Podcast appearances and mentions of Edmund White

Edmund White, one of the most eloquent and perceptive chroniclers of gay life and culture, died June 3. He was 85. His 1982 semi-autobiographical novel, A Boy's Own Story, became an international bestseller. White wrote over 30 books, fiction and nonfiction and co-authored the guide The Joy of Gay Sex. He spoke with Terry Gross in 1985, 1994, 1997, and 2006. Jazz critic Martin Johnson reviews a new album from Amaryllis, the septet founded by guitarist and composer Mary Halvorson.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Kiernan takes us to the City of Lights—Paris!—for a magical trip from French Impressionists to the gargoyles of Notre Dame. Plus, how to read stained glass like comic books and take home some museum-quality taxidermy. And Ryan reflects on the passing of Edmund White.

Kirsty Lang onBrian Wilson, the driving force behind The Beach Boys who were one of the most successful bands of the 1960s. Fredrick Forsyth, the writer and former Mi6 agent who books included The Day of the Jackal and The Fourth Protocol.Uriah Rennie who made history as the Premier League's first black referee.And the author Edmund White whose semi-autobiographical books A Boys Own Life and The Beautiful Room is Empty chronicled his experiences as a young gay man in America.Interviewee: Charles Cumming Interviewee: Ashley Hickson-Lovence Interviewee: Colm ToibinProducer: Ed PrendevilleArchive used:Brian Wilson interview, Today, BBC Radio 4, 2016; John Wilson interviews Brian Wilson , Front Row, BBC Radio 4, 21 Oct 2011; The Day of the Jackal, Film Promo, 1973; Freddie Forsyth interview, BBC Radio 4, Uriah Rennie interview, courtesy of Ashley Hickson-Lovence, recording date January 2019; Opening of Pride Park, Midland Today, BBC News, 13 August 1997; Sports report: Alan Shearer sent off, BBC News, 07/08/1999;

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Edmund White (1940-2025) Edmund White. Photo: David Shankbone Edmund White (1940-2025) in conversation with Richard Wolinsky, recorded in the KPFA Studio. Part One: Recorded February 20, 2012 while on tour for the novel “Jack Holmes and His Friend.” Part Two: Recorded February 17, 2014 while on tour for the memoir “Inside a Peal, My Years in Paris.” Edmund White, who died on June 3, 2025 at the age of 85, was often called the Grandfather of gay literature. Equally at home writing novels, biographies, plays, memoirs, essays and various hybrids, he was a pioneer in the LBGT world, one of the first gay novelists to achieve literary fame, the co[author in 1977 of The Joy of Gay Sex, along with a ground breaking trilogy of novels based on his own life, several memoirs, three well received biographies, and various collections of essays. Winner of the Lambda Literary Award and nominated several times, nominated for the Pulitzer and winner of the National Book Critics Circle Award for his biography of Jean Genet, winner of the National Book Foundation Lifetime Achievement Award and the PEN/Saul Bellow Award, Edmund White has also been called the Patron Saint of Gay Literature.   Review of “The Neil Diamond Musical A Beautiful Noise” at BroadwaySF Golden Gate Theater through June 22, 2025.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 110th Annual Bay Area Book Festival, May 31 – June 1, 2025. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. BookShop West Portal. Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actors Ensemble of Berkeley.  Summers at John Hinkel Park: Cymbeline opens July 4; The Taming of the Shrew opens August 16. See website for readings and events. Actor's Reading Collective (ARC).   See website for upcoming productions. African American Art & Culture Complex. See website for calendar. Afro-Solo Theatre Company.See website for calendar. American Conservatory Theatre Co-Founders. a world premiere hip-hop musical May 29 – July 6, Strand. Kim's Convenience by Ins Choi, Sept 18 – Oct 19, Toni Rembe Theatre. Aurora Theatre  The Search for Signs of Intelligent Life in the Universe by Jane Wagner, with Marga Gomez, July 12 – August 10.  Awesome Theatre Company. See website for information. Berkeley Rep. The Big Reveal Live Show written and performed by Sasha Velour, June 4 – 15, Roda Theatre. Who's With Me. written and performed by W. Kamau Bell, June 17-22, Roda Theatre. Berkeley Shakespeare Company Julius Caesar, June 13-21, Live Oak Theater, Berkeley. y. See website for upcoming events and productions. Boxcar Theatre. The Illusionist with Kevin Blake, live at the Palace Theatre. Brava Theatre Center: Pacific Overtures, through June 15, 2025. BroadwaySF: A Beautiful Noise: The Neil Diamond Musical, June 3-22, Golden Gate. See website for complete listings for the Orpheum, Golden Gate and Curran Theaters. Broadway San Jose:  Moulin Rouge!, The Musical. July 8-13. See website for other events. Center Rep: Happy Pleasant Valley, June 1- 29. Lesher Center. Central Stage. See website for upcoming productions, 5221 Central Avenue, Richmond Central Works  The Last Goat by Gary Graves, June 28 – July 27. Cinnabar Theatre. Bright Star, June 13-29, Sonoma State. Club Fugazi. Dear San Francisco ongoing. Check website for Music Mondays listings. Contra Costa Civic Theatre Fiddler on the Roof June 7 – 22. See website for other events. Golden Thread   See website for upcoming events. Hillbarn Theatre: Murder for Two, a musical comedy, October 9 – November 2, 2025. Lorraine Hansberry Theatre. See website for specific workshops and events. Los Altos Stage Company. Twelfth Night by William Shakespeare, May 29 – June 22. Lower Bottom Playaz  See website for upcoming productions. Magic Theatre. Aztlan by Luis Alfaro, World Premiere, June 25 – July 13. See website for additional events. Marin Shakespeare Company: A Midsummer Night's Dream by William Shakespeare, June 13 – July 13, Forest Meadows Amphitheatre. See website for other events. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) To My Girls by JC Lee, through June 8. Pride Cabaret, June 6-21.  Ride the Cyclone, the musical, July 11 – August 15. New Performance Traditions.  See website for upcoming schedule Oakland Theater Project. Les Blancs (The Whites) by Lorraine Hansberry, July 11 – 27. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Palace of Fine Arts Theater.  See website for event listings. Pear Theater. Constellations by Nick Payne, June 27 – July 20.See website for staged readings and other events. Playful People Productions. See web page for information on summer camps. Presidio Theatre. See website for complete schedule of events and performances. Ray of Light: Next to Normal. May 30 – June 21. Ross Valley Players: See website for New Works Sunday night readings and other events. San Francisco Playhouse. The Curious Incident of the Dog in the Night-Time based on the novel by Mark Haddon, adapted by Simon Stephens. May 1-June 21. SFBATCO.  See website for upcoming streaming and in- theater shows.  The Day The Sky Turned Orange by Julius Ernesto, Sept 5 – Oct. 5, Z Space. San Jose Stage Company: Sweet Charity,  June 4 – 29.. Shotgun Players.  Yellowface by David Henry Hwang, May 10 – June 14. South Bay Musical Theatre:  The Sound of Music, September 27 – October 18. Stagebridge: See website for events and productions. Storytime every 4th Saturday. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Lunatico See website for upcoming events and producctions. Theatre Rhino  Doodler by John Fisher, May 31 – July 6, The Marsh, San Francisco. The Laramie Project, June 19-29.. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. Come Back to the 5 & Dime, Jimmy Dean  Jimmy Dean, A New Musical, June  18 – July 13. Mountain View Center for the Performing Arts. Word for Word.  See website for upcoming productions. Misc. Listings: BAMPFA: On View calendar for Berkeley Art Museum and Pacific Film Archive. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2025 Season. Dance Mission Theatre. On stage events calendar. Fort Mason Center. Events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Gay Men's Chorus. See schedule for upcoming SFGMC performances. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org                                   .   . The post June 12, 2025. Pride Month: Edmund White (1940-2026), The Patron Saint of Gay Literature appeared first on KPFA.

The U.S. Navy launched a fleet replenishment oiler in honor of assassinated San Francisco Supervisor and Navy vet Harvey Milk in 2021, but a new administration finds the gay icon not “reflective of the Commander-in-Chief's priorities.” Milk's nephew Stuart and then-Navy Secretary Carlos Del Toro spoke about the significance of the USNS Harvey Milk, and Human Rights Campaign National Press Secretary Brandon Wolf reacts to the order to rename the ship (produced by Lucia Chappelle). And in NewsWrap: a heterosexual Ohio woman's U.S. Supreme Court workplace discrimination win is based on the double-standard for evidence that members of majority groups need to provide rather than the merits of her case, Puerto Rico's nonbinary and gender non-conforming people should be able to revise their birth certificates with an “X” gender marker according to the U.S. territory's Supreme Court, anti-LGBTQ Texas Governor Greg Abbott is expected to sign a “Don't Say Gay” bill that would ban school Gay-Straight Alliance advocacy groups, groundbreaking gay author Edmund White dies at the age of 85, the city of Missoula, Montana defies the state government by adopting the banned Pride flag as its official flag, and more international LGBTQ+ news reported this week by David Hunt and Tanya Kane-Parry (produced by Brian DeShazor). All this on the June 9, 2025 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

Edmund White. Photo: David Shankbone Edmund White (1940-2025) in conversation with Richard Wolinsky, recorded in the KPFA Studios, September 20, 2012 while on tour for the novel “Jack Holmes and His Friend.” Edmund White, who died on June 3, 2025 at the age of 85, was often called the Grandfather of gay literature. Equally at home writing novels, biographies, plays, memoirs, essays and various hybrids, he was a pioneer in the LBGT world, one of the first gay novelists to achieve literary fame, the co[author in 1977 of The Joy of Gay Sex, along with a ground breaking trilogy of novels based on his own life, several memoirs, three well received biographies, and various collections of essays. Winner of the Lambda Literary Award and nominated several times, nominated for the Pulitzer and winner of the National Book Critics Circle Award for his biography of Jean Genet, winner of the National Book Foundation Lifetime Achievement Award and the PEN/Saul Bellow Award, Edmund White has also been called the Patron Saint of Gay Literature. There were four Bookwaves interviews with Edmund White. In this third interview, recorded on February 20, 2012, he discusses his novel Jack Holmes and His Friend, along with a collection of essays, Sacred Monsters, and various other topics. The post Edmund White (1949-2025). The Patron Saint of Gay Literature appeared first on KPFA.

