increased. Catherine had a slight decrease in the number of backlist books she read, but backlist reading remained incredibly successful for her. Sarah's backlist reading included several atypical choices for her, maybe shaping how she approaches 2025. Our Top 5 Backlist Books We Read in 2024 [6:27] Catherine Ghosts by Dolly Alderton | Amazon | Bookshop.org [6:33] Shrines of Gaiety by Kate Atkinson | Amazon | Bookshop.org [12:19] Instructions for a Heatwave by Maggie O'Farrell | Amazon | Bookshop.org[17:38] Tomorrow There Will Be Apricots by Jessica Soffer | Amazon | Bookshop.org[24:10] Behind the Scenes at the Museum by Kate Atkinson | Amazon | Bookshop.org[32:11] Sarah The Hop by Diana Clarke | Amazon | Bookshop.org [9:38] The Last Days of Night by Graham Moore | Amazon | Bookshop.org [14:26] Water by John Boyne | Amazon [20:57] Starter Villain by John Scalzi | Amazon | Bookshop.org [27:32] Empire Falls by Richard Russo | Amazon | Bookshop.org [36:33] Other Books Mentioned Good Material by Dolly Alderton [8:54] The Wealth of Shadows by Graham Moore [14:37] The Holdout by Graham Moore [16:58] Earth by John Boyne [21:09] The Heart's Invisible Furies by John Boyne [22:18] Fire by John Boyne [22:57]  This Is a Love Story by Jessica Soffer (coming Feb 4) [26:57]  Life After Life by Kate Atkinson [32:42] Case Histories by Kate Atkinson [32:54]  Underrated Backlist Gems [38:56] Catherine The Reformatory by Tananarive Due | Amazon | Bookshop.org [39:00]  The Brilliant Life of Eudora Honeysett by Annie Lyons | Amazon | Bookshop.org [45:36] Sarah Home Stretch by Graham Norton | Amazon | Bookshop.org [42:50]  The Hard Parts by Oksana Masters | Amazon | Bookshop.org  [48:01] Other Books Mentioned The Nickel Boys by Colson Whitehead [41:33] Signal Fires by Dani Shapiro [43:51] Frankie by Graham Norton [45:12]

Pulitzer Prize-winning novelist Colson Whitehead's The Nickel Boys has been adapted for the big screen. In 2019, Whitehead spoke with Dave Davies when the book was released. It's set in the early '60s, based on the true story of the Dozier reform school in Florida, where many boys were beaten and sexually abused. Dozens of unmarked graves have been discovered on the school grounds. "If there's one place like this, there are many," he says.Later, guest critic Martin Johnson reviews a new recording featuring two giants of jazz. And film critic Justin Chang reviews Mike Leigh's new film, Hard Truths.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni.  In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires.   Email us at culturefest@slate.com.  Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR.  Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni.  In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires.   Email us at culturefest@slate.com.  Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR.  Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni.  In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires.   Email us at culturefest@slate.com.  Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR.  Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni.  In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires.   Email us at culturefest@slate.com.  Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR.  Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

Larry weighs in on the L.A. Fires. He's then joined by writer and Academy Award-winning filmmaker RaMell Ross to discuss his newest movie ‘Nickel Boys' (8:33). They begin their conversation by talking about how the project came together, RaMell's experimental inspirations, and the screenwriting process with co-writer Joslyn Barnes. Next they dive into RaMell's personal connection with the Colson Whitehead novel that provides the movie's base and break down the ‘epic banal' philosophy behind the images in his storytelling (24:10). After the break, Larry and RaMell shine a light on the exquisite casting for ‘Nickel Boys' and discuss what Ross took away personally from making the film (36:14). RaMell ends the pod by discussing why he loves teaching so much and his thoughts on the state of the movie industry (55:43). Host: Larry Wilmore Guest: RaMell Ross Producer: Chris Sutton Learn more about your ad choices. Visit podcastchoices.com/adchoices

The critically acclaimed new film “Nickel Boys,” based on Colson Whitehead's Pulitzer Prize-winning novel of the same name, is largely shot from the point of view of its two main characters as they try to survive in an abusive reform school called the Nickel Academy. Director RaMell Ross sits down with Tom Power to talk about his decision to tell the story through the eyes of his two leads, how trauma is built across time and distilled across memory, and how basketball has influenced his filmmaking.