Host Jason Blitman sits down with legendary author Edmund White, a towering figure in gay literature, for what would become one of White's final recorded conversations. In this deeply personal conversation, they explore White's latest memoir The Loves of My Life, delving into his reflections on love's many forms, the intimate dynamics that sustain lasting relationships, and the remarkable literary legacy of one of America's most influential LGBTQ+ voices. White offers candid insights drawn from decades of both living and writing about love, loss, and the complexities of human connection.Books and Boys and Big Dinners at Home How I'll Remember Edmund White. by Christopher BollenA husband's story: Michael Carroll reflects on life with Edmund White by Will FreshwaterEdmund White (1940-2025) was the author of many novels, including A Boy's Own Story, The Beautiful Room Is Empty, The Farewell Symphony, A Saint from Texas, and The Humble Lover. His nonfiction included City Boy, Inside a Pearl, The Unpunished Vice, and other memoirs; The Flâneur, about Paris; and literary biographies and essays. He received the PEN/Saul Bellow Award for Achievement in American Fiction and the Medal for Distinguished Contribution to American Letters from the National Book Foundation. He lived in New York.BOOK CLUB!Sign up for the Gays Reading Book Club HERE for only $1July Book: Disappoint Me by Nicola Dinan SUBSTACK!https://gaysreading.substack.com/ MERCH!http://gaysreading.printful.me PARTNERSHIP!Use code READING to get 15% off your madeleine order! https://cornbread26.com/ WATCH!https://youtube.com/@gaysreading FOLLOW!Instagram: @gaysreading | @jasonblitmanBluesky: @gaysreading | @jasonblitmanCONTACT!hello@gaysreading.com

Today is the second part of my Latin American orchestral song tribute. Last week we explored Villa-Lobos and Revueltas; today we devote ourselves to Argentina, and primarily two composers: Alberto Ginastera, and Osvaldo Golijov, in settings by writers as varied as Emily Dickinson, Rosalía de Castro, Manuel Mujica Lainez, David Grossman, Mercedes de Toro, Alejandro Casona, and Franz Kafka; performed by Hina Spani, Phyllis Curtin, Dawn Upshaw, Nadine Sierra, Virginia Tola, Mónica Ferracani, and Miriam Khalil, among others, alongside three artists (Rayanne Dupuis, Christopher Dylan Herbert, and Ilana Davidson) who happen to be friends and colleagues of mine. The episode begins with memorial tributes to iconic writer Edmund White and beloved French singer Nicole Croisille, both of whom died this week. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

In this week's episode, Patrick and Tommie welcome returning guest John J. Steele, Jr., Patrick talks about his vacation in Provincetown, Tommie loves the proximity of the local cannabis dispensaries, they meet the Japanese Chin, wish a Happy Birthday to gay singer/actor Sam Harris, say goodbye to actress Loretta Swit, gay Native-American actor Jonathan Joss, and gay writer Edmund White, celebrate a legendary day in music history, savor the taste of cognac while hugging a cat, learn that seniors are getting higher, John promotes the upcoming concerts of the Long Island Gay Men's Chorus, Patrick and Tommie discuss the difference between anti-Semitism and opposition to the Israeli government, they watch the Navy abandon Harvey Milk, discuss the recent Patti LuPone brouhaha, think Senator Joni Ernst looks good in a cemetery, look for the parade for Title IX Month, and name their favorite cult films.

Join co-hosts Annie Liontas and Lito Velázquez as we remember Edmund Valentine White III along with Yiyun Li. Links LitfriendsPodcast www.annieliontas.com www.litovelazquez.com https://arts.princeton.edu/people/profiles/yiyunl/ https://en.wikipedia.org/wiki/Edmund_White   LitFriends LinkTree LitFriends Insta LitFriends Facebook

The US has vetoed the UN Security Council's draft resolution calling for an "unconditional and permanent" ceasefire in Gaza. The meeting of ambassadors at the UN comes on the day the head of the International Committee of the Red Cross called the situation in Gaza "worse than hell on earth".President Trump says he's had another phone conversation with Russia's President Putin about the war in Ukraine. During the call Mr Trump said the Russian President told him that Moscow would retaliate after Ukraine attacked Russian war planes over the weekend.Also on the programme; Astronomers say they've discovered a big new planet, which is unusually orbiting around a very small star. The physicist who discovered the planet joins us.And the American novelist, Edmund White, famous for chronicling gay life in the US - has died at the age of 85. We hear from Damian Barr, Scottish Writer and broadcaster, who shares his memories of meeting White.(Photo: Smoke rises from Gaza after an explosion, as seen from Israel, 4 June, 2025. Reuters/Amir Cohen)

Daisy Goodwin discusses her debut play, By Royal Appointment, which stars Anne Reid as Queen Elizabeth and Caroline Quentin as her dresser, and which opens this week at Theatre Royal, Bath. The life and legacy of Irish novelist playwright and poet Edna O'Brien is discussed by writer Jan Carson and the director of the documentary Blue Road: The Edna O'Brien Story, Sinead O'Shea. And we hear from the curator of Design & Disability, an exhibition at the V&A in London which showcases the contributions of Disabled, Deaf, and neurodivergent people to contemporary design and culture since the 1940s. Plus Booker Prize winner Alan Hollinghurst pays tribute to American writer Edmund White, whose death has just been announced. Presenter: Kirsty Wark Producer: Mark Crossan

1) Iran _ Stati Uniti: Nonostante la distanza e la diffidenza il dialogo sul nucleare va avanti. (Emanuele Valenti) 2) La Freedom Flottila in viaggio verso Gaza. A bordo l'ambientalista Greta Thunberg, il simbolo di una generazione che rifiuta le ingiustizie e i silenzi della comunità internazionale. 3) Sudan: attacco a un convoglio umanitario diretto alla città assediata di aAl-Fashir, nel Darfour. L'intervista di Esteri a Chiara Zaccone Capo missione Coopi – Sudan. 4) Ha fatto la storia della letteratura LGBT: è morto lo scrittore americano Edmund White. L'omaggio di Roberto Festa. 5) Intelligenza artificiale e diritti d'autore. L'intervista al pioniere della musica elettronica Jean Michel Jarre. (a cura di Matteo Villaci) 6) Progetti sostenibili. La nuova nuova frontiera della mobilità in città. A Zurigo sotto la stazione ferroviaria inaugurato una grande tunnel ciclabile. 7) Romanzo a fumetti: Kiss it goodbye il graphic novel di Ticcy.

Miller, Ben www.deutschlandfunkkultur.de, Fazit

Watch this episode ad free by joining the ITBR Patreon and get a free trial for the ITBR Professor level!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ patreon.com/ivorytowerboilerroom⁠⁠ ⁠You do not want to miss such an exciting conversation with writer and filmmaker Brian Alessandro who joins me to talk about his review of Luca Guadagnino's Queer and the double-edged sword of being a gay writer. He explains that his interest in psychology, filmmaking, and literature helps inform his approach to queer narratives so of course I ask him who his favorite queer authors and filmmakers are. He explains why he praised Guadagnino's Queer in his Gay and Lesbian Review article, and how the film nicely portrays the themes of loneliness and unrequited love. As a William S. Burroughs expert (the author of the Queer novel), Brian compares/contrasts the novel and the film adaptation. Then, Brian discusses his new novel Julian's Debut and explains how its premise is inspired by real-life interactions. He then explains the ethical implications of memoir writing and autofiction which is a genre that blurs the lines between reality and fabrication. Brian then gets into the legacy of author Edmund White, whose memoir he adapted into a graphic novel. This episode highlights the complexities of being a gay writer in the publishing industry. Get your hands on Julian's Debut here:Julian's Debut - Rebel Satori PressYou can find all of Brian's written work here: Literature — Brian AlessandroFollow Brian on Instagram @brian.alessandro Follow ITBR on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Sponsors:To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe and enter promo code ITBRChoice to get a free issue with a subscription purchase. Follow them on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Follow That Ol' Gay Classic Cinema on IG,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thanks to the ITBR team! Dr. Andrew Rimby (Host and Director), Mary DiPipi (Chief Contributor), and Christian Garcia (Editor)

Outward's Bryan Lowder and Christina Cauterucci talk to Alden Jones, editor of the new anthology, Edge of the World. With essays from Alexander Chee, Daisy Hernández, Edmund White, and more, the collection makes clear that queer travel writing isn't just overdue—it's transformative. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward's Bryan Lowder and Christina Cauterucci talk to Alden Jones, editor of the new anthology, Edge of the World. With essays from Alexander Chee, Daisy Hernández, Edmund White, and more, the collection makes clear that queer travel writing isn't just overdue—it's transformative. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward's Bryan Lowder and Christina Cauterucci talk to Alden Jones, editor of the new anthology, Edge of the World. With essays from Alexander Chee, Daisy Hernández, Edmund White, and more, the collection makes clear that queer travel writing isn't just overdue—it's transformative. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward's Bryan Lowder and Christina Cauterucci talk to Alden Jones, editor of the new anthology, Edge of the World. With essays from Alexander Chee, Daisy Hernández, Edmund White, and more, the collection makes clear that queer travel writing isn't just overdue—it's transformative. Learn more about your ad choices. Visit megaphone.fm/adchoices

Outward's Bryan Lowder and Christina Cauterucci talk to Alden Jones, editor of the new anthology, Edge of the World. With essays from Alexander Chee, Daisy Hernández, Edmund White, and more, the collection makes clear that queer travel writing isn't just overdue—it's transformative. Learn more about your ad choices. Visit megaphone.fm/adchoices

Novelist, memoirist and biographer Edmund White joins co-hosts Whitney Terrell and V.V. Ganeshananthan to talk about his recent book, The Loves of My Life: A Sex Memoir. White talks about the changes he has witnessed the LGBTQ+ community go through over the years and the hostility the transgender population faces under the Trump-Vance regime. He discusses a general concern older members of the community have about losing Social Security and health coverage should gay marriage become Trump's next target, as well as this administration's attempt to erase queer language from governmental archives. White previews his forthcoming novel about Louis XIV's gay brother titled Monsieur and reads from The Loves of My Life. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/. This podcast is produced by V.V. Ganeshananthan, Whitney Terrell, Ian Johnson, Hunter Murray, and Vanessa Watkins.  Selected Readings: Edmund White  The Loves of My Life (2025) The Humble Lover (2025) Nocturnes for the King of Naples (2024) A Previous Life (2023) A Saint from Texas (2022) The Unpunished Vice (2018) The Flaneur (2015) Inside a Pearl (2015) Jack Holmes & His Friend (2012) City Boy (2010) A Boy Story (2009) Marcel Proust - A Life (2009) Anthologies, Foreword & Others: The Passion of Gengoroh Tagame (2022) A Luminous Republic (2020) The Stonewall Reader (2019) Such Small Hands (2017) The Violet Quill Club, 40 Years On - The Gay & Lesbian Review by David Bergman, January-February 2021 Felice Picano, Champion of Gay Literature, Is Dead at 81 - The New York Times Edmund White and Emily Temple on Literary Feuds, Social Media, and Our Appetite for Drama Fiction/Non/Fiction Season 2, Episode 4 Learn more about your ad choices. Visit megaphone.fm/adchoices

In honor of Felice Picano's gay literary legacy, I would like to re-feature my conversation with him that happened in April 2024. May you rest well Felice and thank you for all you did for gay rights. I'm joined with award winning author Felice Picano who was a key figure of the Greenwich Village literary community from the mid-1970s through the 1990s. He was one of the founders of the modern gay literature movement, particularly through his involvement with the literary salon the Violet Quill. He explains how Violet Quill came to be, and why he decided to co-found this literary society with six other gay writers in New York City, including Andrew Holleran and Edmund White. Their goal? To meet and give each other creative feedback at a time when gay literature wasn't being taken seriously at all. During his time in Greenwich Village's gay literary scene, Felice explains that he met many notable authors like Frank O'Hara, Allen Ginsberg, and yes even Truman Capote. In 1977, he founded Sea Horse Press, the country's first gay-oriented publishing house, and in 1981, he became editor-in-chief of The Gay Presses of New York. He continues to teach and write, and one day hopes that Hollywood matures enough to adapt more queer literature into films.You can find all of Felice's books here: ⁠https://www.felicepicano.net/⁠

The queens talk with gay literary icon Edmund White about his new book, The Loves of My Life: A Sex Memoir. (Miguel Murphy joins in the fun, too!)Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.                            Miguel's SHORE DITCH is available from Barrow Street.You can purchase Edmund White's new book, The Loves of My Life: A Sex Memoir, at BookWoman here. Bookwoman was founded to increase access to queer and feminist literature in Texas nearly fifty years ago. Read Colm Tóibín's essay, "On the Casual Brilliance of Edmund White"Read a tribute to Gary Indiana  in The Guardian here. Need a quick definition refresher of auto fiction? Here you go! Miguel mentions that composer Arnold Schoenberg's archive destroyed in LA fires, and you can read more about that here. Here's a dishy roundup of Nabokov's insults of DostoevskyFor a bit more about Larry Kramer's objections to The Farewell Symphony, read on.Learn more about Richard Howard and his poetry here. Edmund White and Michael Carroll talk about their relationship, and their experiences writing gay fiction here.And here's the Interview Magazine article we mention in the episode, in which gay writers ask Edmund White a question: “Tall Blonde With a Big Dick”: 18 Men Ask Edmund White Some Sexy Questions" Finally, check out the fabulous Garth Greenwell's website: https://www.garthgreenwell.com  

Vanity Project are proud to present the first in the forthcoming trilogy of THREE COLOURS: White. In their first ever multi-episode saga Vanity Project daringly go where the likes of Aristotle and an exploratory lone monkey have gone before: to the White Material that made you. It's an episode about semen, and the perfect recipe for how to increase your load. Through a textual and cultural analysis semen is the fulcrum for a new discourse on race, the cultivation of male sexuality, and the last funny movie, Bridesmaids. We brave The Colonial Cumshot, Images of Bliss, and Edmund White on Robert Maplethorpe. We ask, is cum kind of a gay guy thing? Where were you when Diddy threw the first White Party?

Celebrated author Edmund White discusses The Loves of My Life: A Sex Memoir (Bloomsbury, Jan. 28). Kirkus: “An irreverent and unapologetically provocative scrapbook of an aging author's sex life” (starred review). Then our editors share their top picks in books for the week.

Rowan Pelling, journalist and founding editor of the Erotic Review, and the film critic Tim Robey join Tom Sutcliffe to discuss the Oscar nominations and review Edmund White's The Loves of My Life, Steven Soderbergh's supernatural horror thriller Presence and Brazil! Brazil! a major exhibition featuring 20th century artists at the Royal Academy in London. Presenter: Tom Sutcliffe Producer: Claire Bartleet

Highlights from Toby Gribben's Friday afternoon show on Shout Radio. Featuring chat with top showbiz guests. Hosted on Acast. See acast.com/privacy for more information.

AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico ⁠cronicaslunares.sun@hotmail.com⁠ y nos encargaremos de borrarlo inmediatamente.  Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC 

Join co-hosts Annie Liontas and Lito Velázquez in conversation with Yiyun Li & Edmund White about their book club of two, having three imaginary friends, the political vs the artistic, and loving each other all day long. Season Two is coming this fall!   Links Libsyn Blog https://www.barclayagency.com/speakers/yiyun-li https://www.nationalbook.org/people/edmund-white/ www.annieliontas.com www.litovelazquez.com LitFriends LinkTree LitFriends Insta LitFriends Facebook

Nocturnes for the King of Naples by Edmund White with a foreword by Garth Greenwell reflects on love, life and time in this stunning epistolary novel. Both authors joined us to talk to us about bringing back this novel from 1978, the evolution of style and themes, musicality in creative writing and more with Miwa Messer, host of Poured Over. 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): Nocturnes for the King of Naples by Edmund White with Garth Greenwell A Boy's Own Story by Edmund White Dancer From the Dance by Andrew Halloran Faggots by Larry Kramer Cleanness by Garth Greenwell The Lost Language of Cranes by David Leavitt Small Rain by Garth Greenwell The Loves of My Life by Edmund White

Watch/Listen to this and all episodes ad free by joining the ITBR Patreon and get a free trial for the ITBR Professor level! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/ivorytowerboilerroom⁠⁠ ⁠⁠ We're joined with award winning author Felice Picano who was a key figure of the Greenwich Village literary community from the mid-1970s through the 1990s. He was one of the founders of the modern gay literature movement, particularly through his involvement with the literary salon the Violet Quill. He explains how Violet Quill came to be, and why he decided to co-found this literary society with six other gay writers in New York City, including Andrew Holleran and Edmund White. Their goal? To meet and give each other creative feedback at a time when gay literature wasn't being taken seriously at all. During his time in Greenwich Village's gay literary scene, Felice explains that he met many notable authors like Frank O'Hara, Allen Ginsberg, and yes even Truman Capote. In 1977, he founded Sea Horse Press, the country's first gay-oriented publishing house, and in 1981, he became editor-in-chief of The Gay Presses of New York. He continues to teach and write, and one day hopes that Hollywood matures enough to adapt more queer literature into films. You can find all of Felice's books here: https://www.felicepicano.net/ Follow ITBR on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and X, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@IvoryBoilerRoom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Our Sponsors: Be sure to follow The SoapBox on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and visit their website https://www.soapboxny.com/ to get your hands on their luxurious bath and body products! To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe, and enter promo code ITBR50 to receive 50% off any print or digital subscription. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Order and follow ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mandeemadeit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (on IG) mention ITBR, and with your first order you'll receive a free personalized gift! Follow That Ol' Gay Classic Cinema on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thanks to the ITBR team! Dr. Andrew Rimby (Host and Director), Mary DiPipi (Chief Contributor), and Christian Garcia (Social Media Intern) --- Send in a voice message: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/message

Cat Sebastian writes queer historical romance. Her books have received starred reviews from Kirkus, Publishers Weekly, Library Journal, and Booklist, and she's been featured in the Washington Post, Entertainment Weekly, and Jezebel. She was born in New Jersey and lived in New York and Arizona before settling down in a swampy part of the South. When she isn't writing, she's probably reading, having one-sided conversations with her dog, or doing the crossword puzzle. Interviewer Lori Sterling is a Licensed Mental Health Counselor who focuses on helping LGBT+ individuals both at her private practice, Tea Time Therapy, and with her career as a medical care coordinator at JASMYN, a nationally recognized LGBT+ youth center located in Jacksonville Florida. When not advocating for or working with the community, you can most likely find her painting, playing Animal Crossing, or on the mat with her Brazilian Jiu Jitsu class.  READ Check out more of Cat's work from the library! - https://jkpl.ent.sirsi.net/client/en_US/default/search/results?qu=AUTHOR%3D%22cat+sebastian%22&te=  CAT RECOMMENDS "Here are some non-fiction books and memoirs I've recently read for research purposes, and which I've loved." The Summer Game by Roger Angell Up in the Old Hotel by Joseph Mitchell Can't Anybody Here Play This Game by Jimmy Breslin A Drinking Life by Pete Hamill - https://jkpl.ent.sirsi.net/client/en_US/default/search/results?qu=drinking+life+hamill&te=  City Boy by Edmund White - https://jkpl.ent.sirsi.net/client/en_US/default/search/results?qu=TITLE%3D%22city+boy%22&qu=AUTHOR%3Dwhite&te=  --- Never miss an event! Sign up for email newsletters at https://bit.ly/JaxLibraryUpdates  Jacksonville Public LibraryWebsite: https://jaxpubliclibrary.org/ Twitter: https://twitter.com/jaxlibrary Facebook: https://www.facebook.com/JaxLibrary/ Instagram: https://www.instagram.com/jaxlibrary/ YouTube: https://www.youtube.com/user/jaxpubliclibraryfl Contact Us: jplpromotions@coj.net 

"There was a beautiful man who lived in the same building as me on the same floor . . ."

Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Melissa Febos & Donika Kelly about their grand statements, big revelations, sentential seduction, queering forms, the power of vulnerability, and love poems. We're taking a break and will be back for our next episode with guests Yiyun Li & Edmund White on January 16,  2024. Happy Holidays, LitFam!   LINKS Libsyn Blog www.annieliontas.com www.litovelazquez.com www.melissafebos.com www.donikakelly.com LitFriends LinkTree LitFriends Insta LitFriends Facebook TRANSCRIPT Annie: (00:00) This episode is dedicated to Chuck, a dog we have loved, and Donika and Melissa's sweet pup.   Annie & Lito: Welcome to LitFriends! Hey Lit Friends!   Annie: Welcome to the show.    Lito: Today, we're speaking with memoirist Melissa Febos and poet Donika Kelly, lit friends in marriage,   Annie: About seduction, big boss feelings, and sliding into DMs.   Lito: So grab your bestie,   Annie & Lito: And get ready to fall in love!   Annie: What I love about Melissa Febos, and you can feel this across all four of her books, is how she declares herself free. There's no ambiguity to this. This is her story, not your telling of it, not your telling of her. I meet her on the page as someone who's in an act of rebellion or an act of defiance. And I was not really surprised but delighted to find that, when I read Donika Kelly, I had sort of the same reaction, same impression. And I'm wondering if that's true for you, and, Lito, what your understanding of vulnerability and its relationship to power is.   Lito: The power for me in these conversations, and the power that the authors that we speak with possess, seems to me, in the ways that they have found how they are completely unique from each other. And more so than in our other conversations, Donika and Melissa, their work is so different. And yet, as you've pointed out, the overlap, and the fire, the energy, the defiance, the fierceness is so present. And it was present in our conversation. And so inspiring.   Annie: Yeah. I'm thinking even about Melissa Febos has this Ted Talk. (01:54) Where she says "telling your secrets will set you free." And it feels that not only is that true, but it's also very much an act of self reclamation and strength, right? Where we might read it as an act of weakness. It's actually in fact, a harnessing of the self.   Lito: Right, it's not that Melissa has a need to confess. It's that she really uses writing to find the truth about herself and how she feels about something, which that could not differ more from my writing practice.   Annie: How so?   Lito: I find that I sort of, I write out of an emotion or a need to discover something, but I already sort of am aware of where I am and who I am before I start. I find the plot and the characters as I go, but I know sort of how I feel.   Annie: Yeah, I think for me, I do feel like writing is an act of discovery where maybe I put something on the page, it's the initial conception, or yeah, like you coming out of a feeling. But as I start to ask questions, right, for me, it's this process of inquiry. I excavate to something maybe a little more surprising or partially hidden or unknown to myself.   Lito: That's true. There is a discovery of, and I think you're, I think you've pointed to exactly what it is. It's the process of inquiry, and I think both of them, and obviously us, we're doing that similar thing. This is about writing, about this, this is about asking questions and writing through them.   Annie: Yeah, and Donika Kelly, we feel that in her work, her poetry over and over, even when they have the same recurring, I would say haunting images or artifacts. Each time she's turning it over and asking almost unbearable questions.   Lito: Right.   Annie: And we're joining her on the page because she is brave enough and has an iron will and says, no, I will not not look this in the eye.    Lito: That's the feeling exactly that I get from both of them is the courage, the bravura of the unflinching.   Annie: I think something that seemed to resonate with you was (03:58) how they talk about writing outside of publishing right? Yeah.   Lito: Yeah, I love I love that they talk about writing as a practice regardless, they're separated from The need to produce a work that's gonna sell in a commercial world in a capitalist society. It's more about the daily practice, and how that is a lifestyle and even what you said about the TED talk, that's just her. She's just talking about herself. Like that she's just telling an absolute truth that people don't typically talk about.   Annie: Right. And it's a conscious, active way to live inside one's life. It's a form of reflection, meditation, and rather than just moving through life, a way to make meaning of the experience.   Lito: I love that you use the word meditation because when you talk about meditation, you think of someone in a lotus position quietly being, but the meditations that both of them do, these are not quiet.   Annie: No. And of course we have to talk about how cute they are as married literary besties.   Lito: Oh my god, cute and like, they're hot for each other.   Annie: Oh my god.   Lito: It's palpable.   Annie: So palpable, sliding into DMs, chatting each other up over email.   Lito: They romanced each other, and I hope—no—I know they're gonna romance you, listener.   Annie: We'll be right back.   Lito: (05:40) Back to the show.   Annie: Melissa Febos is the author of four books, including the best-selling essay collection Girlhood, which won the National Book Critics Circle Award, was a Lambda finalist, and was named a notable book by NPR, Time Magazine, the Washington Post, and others. Her craft book Body Work is a national bestseller and an Indie's Next Pick. Her forthcoming novel The Dry Season is a work of mixed form nonfiction that explores celibacy as liberatory practice. Melissa lives in Iowa City with her wife, the poet Donika Kelly, and is a professor in the English department at the University of Iowa, where she teaches creative writing.   Lito: Donika Kelly is the author of The Renunciations, winner of the Anisfield-Wolf Book Award in poetry and Bestiary, the winner of the 2015 Cave Canem Poetry Prize, a Hurston Wright Legacy Award for poetry, and the Kate Tufts Discovery Award. Donika has been a finalist for the National Book Critics Circle Award, the Publishing Triangle Awards, the Lambda Literary Awards, and was long listed for the National Book Award. (06:00) Donika lives in Iowa City with her wife, the writer Melissa Febos, and is an assistant professor in the English department at the University of Iowa, where she teaches creative writing.   Annie: Well, thank you for joining us for LitFriends to talk about the ultimate lit friendship. It does seem like you've won at the game of lit friends a little bit, having married your lit friend. I think of you both as writers who are in the constant act of subversion and resisting erasure. And that's the kind of work that Lito and I are drawn to, and that we're trying to do ourselves. And your work really shows us how to inhabit our bravest and most complex selves on the page. So we're really grateful for that.   Melissa: Thanks.   Annie: Yeah, of course. I mean, Donika, I think about poems of yours that my friends and I revisit constantly because we're haunted by them in the best way. They've taken residence inside of us. And you talk about what it means to have to do that work. And you've said, "to admit need and pain, desire and trauma and claim my humanity was often daunting. But the book demanded I claim my personhood."   And Melissa, I think you know how much your work means to me. I mean, as someone who is raised as a girl in this country and writing creative nonfiction, Body Work should not be as revelatory as it is. Yet what I see is that you're shaping an entire generation of nonfiction writers, many of them women. So, you know, also very grateful for that. And you've talked about that in Body Work. You've said "the risk of honest self-appraisal requires bravery to place our flawed selves in the context of this magnificent broken world is the opposite of narcissism, which is building a self-image that pleases you." So we'll talk more in a bit about courage and vulnerability and how you all do the impossible things you do, but let's dive into your lit friendship.   Melissa: Thank you, Annie, for that beautiful introduction.   Donika: Yeah, thank you so much. I'm excited to talk about our friendship.   Lito: We're so excited to have you here.   Melissa: Talk about our special friendship.   Annie: Very special friendship. Friendship with benefits.   Lito: So tell us about your lit friend, Melissa, tell us about Donika.   Melissa: (09:07) Tell us about her. Okay, she's fucking hilarious, like very, very funny and covers a broad spectrum of humor from like, there's a lot of like punning that goes on in our house, a lot of like silly wordplay, bathroom humor, and then like high level, like, literary academic sort of witticism that's also making fun of itself a lot. And we've sort of operated in all of those registers since like the day we met.   She is my favorite poet. There's like those artists that whose work you really appreciate, right? Sometimes because it's so different from your own. And then there are those artists whose work registers in like a very deep sort of recognition where they feel like creative kin, right? And that has always been my experience of Donika's work. That there is a kind of creative intelligence and emotionality that just feels like so profoundly familiar to me and was before I knew anything about her as a human being.   Okay, we also like almost all the same candy and have extremely opposite work habits. She's very hot. She only likes to watch like TVs and movies that she's seen many times before, which is both like very comforting and very annoying.   Lito: Well, I'm gonna have to follow that up now. What are some of the top hits?   Melissa: Oh, for sure, Golden Girls is at the very top. I mean…   Annie: No one's mad at that.   Lito: We can do the interview right now. Perfect. All we need to know. A++!   Melissa: She's probably like 50% of the time that she's sleeping, she falls asleep to the soundtrack of the Golden Girls or Xena, maybe. But we've also watched the more recent James Bond franchise, The Matrices, (11:00) and Mission Impossible, never franchises I ever thought I would watch once, let alone multiple times at some point.   Annie: I mean, Donika, your queerness is showing with that list.   Lito: Yeah.   Donika: I feel seen. I feel represented accurately by that list. She's not wrong. She's not wrong at all. But I've also introduced to her the pleasure of revisiting work.   Melissa: That's right.   Donika: And that was not a thing that Melissa was doing before we met, which feels confusing to me. Because I am a person who really likes to revisit. She was buying more books when we met, and now she uses the library more, and that feels like really exciting. That feels like a triumph on my part. I'm like…   Annie: That is a victory. Yeah.   Donika: …with the public services.   Melissa; Both of these examples really allude to like this deep, fundamental sort of capitalistic set of habits that I have, where I… like there's like this weird implicit desire to try to read as many books as possible before I perish, and also to hoard them, I guess. And I'm very happy to have been influenced out of that.   Annie: Well it's hard not to think—I think about that tweet like once a week that's like you have an imaginary bookshelf, and there are a limited amount of books on that you can read before you die, and that like troubles me every day.   Melissa: Yeah it's so fucked up. (12:22) I don't want that. It's already in my head. I feel like I was born with that in my head, and I'm trying to get free.   Lito: Same. Serious book FOMO, like…   Donika: There are so many books y'all.   Lito: I know. It's not possible.   Donika: And, it's like, there are more and more every year.   Annie: Well, uh Donika tell us about Melissa.   Donika: Oh Melissa As she has already explained we have a lot of fun It's a funny household. She's hilarious. Um, and also she's a writer of great integrity, which you know I'm sitting on the couch reading Nora Roberts, and she's like in her office hammering away at essays, and I don't know what's going on in there. I'm very nosy. I'm a deeply nosy person. Like, I just I want to know like what's going on. I want to know the whole history, and it's really amazing to be with someone who is like here it is.   Annie: How did you all meet?   Donika: (13:20) mere moments after Trump was elected in 2016. I was in great despair. I was living in Western New York. I was teaching at a small Catholic university. Western New York is very conservative. It's very red. And I was in this place and I was like, this place is not my place. This place is not for me. And I was feeling very alone. And Melissa had written an essay that came out shortly after about teaching creative writing at a private institution in a red county. And I was like, oh, she gets it, she understands.   I started, I just like looked for everything. I looked for like everything that she had written. I read it, I watched the TED talk. I don't know if y'all know about the TED talk. There was a TED talk. I watched the TED talk. I was like, she's cute. I read Whip Smart. I followed her on Twitter. I developed a crush, and I did nothing else. So this is where I pass the baton. So I did all of that.   Melissa: I loved Bestiaries, and I love the cover. The cover of her book is from this medieval bestiary. And so I just bought it, and I read it. And I just had that experience that I described before where I was just like, "Oh, fuck. Like this writer and I have something very deep in common." And I wrote her. I DMed her on Twitter.   Sometimes I obscure this part of the story because I want it to appear like I sent her a letter by raven or something. But actually, I slid into her DMs, and I just was like, "hey, I loved your book. If you ever come to New York and want help setting up a reading, like I curate lots of events, da da da." And I put my email in. And not five minutes later, refreshed my Gmail inbox, and there was an email from Donika, and…   Donika: I was like, "Hi. Hello. It's me."   Annie: So you agree with this timeline, Donika, right? Like, it was within five minutes.   Donika: Yeah, it was very fast. And I think if I hadn't read everything that I could get my hands on that Melissa had written, I may have been a little bit slower off the mark. It wasn't romantic. Like the connection, I wasn't like, oh, this is someone who like I want to (15:41) strike up a romantic relationship with, it really was the work. Like I just respected the work so much.   I mean, I did have a crush, like that was real, but I have crushes on lots of people, like that sort of flows in and out, but that often is a signifier of like, oh, this person will be my friend. And I was still married at the time and trying to figure out, like that relationship was ending. It was coming to a quick close that felt slow. Like it was dragging a little bit for lots of reasons.   But then once it was clear to me that I was getting divorced, Melissa and I continued writing to each other like for the next few months. Yeah. And then I was like, oh, I'm getting divorced. I was like, I'm getting divorced. And then suddenly the emails were very different. From both of us. It wasn't different.   Melissa: There had been no romantic strategy or intent, you know, and I think which, which was a really great way to, we really started from a friendship.   Annie: And sounds like a courtship really. I mean, it kind of is an old fashion.   Melissa: Yeah, in some way, it became that. I think it became that. But I think it was, I mean, the best kind of courtship begins as a, as a friendly courtship, you know what I mean? Where it was about sort of mutual artistic respect and curiosity and just interest. And it wasn't defined yet, like, what sort of mood that interest would take for a while, you know?   Lito: So how do you seduce each other on and off the page?   Donika: That's a great question.   Melissa: That is a great question.   Donika: I am not good at seduction. So that is not a skill set that is available to me. It has never been available.   Lito: I do not believe that.   Annie: I know. I'm also in disbelief out here, really.   Melissa: No one believes it, but she insists.   Annie: I feel like that's part of the game, is my feeling, but it is not.   Melissa: It's not. Here's the thing I will say is that like Donika, I've thought a lot about this and we've talked a lot about this because I balked at that statement as well. It's like Donika is seductive. Like there are qualities about her that are very seductive, but she does not seduce people. You know what I mean? Like she doesn't like turn on the charisma and shine it at you like a hypnotist. Like that's not… (18:08) that's not her form of seduction, but I will say…   I can answer that question in terms of like, I think in terms of the work, since we've been talking about that, like in a literary way, both in her own work, like the quality, like just someone who's really good at what they do is fucking sexy, you know? Like when I was looking for like a little passage before this interview, I was just like, "ah, this is so good." Like it's so attractive when someone is really, really good at their craft. right? Especially when it's a crop that you share.   Donika: So Melissa does have the ability to turn on what she has written about, which I think is really funny. Like she like she has like, she has a very strong gaze. It's very potent. And one of my gifts is to disrupt that and be like, what are you doing with your eyes? And so like, when I think about that in the work, when I'm reading her work, and I'm in like its deepest thrall, it is that intensity of focus that really like pulls me in and keeps me in. She's so good at making a grand statement.   Melissa: I was just gonna bring that up.   Donika: Oh, I think she and I like often get to, we arrive at sort of similar places, but she gets there from the grand statement, and I get there from the granular statement, like it's a very narrow sort of path. And then Melissa's like, "every love is a destroyer." I was like, whoa, every one? And there's something really compelling about that mode of— because it's earnest, and it's backed up by the work that she's written. I would never think to say that.   Melissa: I have a question for you, lit friend. Do you think you would be less into me if I weren't? Because I think for a nonfiction writer, I'm pretty obsessed with sentences. It's writing sentences that makes, that's the thing I love most about writing. It's like where the pleasure is for me. So I'm a pretty poetically inclined nonfiction writer. If I were less so, do you think that would be less seductive to you as a reader or a lit friend?   Donika: I mean, that's like asking me to imagine like, "so, what if… (20:30) water wasn't wet?" I just like, I can't like, I can't imagine. I do think the pleasure of the sentence is so intrinsic to like, I think there's something in the, in your impulse at the sentence level. That means that you're just careful. You're not rushing. You're not rushing us through an experience or keeping us in there and focused. And it's just it's tricky to imagine, or almost impossible to imagine what your work would look like if that weren't the impulse.   Lito: Yeah, I think that's an essential part of your style in some ways, that you're taking that time.   Melissa: Mm-hmm.    Annie: And how you see the world. Like I don't even think you would get to those big revelations Donika's talking about without it.   Melissa: Yeah. Right. I don't, yeah, I don't think I would either. We'll be right back.   Lito (21:19) Hey Lit Fam, Lit Friends is taking a break for the holiday. We hope you'll join us for our next episode with our guests, Ian Lee and Edmund White on January 16th. Till then, may your holiday be lit, your presents be numerous, and your 2024 be filled with joy and peace. If you'd like to show us some love, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcast on Apple podcasts, Spotify, or wherever you listen to podcasts. Just a few moments of your time will help us so much. Big hugs to you and yours. Thank you for listening. And thank you for making season one a big success!   Annie: (22:05) Welcome back.   Lito: I've noticed that both of you, you know, you have your genres that you work in, but within that you're experimenting a lot with form and structure. Does anything of that come from being queer? I guess it's a question about queering forms of literature, and what that has to do also with the kinds of friendships that queer people have, and if that's different, maybe. So I guess I'm asking to connect form with queerness and friendship.   Melissa: That's a beautiful question. I think, and I'm starting with thinking about my relationship to form, which has been one of inheriting some scripts for forms. This is what an essay should look like. This is what plot structure looks like. This is how you construct a narrative. And sort of taking those for granted a little bit, and then pretty early on, understanding the limitations of those structures and the ways that they require that I contort myself and my content such that it feels like a perversion or betrayal of sort of what I'm dealing with, right? And so the way I characterize my trajectory, the trajectory of my relationship to form has been sort of becoming conscious of those inherited forms, and then pushing the boundaries of them and modifying them and distorting them and adding things to them and figuring out, letting my work sort of teach me what form it rests most easily in and is most transparent in. And I suspect that my relationship to friendship and particularly queer friendship mimics that.   Donika: Yeah, that sounds right to me. And I'm reminded of Denise Levertov has this essay titled "On the Function of the Line." And in it, she presents an argument that closed forms, received forms, are based on a kind of assumption of resolution, and that free verse or open design, like in a poem, it shows evidence of the speaker's thinking.   (24:24) Right? So that where the line breaks, the speaker is pausing, right? To gather their thoughts or like a turn might happen that's unexpected that mimics the turns in thinking. And I really love that essay. Like that essay is one of my favorites. So when I think about my approach to form, I'm like, what is the shape that this poem is asking for? What is the shape that will do, that will help the poem do its best work? And not even like to be good, but just like to be true.   I really love the sonnet shape. Like it's one of my favorite shapes. And it's so interesting and exciting to use a shape that is based on like argumentative structure or a sense of resolution, to explore. Like to use that as an exploratory space, it feels like queering our, like my expectations of what the sonnet does. Like there's something about the box. If I bounce around inside that box, there's gonna be something that comes out of that, that I wouldn't necessarily have gotten otherwise, but it's not resolution. Like the point is not resolution.   And when I think about my relationships and my chosen family, in particular, and to some degree actually my given family, part of what I'm thinking about is how can I show up and care and what does care look like in this relationship and how can I make room to be cared for? And that's so hard, like being cared for is so much more alien to me than, like, as a concept, like I feel like very anxious about it. I'm like, "am I asking for too much?" And like over and over again, my chosen family is like, "no, it's not too much. Like we, we got each other."   Melissa: I think particularly for queer people, we understand that it doesn't preclude romance or healthy kinds of dependency or unhealthy kinds of dependency, you know, that all of the things that happen in a very deep love relationship happen inside of friendship, where I think sort of like straight people and dominant culture have been like, "oh, no, like friendship isn't the site of like great romance or painful divorce or abuse." And queer people understand that all of those things happen within relationships that we call friendships.   Annie: (26:46) Yeah, I mean, I'm hearing you both talk about kind of queer survival and joy and even, Donika, what you were saying about having to adjust to being cared for as a kind of, you know, that's a sort of, to me, it's a sort of like a survivor's stance in the world. One of the things that I love about my kinship with Lito as, you know, my queer lit friend and, you know, brother from another mother is that he holds that space for me and I, you know, vice versa.   Even thinking about vulnerability, I think you both wield vulnerability as a tool of subversion too, right? And again, Lito and I are both creating projects right now that require a kind of rawness on the page. I'm about to publish a memoir called Sex with a Brain Injury, so I'm very consciously thinking about how we define vulnerability, what kind of work it does to reshape consciousness in the collective. And the ways that you each write about trauma helps us understand it as an act of reclamation, you know, power rather than powerlessness. So maybe you could talk a little bit about what is or what can be transformative about the confessional and maybe even more to the point, what does your lit friend teach you about vulnerability?   