The first person is a narrative style as old as storytelling itself—one that, at its best, allows us to experience the world through another person's eyes. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz trace how the technique has been used across mediums throughout history. They discuss the ways in which fiction writers have played with the unstable triangulation between author, reader, and narrator, as in Vladimir Nabokov's “Lolita” and Bret Easton Ellis's “American Psycho,” a book that adopts the perspective of a serial killer, and whose publication provoked public outcry. RaMell Ross's “Nickel Boys”—an adaptation of Colson Whitehead's 2019 novel—is a bold new attempt to deploy the first person onscreen. The film points to a larger question about the bounds of narrative, and of selfhood: Can we ever truly occupy someone else's point of view? “The answer, in large part, is no,” Cunningham says. “But that impossibility is, for me, the actual promise: not the promise of a final mind meld but a confrontation, a negotiation with the fact that our perspectives really are our own.”Read, watch, and listen with the critics:“Nickel Boys” (2024)“The Nickel Boys,” by Colson Whitehead“Lolita,” by Vladimir Nabokov“Meet the Director Who Reinvented the Act of Seeing,” by Salamishah Tillet (The New York Times)“Great Books Don't Make Great Films, but ‘Nickel Boys' Is a Glorious Exception,” by Richard Brody (The New Yorker)“Lady in the Lake” (1947)“Dark Passage” (1947)“Enter the Void” (2010)“The Blair Witch Project” (1999)Doom (1993)“The Berlin Stories,” by Christopher Isherwood“American Psycho,” by Bret Easton Ellis“The Adventures of Augie March,” by Saul Bellow“Why Did I Stop Loving My Cat When I Had a Baby?” by Anonymous (The Cut)“Harmony and Dissonance: Orphism in Paris, 1910-1930” at the Guggenheim MuseumNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

Chris reports from his hotel room in Delaware and talks about the film adaptation of Colson Whitehead's The Nickel Boys. Website: ChrisLamberth.com Twitter: @MundaneFestival @ChrisLamberth Patreon: Mundane Festival Email: mundanefestivalpod@gmail.com

This week on The Treatment, Elvis welcomes Oscar-nominated actress Aunjanue Ellis-Taylor, who stars in the new film Nickel Boys, adapted from the acclaimed novel by Colson Whitehead. Then, director Walter Salles stops by to talk about his new film I’m Still Here, which is up for a Golden Globe for Best Non-English Language Motion Picture. Finally, on The Treat, Maria director Pablo Larraín talks about the opera that made him fall in love with the art form.

Adapted from the Pulitzer prize-winner novel from Colson Whitehead, Nickel Boys tells the story of two Black boys who form an unshakeable bond at a segregated reform school in the Jim Crow South. It's quite ambitious and unlike other prestigious book to film adaptations you've probably seen — most of it unfolds in the first-person perspective. Follow Pop Culture Happy Hour on Letterboxd at letterboxd.com/nprpopcultureLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

We are looking at the 2024 film, Nickel Boys, directed by RaMell Ross, based off the 2019 Colson Whitehead book of the same name. Plus we look at other films covering lesser known historical events. Our guest today is the talented director and writer, Tristán T.A. Hill. What's Good:Drea - LED face mask/cat snuggle comboTristan - New doc he directed: Game Maker's Journey | "Legends of Orisha: Blood and Water"Ify - White Elephant gift partyStaff Picks:Drea - A Fire InsideTristan - ConclaveIfy - Fruitvale StationPlugs!Watch Game Maker's Journey | "Legends of Orisha: Blood and Water" Have Yourself A Movie Little ChristmasI'll Be Home For Christmas Movies Follow us on BlueSky, Twitter, Facebook, or InstagramWithDrea ClarkAlonso DuraldeIfy NwadiweProduced by Marissa FlaxbartSr. Producer Laura Swisher