Melissa: (28:06) Oh, God, what doesn't she teach me about vulnerability? It's interesting because like you're correct that vulnerability is like very central to my work and to the like lifelong project of my work, and also like there's literally nothing on earth I would like to avoid more. And I don't think that is visible in my work, right? Because my work is the product of counteracting that set of instincts, which I must do to survive because the part of me that wants to avoid vulnerability, its end point is like literally death for me.   It is writing for me often starts from like kind of a pragmatic practice. I don't start like feeling my feelings. I write to get to my feelings and sometimes that doesn't happen until like after a book is published sometimes. You know like it's really interesting lately I've been confronting some feelings in like a really deep way that I think I have gotten access to from writing Girlhood, which came out in 2021. And it's like I had to sort of lay it all out, understand what happened, redefine my role in it and everyone else's. And I definitely had feelings while I was writing it. But like the feelings that Donika refers to as the big boss, like the deepest feelings about it. Like I, I feel like I'm only really getting. to it now.   My relationship to vulnerability, it's just like, it's a longitudinal process, you know? And there's no one who's taught me about that and how to be sort of like gentle and patient within that and to show up for it than Donika.   And I'm just thinking of like, you know, starting from pretty early in our relationship, she was working on the poems in The Renunciations, and over the years of our early, the early years of our relationship, she was confronting some childhood, some really profound childhood trauma. And she was doing that in therapy. And then there were like pieces of that work that she had to do in the poems. And I just watched her not force it. And when it was time, she like created the space to do the work. And like, I wasn't (30:35) there for that. I don't think anyone else really could have been there for that. And just like showing up for that work.   And then like the long tail of like publishing a book and having conversations with people and the way that it changes one's relationship and like the act of the vulnerability—achieved feels like the wrong word—but the vulnerability like expressed or found in the writing process, how that is just like a series of doorways and a hallway that maybe it never terminates. Maybe it doesn't even turn into death. I don't know. You know, but I've just seen her show up for that process with like a patience and a tenderness for herself at every age that I find incredibly challenging. And it's been super instructive for me.   Donika: Ooh. I, I'm, it makes me really happy to know that's your experience of like being like in like shared artistic space together. I think I go to poetry to understand, to help myself understand what it is that I'm holding and what it is that I wanna put down. Like that's what the poems are for. You know, like the act of writing helps me sort out what I need and what I wanna put down because narrative is so powerful. It feels like the one place where I can say things that are really hard, often because I've already said them in therapy.   Right? So then it's like, I can then explore what having said those hard things means in my life or how it sits in my life. And what Melissa shows me is that one can revise. I know I've said this like a few times, but that one can have a narrative. Like I think about reading Whipsmart and the story that she has about herself as a child in Whipsmart, and then how that begins to change a bit in Abandon Me. And then in Girlhood, it's really disrupted. And there is so much more tenderness there, I think. It looks really hard. Like, honestly, that joint looks hard because I might be in a poem, but I'm in it for like, like we're in it, like if I were to read it out loud for like a minute and a half.   Melissa: (33:50) It's interesting hearing you talk. I wonder if this is true. I think I'm hearing that it is true. And I think that's where it's with my experience that you often get to the feelings like in therapy or wherever, and then write the poems as more of a sort of emotional, but like also cognitive and kind of systemic and like a way of like making sense of it or putting it in context. And I think very much I, there'll be like deeply submerged feelings that emerge only as like impulses or something, you know, but I experience writing— I don't that often feel intense emotion while I'm writing. I think it's why that is writing is almost always the first place that I encounter my own vulnerability or that I say the like unspeakable thing or the thing that I have been unable to say. I often write it and then I can talk to my therapist about it or then I can talk to Donika about it.   And I think I can't. I'm too afraid or it feels like too much to feel the feelings while I'm writing. So I sort of experience it as a cognitive or like intellectual and creative exercise. And then once I understand it, sometime in the next five years, I feel the feelings.   Annie: Do you feel like it's a kind of talking to yourself or like talking outside of the world? Like what is it in that space that does that for you?   Melissa: Yeah, I do. I mean, it's like. Talking outside the world makes more sense to me than talking to myself. I mean, it is talking to myself, right? It's a conversation with myself, but it's removed from the context of me in my daily life. That's why it's possible. Within my daily life, I'm too connected to other people and my own internal pressures and just like the busy, superficial part of me that's like driving a lot of my days. I have to get away from her in order to do that work.   And so the writing really happens in a kind of separate space and feels like it is not, it has a kind of privacy that I don't experience in any other way in my life, where I really have built or found a space where I am never thinking about what other people think of me, and I'm not imagining a skeptical reader. (35:18) It is really like this weird spiritual, emotional, creative, intellectual space that is just separate from all of that, where I can sort of think and be curious freely.   And I think I created that space or found it really early on because I was, even as a kid, I was a person who was like so concerned with the people around me, with the adults around me, with what performances were expected of me. And being a person who was like very deeply thinking and feeling, I was like, well, there's no room for that here. So I need to like find somewhere else to do it. And so I think writing became that for me way before I thought about being a writer.   Lito: That's so fascinating to me. I think that's so different than how I work or Donika works or a lot of people I know. We'll be right back.   Lito: (36:26) Back to the show.   So this question is for both of you really, but it just makes me wonder then like, what is the role for emotion, but in particular anger? How does that like, when things get us angry, sometimes that motivates us to do something, right? So if you're not being inspired by an emotion to write, you're writing and then finding it, how does anger work as not only a tool for survival, but maybe a path towards personhood and freedom?   Donika: Oh, I was just thinking, I can't write out of that space, the space of anger. It took me a long time to get in touch with anger as a feeling. That took a really long time because in my family, in my given family, the way that people expressed anger was so dangerous that I felt that I didn't want to occupy those spaces. I didn't want to move emotionally into that, into that space if that was what it looked like. And it took me a long time to figure out how to be angry. And I'm still not sure that I'm great at it. Because I think often I'm moving quickly to like what's under that feeling. And often what's under my feelings of being angry, often, not always, is being hurt, feeling hurt. And I can… write into exploring what that hurt is, because I know how to do that with some tenderness and some care.   Melissa: I feel similarly, which is interesting, because we've never talked about this, I don't think. But anger is also a feeling that I think, for very different reasons, when I was growing up… I mean, I think just like baseline being socialized as a girl dissuaded me from expressing anger or even from feeling it, because where would that go?   But I also think in the particular environment that I was in, I understood pretty early that my expressions of anger would be like highly injurious to the people around me and that it would be better if I found another way to express those things. I think my compulsive inclinations have been really useful in that way. And it's taken me a lot of my adult life to sort of… (38:44) take my anger or as Donika said, you know, like anger for me almost always factors down to something that is largely powerlessness, you know, to sort of not take the terror and fury of powerlessness and express it through like ultimately self harming means.   Writing can be a way for me to arrive at like justifiable anger and to sort of feel that and let that move through me or to be like, oh, that was unjust. I was powerless in that situation. You know? Yeah, it has helped me in that way. But like, if I'm really being honest, I think I exhaust myself with exercise. And that's how I mostly deal with my feelings of anger.   Annie: Girl.   Melissa: Yeah, there's also a way I will say that like, I do think it actually comes out in my work in some ways. Like there is like a very direct, not people-pleasing vibe and tone in my work that is genuine, but that I almost never have in my life. Like maybe a little bit as a professor, but like    When Donika met me, she was like, "Oh… like you're just like this little gremlin puppy person. You're not like this intense convicted former dominatrix." You know, which is, I express it in my writing because it is a space where I'm not worried about placating or pleasing really. It's a space where I'm, I am almost solely interested in what I actually think.   Donika: I was just thinking about like the beginning of, I think it's "Wild America," when you talk about like not cleaning your room, Melissa. Because you didn't, like when you were a kid, right? It was like you cleaned your room when you wanted to appear good, but that didn't matter to you when you were alone in your room. Like you could get lost in a book or you could, you know, like just be inside yourself alone when you were alone in your room. And that's one of my favorite passages that you read. Like I'm always sort of like mouthing along, like it's a song.   Melissa: (40:57) I'm just interested and I really love the sort of conception of like a girl's room as a potential space that sort of maps on to the way I described the writing space where it's just like a space where other, where the gaze of others, or the gaze that we're taught to please like can be kept out to some extent. And just like, you know, that isn't true, obviously for like lots and lots and lots of girls, but just that there is an impetus for us to create or invent or designate a space where that is true.   Lito: Yeah, I think that's what she's up to in "A Room of One's Own."   Annie: It makes me think of like girls' rooms as like kind of also these reductive spaces, like they all have to have pink or whatever, but then you like carve out a secret space for yourself in that room, which I think is what you're talking about with your writing.   Donika: Oh, I was just thinking about what happens when you don't have a room like that, cause I didn't, like I absolutely did not have a room that was… inviolable in some way or that like really felt like I could close the door. But writing became a place where that work could happen and where those explorations could happen and where I could do whatever I want and I had control over so many aspects of the work. And I hesitated because I was saying I didn't have that much control over the content.   Like I might think, oh, I'm gonna write a poem about this or a poem about that. And as is true with most writing, the poems are so much smarter and reveal so much more than I might have intended, but I could like shape the box. There are just like so many places to have control in a poem, like there's so many mechanisms to consider where like when Melissa was first sharing like early work with me, I would get so nervous because I would wanna move a comma.   Because in a poem, like that's a big deal, moving somebody's commas around, changing the punctuation. And she was like, "it doesn't matter."   Melissa: I would get nervous because she would be like, "well, I just have one note, but it's like, kind of big." And I would be like, "oh, fuck, I failed." And she would be like,    Donika: "What's going on with these semicolons?"   Melissa: She'd be like, "I just, these semicolons."   Annie: You know, hearing you both talk about (43:20) how you show up for one another as readers, right? In addition to like romantic partners. I mean, we do have the sense, and this can be true of all marriages, queer or otherwise, where like we as readers have a pretty superficial understanding of what you kind of each bring to the table or how you create this protective space or really see one another. I imagine that you've saved yourselves, but I'm curious about to what extent this relationship may have also been a way to save you or subvert relationships that have come before. And yet at the same time, we've asked this question of other lit friends too, which is, you know, what about competition between lit friends? And what does that look like in a marriage? What is a good day versus a bad day?   Donika: I mean, we could be here for years talking about that first question. And so I'm gonna turn to the second part to talk about competition, which is much easier to handle.   I feel genuinely and earnestly so excited at the recognition that Melissa has received. Part of what was really exciting for me about the beginning of our relationship that continues to be exciting is that, is getting to watch someone be truly mid-career and navigate that with integrity. It feels like such a good model, for how to be a writer.   I mean, she's much more forward-facing than I would ever want to be. But I think in terms of just thinking about like, what is the work? How, like, where is the integrity? Like, it's just, it's always so, so forward and it feels really grounding for me and us in the house, so it's always big cheers in here. It helps that we write in different genres. I think that's super helpful.   Melissa: I think it's absolutely key. Yeah.   Donika: It's not, I mean, I think, and that we have very different measures of ambition. I think those two things together are really, really helpful.   But I've read everything that Melissa has written, I think. (45:38) There might be like a few little, I mean, I've read short story, like that short, there was like a short story from like shortly, I think after you, like before you were in your MFA program, maybe.   Melissa: Oh my God. What short story?   Donika: I can't, I'll find it. And show it to you later.   Melissa: Is it about that little plant?   Donika: No, no, it might've been an essay. I'm not sure.   Annie: I love this. This is sort of hot breaking news on LitFriends.   Donika: It's like, I've just like, I did a deep Google dive. I was like, I want to read everything and it's, it feels really exciting.   Melissa: You know, I've dated writers before, and it was a different situation. And I think even if I hadn't, even before I ever did, I thought, that seems unlikely to work. Because even though there are lots of like obvious ways that it could be great, the competition just seemed like such a poison dart that it would be really hard to avoid because writers are competitive, and I'm competitive. And maybe it would have been harder if we were younger or something.   And certainly if we were in the same genre, I think actually, who knows? Maybe it would be possible if we were in the same genre, but it would require a little more care. Even if for some reason we would never publish again, we would keep writing. It just like it functions in our lives in similar ways. And it's like a practice that we came to, you know, I have a more hungry ambition or have historically. And I think our relationship is something that helps me keep the practice at the center because we're constantly talking about it. And I'm constantly observing Donika's relationship to her work. So it really hasn't felt very relevant. Like it's kind of shocking to me how, how little impact competition or comparing has in our relationship. It's really like not even close to one of the top notes of things that might create conflict for us, you know, and I'm so grateful for that. And so happy to have like underestimated what's possible when you have a certain level of intimacy and respect and sort of compatibility with someone.   Lito: We'll be right back.   Annie: (47:57) Welcome back. Well, then I'm wondering, you know, you both have had some like incredible successes in the last few years. And I'm wondering if conversely, you've been able to show up for one another in moments of high pressure or exposure, or, you know, having to confront the world, having been vulnerable on the page in the ways you have been.   Melissa: Donika was not planning on having a book launch for The Renunciations.   Donika: What's a book launch? Like, why do people do that?   Annie: Listen, mine's going to be a dance party, Donika. So…   Melissa: And I made, meanwhile, like when I published Abandon Me, I had a giant dance party that I had like several costume changes for during. But I remember feeling pretty confident about making a strong case multiple times for her to have a book launch for The Renunciations. And also like having a lot of respect and like tenderness watching her navigate what it meant to take work that vulnerable and figure out how to like speak for it and talk about it and like present it to the world. Parts of her would have preferred to just let the book completely speak for itself out there.    Donika: But you were right it was a good time.   Melissa: I was right.   Donika: Because like when Melissa's so when Girlhood came out it was like, that was still the time of like so many virtual events. And it was just like, I think that first week there was like something every day that week, like there was an event every day that week. And now, now like, again, I had to be talked into having a book launch. So I own this. Um, but I was like, Ooh, why, why would you do that? Oh, yeah. Four?   Melissa: This is definitely one of the ways that she and I are like diametrically opposed, and therefore I think, helpful to each other in sort of like creating a kind of tension that can be uncomfortable but is mostly good for both of us to be sort of pulled closer to the middle.   Donika: But my favorite part of that is then hearing you give advice to your friends who are very similar and be like, "whoa, you did too much. You put too many things on the calendar."     Melissa: (50:15) You know, some people would say that that's hypocrisy, but I actually think, I have a real dubious like position and thinking about hypocrisy because I am an expert in overdoing things. And so I think I speak from, I am like the voice of Christmas future. You know what I mean? I'm like, let me speak to you from the potential future that you are currently planning with your publicist. And like, it's not pretty and it doesn't feel good. And it's not, it has not delivered the feeling that you're imagining when you're scheduling all those events.   Annie: I can appreciate this. And I appreciate Donika's kind of role, this particular role in a relationship, because sometimes I just have to go see Leto and literally just lay on Lito and be like, stop me from doing anymore.   Melissa: I know, I know.   Lito: You and Sara are like super overachievers. I have to be like, "can you calm down?"   Annie: We do too much.   Lito: Way too much. What would you like to see your lit friend make or create next?   Donika: I got two answers to this. The first one is the Cape Cod lesbian mystery. I'm ready. You know, we got, I've offered so much assistance as a person who will never write prose. Um, but I got notes and ideas. The second one is, uh, a micro essay collection titled Dogs I Have Loved. Cause I think it would be a New York Times bestseller.   Lito: Oh, I love that.   Donika: I know.   Lito: Speaking of, who's the little gremlin puppy there?   Donika: Oh, yeah, that's Chuck. Chuck is a 15-year-old chihuahua. I've had him since he was a puppy.   Annie: Is Chuck like a nickname, or is that just, it's just Chuck?   Donika: It's just Chuck.   Lito: I love that.   Melissa: His nickname is Charles sometimes. One of his nicknames is Charles, but his full name is Chuck.   Melissa: OK, so I would say, I mean, my first thought at this question was like, I want Donika to keep doing exactly what she's been doing? As far as I can tell, she doesn't have a lot of other voices getting in the way of that process. My second thought is that I'm really interested. I've never heard her talk. She has no interest in writing prose of any kind. She is like deeply wedded to poetry. But I have heard her talk more recently about potential collaborations with (52:40) other artists, visual artists and other writers. And I would, I'm really excited to see what comes out of that space.   Lito: Would you all ever collaborate beyond your marriage?   Annie: I could see you all doing a craft book together.   Melissa: I feel like we could make like a chapbook that had prose and poems in it that were responding to a shared theme. I could definitely see that.   Donika: I really thought you were gonna say Love Poems for Melissa Febos, that's what you wanted to see next.   Melissa: I mean, I already know that that's on deck, so I don't... I mean, it's in, it's on the docket. It's on deck. Yeah. So…   Lito: Those sonnets, get to work on the sonnets.   Donika: Such a mess.   Melissa: This is real, you think, this is not, like, a conversation of the moment. This is…   Annie: Oh no, we can, this is history.   Donika: "Where's my century of sonnets?" she says.   Lito (53:33) What is your first memory?   Donika: Dancing?   Melissa: Donika telling me I'm pretty.   Annie (54:15.594) Who or what broke your heart first?   Melissa: Maddie, our dog.   Donika: Kerri Strug, 1996 Olympics. Vault.   Lito: Atlanta.   Donika: The Vault final. Yeah. Heartbreaking.   Lito: Who would you want to be lit friends with from any time in history, living or dead?   Donika: I just thought Gwendolyn Brooks. I'm gonna go with that.   Lito: I love Gwendolyn Brooks.   Donika: Oh yeah.   Melissa: My first thought is Baldwin.   Donika: It's a great party. We're at a great party.   Melissa: I just feel like I would be like, "No, James!" all the time.   Melissa: (54:30) Or like Truman Capote.   Lito: It'd be wild.   Donika: Messy. So messy.   Annie: What's your favorite piece of music?   Melissa: Oh my god, these questions are crazy! "Hallelujah"?   Donika: Oh god, there's an aria from Diana Damraus' first CD. She's a Soprano. And it's a Mozart aria, and I don't know where it's from, and I can't tell you the name because it's in Italian and I don't speak Italian, but that joint is exceptional. So that's what I'm gonna go with. Oh God, just crying in the car.   Lito: If you could give any gift to your lit friend without limitations, what would you give them?   Donika: Just like gold chains. So many gold chains. Yeah! If I could have a gold chain budget, it'd be a lot.   Annie: (55:23) Donika, we can do this.   Lito: Achievable.   Donika: I mean, yeah. Yeah.   Lito: Bling budget.   Donika: That's the first thing I thought.   Annie: Love it.   Donika: Just like gold, just thin gold chains, thick gold chains.   Melissa: I'm going to go with that, then, and say an infinite sneaker budget.   Lito: Yes. Oh, I want a shoe room. (55:50) That'd be awesome.   Melissa: We need two shoe rooms in this house, or like one. Or we just need to have a whole living room that's just for shoes.   Donika: I just like there's just like one closet that's just like for shoes. Like that's what we need.   Lito: That's great.   Donika: Yeah, but it's actually a room. Yes. With like a sorting system, it's like computer coded.   Annie: Soft lighting. That's our show.   Annie & Lito: Thanks for listening.   Lito: We'll be back next week with our guests Yiyun Li and Edmund White.   Annie: Find us on all your socials @LitFriendsPodcast.   Lito: Don't forget to reach out and tell us about the love affair of you and your LitFriend.   Annie: I'm Annie Liontas.   Lito: And I'm Lito Velázquez. Thank you to our production squad. Our show is edited by Justin Hamilton.   Annie: Our logo was designed by Sam Schlenker.   Lito: Lizette Saldana is our marketing director.   Annie: Our theme song was written and produced by Robert Maresca.   Lito: And special thanks to our show producer, Toula Nuñez.   Annie: This was LitFriends, Episode Three.    

S3 E4 - Welcome back to Whitgift Conversations, the podcast where we talk to staff and pupils about topics that are relevant to you.Now this is a great episode for anyone who's interested in finding out more about IB, that's the International Baccalaureate. Edmund White is the Director of IB and I get to ask him what the differences are between A levels and IB, we find out what's actually involved in the IB and we talk about choices and whether the IB choice is a risky one or not.That's all coming up in this episode and I know you're going to love it. So come with me as we dive into this conversation about IB, it's Edmund White.Whitgift School onlineWebsite: www.whitgift.co.ukWhitgift Global: https://www.whitgift.co.uk/globalTwitter: @WhitgiftSchool1Facebook: WhitgiftSchoolLinkedIn: whitgift-school

The rebirth of the East Village in the late 1970s and the flowering of a new and original New York subculture -- what Edmund White called "the Downtown Scene" -- arose from the shadow of urban devastation and was anchored by a community that reclaimed its own deteriorating neighborhood.In the last episode (Creating the East Village 1955-1975) this northern corner of New York's Lower East Side became the desired home for new cultural venues -- nightclubs, cafes, theaters, and bars -- after the city tore down the Third Avenue Elevated in 1955.By the mid-1970s, however, the high had worn off. The East Village was in crisis, one of the Manhattan neighborhoods hit hardest by the city's fiscal difficulties and cutbacks. It had become a landscape of dark, unsafe streets and buildings demolished in flame.But the next generation of creative interlopers (following the initial stampede of Greenwich Village beatniks and hippies) built upon the legacies of East Village counter-culture to create poems, music, paintings, and stage performances heavily influenced by the apocalyptic situations around them.This was something truly distinct, a creative scene that was thoroughly and uniquely an East Village creation -- punk and hardcore, murals and graffiti, fashion and drag. In this episode Greg hits the streets of the East Village in a special live-on-the-streets event, with musician and tour guide Krikor Daglian (of True Tales of NYC), exploring the secrets of the recent past -- from the origins of skateboarding to the seeds of the American alternative rock scene.FEATURING: CBGB, Supreme, the Pyramid, Club 57, Niagara, 7B, Brownies, and many othersAND special guests Bill Di Paola from the Museum of Reclaimed Urban Space and Ramon 'Ray' Alvarez from Ray's Candy StoreALSO: Check out our Walking The East Village playlist, curated by Krikor and Greg -- on Spotify