The moments in NICKEL BOYS that nod to 1958's THE DEFIANT ONES are less direct citations than stylized invocations by director RaMell Ross, who incorporates a number of abstractions and flourishes into the film's visual language. Chief among those stylistic gambits is the film's use of first-person perspective, which kicks off our discussion of NICKEL BOYS' uniquely textured take on Colson Whitehead's Pulitzer-winning novel. From there we consider the deeper meaning and intent behind NICKEL BOYS' use of visuals and audio from THE DEFIANT ONES, and where the two films overlap in their ideas about racial justice in the Jim Crow South and clashing philosophies of idealism and realism. Then our returning guest co-host Noel Murray offers a Your Next Picture Show recommendation for another social-issue film from the team behind THE DEFIANT ONES. Please share your comments, thoughts, and questions about THE DEFIANT ONES, NICKEL BOYS, and anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sean starts the episode with a monologue about the up-and-down state of the movie release calendar after a handful of extremely disappointing movies like ‘Kraven the Hunter,' ‘Mufasa: The Lion King,' and ‘Lord of the Rings: The War of Rohirrim' hit theaters recently, before they give way to stronger films like ‘The Brutalist,' ‘Nosferatu,' ‘A Complete Unknown,' ‘Babygirl,' and more (1:00). Then, he's joined by Joanna Robinson to talk about the winners and losers, broadly, of the year in movies (6:00). They then share their latest Best Picture power rankings (1:08:00). Finally, Sean is joined by ‘Nickel Boys' director RaMell Ross to discuss the revolutionary style and vision of the film, adapting Colson Whitehead's novel, his path to becoming an artist, and more (1:25:00). Host: Sean Fennessey Guests: Joanna Robinson and RaMell Ross Senior Producer: Bobby Wagner Video Producer: Jack Sanders Learn more about your ad choices. Visit podcastchoices.com/adchoices

Shane Harris makes no secret about his love for the film version of this Cold War submarine thriller, based on the Tom Clancy novel. It's his favorite movie. So he was delighted to welcome fellow obsessive Katherine Voyles to the podcast. A PhD in English, Voyles writes about national security in culture, as well as the culture of national security. She and Shane talked about why they love the movie, their favorite scenes and characters, and how the story influenced--maybe even created--an entire genre of fiction. They also discussed why it is, actually, a Christmas movie, and their mutual admiration for the martini. Voyles's writing has appeared in in the Los Angeles Review of Books, Foreign Policy, Task &Purpose, Small Wars Journal, and War on the Rocks. She also works for the Department of Defense. In addition to the greatest movie of all time, essays, TV shows, books, and restaurants discussed in this episode include: Colson Whitehead's “The Way We Live Now” https://www.nytimes.com/2001/11/11/magazine/the-way-we-live-now-11-11-01-lost-and-found.html Deutschland 83 https://www.imdb.com/title/tt4445154/ Garrett Graff's The Only Plane in the Sky https://www.simonandschuster.com/books/Only-Plane-in-the-Sky/Garrett-M-Graff/9781501182211 Lauren Wilkinson's American Spy https://www.penguinrandomhouse.com/books/253471/american-spy-by-lauren-wilkinson/ Saltie Girl https://www.saltiegirl.com/ Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

With the movie adaptation of “Nickel Boys” in theaters, Colson Whitehead's celebrated novel is reaching new audiences. Whitehead joins host Krys Boyd to talk about his story of two boys assigned to a 1960s juvenile reformatory, bound by the trauma around them as they swing between hope and cynicism. “Nickel Boys” earned Whitehead his second Pulitzer Prize.

If “Wicked, Part I” and “Gladiator II” are not getting you into the theatre this weekend, Justin Chang, The New Yorker's film critic, offers three other films coming out this holiday season which are “among the most thrilling that I've seen this year.” He recommends “Nickel Boys,” based on the Pulitzer Prize-winning novel by Colson Whitehead and directed by RaMell Ross; “The Brutalist,” starring Adrian Brody; and “Hard Truths,” directed by Mike Leigh. These are heavy subjects—not traditional holiday fare—but “I returned to the words of Roger Ebert,” Chang tells David Remnick. “No good movie is depressing. All bad movies are depressing.”