Ett semesterparadis, och en del av en queer litteraturhistoria. Men författarnas och frigörelsens idylliska Fire Island rymmer också baksidor, reflekterar Kristofer Folkhammar. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Fire Island är en långsmal sandbank till ö strax utanför New York City. Ön är sagolikt vacker, omgiven av ett glittrande hav, utan bilvägar och bara en kort båttur från den stora staden. Den har sedan 1800-talet tjänat som semesteridyll. Och under lång tid, har den i olika skepnader varit känd som en gayvänlig turistdestination, där otaliga välkända queers tassat längs träspångarna, över vidderna, in i de svalkande skogarna. Jag har aldrig besökt Fire Island, men jag känner mig ändå väl bekant med ön. Inte bara som plats, men som ett återkommande berättelsemönster i amerikansk populärkultur. En bögisk trop, en gaymannens uppgång och fall-kurva, som börjar med frigörelsen i det soliga och öppna, eskalerar till besatt njutningskult och slutar i tragedi och död.Starkt i min sodomitiska minnesbank lyser inledningen av tevefilmen The Normal Heart, filmatiseringen av författaren och sedermera Act up-aktivisten Larry Kramers pjäs med samma namn. Det är 1981 och en båt lastad med glada, vackra män anländer till Fire Island. Huvudpersonen Ned Weeks knäpper sin tunna sommarskjorta i mötet med de smidiga Adoniskropparna, som trippar runt överallt på ön i färgglada speedos. Först tittar Ned nyfiket. Sedan är det som om de perfekta kropparna tittar tillbaka på honom, på hans håriga och otränade författarlekamen. Och hans sätt att stå vid sidan av festen, där han ler ansträngt åt sina extatiska vänner, och med nästan uppgiven blick sedermera ansluter till en osande orgie, rymmer så mycket av de melankoliska aspekterna av Kramers verk och gärning: Var det inte mer än såhär? Är det detta vi kämpat för? Innebär inte frigörelsen annat än excess? 1981 i New York står Aids-epidemin för dörren. Sex kommer att få dödliga konnotationer. Kramer kommer att radikaliseras. Som aids-aktivist riktas hans vrede både mot den homofobiska, passiva staten som låter människor dö, men också mot en naiv och njutningsfixerad bögkultur.I boken Fire Island – Love, Loss and Liberation in an American Paradise, tar den brittiske litteraturforskaren Jack Parlett sig an ön utifrån idén om ett paradis. Och begreppet paradis använder han kritiskt. Fantasier, skriver Parlett, är obegränsade och tillhör i teorin vem som helst, men detsamma går inte att säga om semesterorter. Med hjälp av författaren Toni Morrison betonar han hur paradiset som plats alltid skapas av dem som inte tillåts komma in i det.Så med lika delar upphetsad fascination, politisk granskning och litterärt nörderi formulerar Parlett i sin bok Fire Islands queera, och framför allt bögiska, litteraturhistoria.Walt Whitman och Oscar Wilde. WH Auden, Tennessee Williams, Carson McCullers och Patricia Highsmith. Edmund White och Andrew Holleran. Alla vistades de vid olika tider på ön. Arbetade. Älskade. Dansade. Söp.Parletts stora idol, poeten Frank O'Hara skrev en otrolig dikt under en vistelse på Fire Island där solen pratar med honom, ett exempel på O'Haras poetiska signum ”personism” – där diktens tilltal är riktad direkt till någon, eller något: ”enklare för mig att tala med dig här / ute. Jag behöver inte leta mig ner / mellan byggnader för att du ska lyssna.”O'Hara dog tragiskt på ön 1966. Han blev påkörd i mörkret av en av öns få bilar, efter att hans sällskaps strandtaxi fått motorstopp.Författaren James Baldwin åkte till Fire Island för att arbeta. Han förhöll sig avvaktande mot den dominerande vita, manliga gaykulturen, som var lika rasistisk och exotiserande som det övriga USA, under åren för medborgarrättsrörelsen. Dessutom tyckte Baldwin överlag illa om bohemeri. Han har skrivit om hur han inte gillade människor vars främsta syfte var njutning. Och han ansåg att det fanns få saker här i världen som var mer förödande än jakten på meningslösa sexuella erövringar.Parletts bok är skriven med lätt men tålmodig hand. Han låter sin ambivalens inför Fire Island få utrymme. I sin beskrivning av kopplingarna mellan plats, sexualitet och konst tecknar han verkligen skönheten och möjligheten till utlevelse som förvärvats i denna friska, soliga avskildhet. Och han lyfter fram de samtida konstprojekt som vill göra platsen mer inkluderande, till en tillgänglig getaway för fler än bemedlade, vita cis-bögar. Men han klarlägger också problemen, områdena där paradiset avgränsas eller solkas. Utöver rasismen och klassaspekten, skriver han om sina egna ätstörningar och alkoholproblem i förhållande till en kroppsfixerad och festorienterad bögkultur. Skam och internaliserad homofobi, som uppkommit utifrån men som känns inuti, är knappast de enda faktorerna som förhindrar ett hälsosamt sexuellt liv, skriver Parlett. Hans bok tycks undra: Hur kommer man in när man kommit ut? Och till vad? Boken är ofrånkomligt lika mycket en litteraturhistoria som en innerlig och infallsrik undersökning av vad ett community skulle kunna vara.Kanske är det för det turkosa vattnet som omger Fire Island, men jag kommer att tänka på prideflaggan, när jag läser Parletts bok. Regnbågsmönster har genom historien använts av olika sociala rörelser. Som symbol för Gay Pride började den användas under sent 1970-tal i San Francisco. Efter västvärldens enorma mainstreamifiering av prideflaggan under 2000-talet, har den uppdaterats i flera omgångar. Exempelvis med bruna och svarta fält för att belysa icke-vita pionjärer inom rörelsen, och ett blå-rosa-vitt mönster för att sätta fokus på transpersoners kamp och historia.Men det är inte första gången flaggan reformeras. Redan ett par år efter premiären i San Francisco reducerades de ursprungliga åtta färgerna till sex stycken. Det illrosa fältet, som sägs ha representerat sex, och det turkosa, tänkt att symbolisera konst, plockades bort av produktionstekniska skäl.Det diskuteras huruvida flaggans designer, konstnären Gilbert Baker, verkligen hade en tanke om att varje färg i prideflaggan skulle symbolisera en särskild kraft eller egenskap, eller om det är en efterhandskonstruktion. Men när jag läser Jack Parletts bok kommer en bild för mig. Den av hur ett lysande turkost fält, flimrande av berättelser och bilder, uppstått ur den spretiga priderörelsen, glidit ut från dess tydligaste symbol för rättighetssträvan, och blivit hängande intill den, en bit utanför atlantkusten.Turkos är en kluven färg, mellan blått och grönt. Lugn och samtidigt lekfull, andlig och ändå intensiv, lika delar kontemplativt vatten som rusigt neonljus.Frank O'Haras dikter gav Parlett tillgång till något som kändes som ett personligt språk för erfarenheten att älska andra män. Dikterna och längtan efter ett queert community lockade honom till Fire Island.Konst kan man ha till mycket. Bland annat kan man i konsten söka ett sammanhang, ett fält som sköljer igenom en, som om vartannat speglar och utmanar, vidgar och stör. Låt oss säga att detta fält är turkost. Låt oss säga att detta fält till sin karaktär är sandaktigt, fullt av undflyende skum, och samtidigt vasst av historiens bråte. Kristofer Folkhammar, poet, prosaist och kritiker Översättningen av Frank O'Haras diktcitat är artikelförfattarens egen.

Episode Reading List:* From Queer to Gay to Queer, James Kirchick* How Hannah Arendt's Zionism Helped Create American Gay Identity, Blake Smith* When the Pope Hits Your Eye Like a Big Pizza Pie, That's Ahmari, James Kirchick* Eve Kosofsky Sedgwick's Big Fat Nonbinary Mistake, Blake Smith* Are Conservatives the New Queers?, Blake Smith* Wesley Yang, The Souls of Yellow Folk, John PistelliI have a working hypothesis that no one has suffered a more dramatic decline in a certain kind of social status, as a result of changes in left-liberal elite culture and politics, than white gay men. Less than a decade ago they were at the vanguard of social progress, having led a gay rights movement that achieved an extraordinary series of legal, political, and cultural victories. Now they're perceived as basically indistinguishable, within certain left-liberal spaces, from straight white men. In some activist circles they may be even more suspect, since they're competing for leadership roles and narrative centrality where straight men wouldn't presume (or particularly desire) to tread. My hypothesis, if it's accurate, is interesting on its own terms, as part of a much longer history in America of ethnic and other minority groups rising and falling in relative cultural, intellectual, and literary status. It's also interesting, however, for what it tells us about the recent evolution of left and liberal politics, as they've shifted and reshaped themselves in reaction to both great victories, like the legalization of gay marriage, and to depressingly intractable problems like the persistent racial gaps in wealth, health, incarceration, and crime.I'm less interested in the justice or injustice of this shift in standing (though I'm somewhat interested) than I am in the facts of it and its implications. Why has it happened? What does it feel like for the people who have experienced it? What are its implications? Will there be a backlash? To assist me in thinking through what it all means, I invited to the podcast Blake Smith and Jamie Kirchick. Jamie is a columnist for Tablet magazine, a writer at large for Air Mail, and the author of last year's New York Times bestseller, Secret City: The Hidden History of Gay Washington. He has long been an outspoken critic of some sectors of the gay left and what he perceives of as their desire to subordinate the project of achieving full civic and political equality for gay people to a more radical, revolutionary project to tear down conventional bourgeois ideas of gender, sexuality, marriage, family, monogamy, and identity. In a recent essay in Liberties, “From Queer to Gay to Queer,” Jamie compares the liberal tenets of the gay rights movement to the radical aspirations of what he calls “political queerness”: With its insistence that gay people adhere to a very narrow set of political and identitarian commitments, to a particular definition that delegitimates everything outside of itself, political queerness is deeply illiberal. This is in stark opposition to the spirit of the mainstream gay rights movement, which was liberal in every sense — philosophically, temperamentally, and procedurally. It achieved its liberal aspirations (securing equality) by striving for liberal aims (access to marriage and the military) via liberal means (at the ballot box, through the courts, and in the public square). Appealing to liberal values, it accomplished an incredible revolution in human consciousness, radically transforming how Americans viewed a once despised minority. And it did so animated by the liberal belief that inclusion does not require the erasure of one's own particular identity, or even the tempering of it. By design, the gay movement was capacious, and made room for queers in its vision of an America where sexual orientation was no longer a barrier to equal citizenship. Queerness, alas, has no room for gays. The victory of the gay movement and its usurpation by the queer one represents an ominous succession. The gay movement sought to reform laws and attitudes so that they would align with America's founding liberal principles; the queer movement posits that such principles are intrinsically oppressive and therefore deserving of denigration. The gay movement was grounded in objective fact; the queer movement is rooted in Gnostic postmodernism. For the gay movement, homosexuality was something to be treated as any other benign human trait, whereas the queer movement imbues same-sex desire and gender nonconformity with a revolutionary socio-political valence. (Not for the first time, revolution is deemed more important than rights.) And whereas the gay movement strived for mainstream acceptance of gay people, the queer movement finds the very concept of a mainstream malevolent, a form of “structural violence.” Illiberal in its tactics, antinomian in its ideology, scornful of ordinary people and how they choose to live, and glorifying marginalization, queerness is a betrayal of the gay movement, and of gay people themselves. In the podcast I refer to Jamie as “a man alone.” This isn't quite true. He has comrades out there, in particular older gay writers like Andrew Sullivan and Jonathan Rauch, who share many of his commitments and critiques. Generationally, however, Jamie seems more alone than they do, without a cohort of gay intellectuals of roughly his age who share his intellectual reference points, his liberalism, and his very specific experience of coming of age as a gay man and journalist in America when he did, at his specific point of entry to AIDS, the decline of print and rise of online journalism, and the political advance of gay (and more recently trans) rights. He's a man alone but also, if the premise of this podcast is accurate, a man alone who has been publicly articulating a set of feelings and arguments that is shared by many of his gay male peers, of various generations, but hasn't yet taken shape in the form of a political or intellectual reaction.Blake Smith is my first return guest to the podcast, having recently joined me to discuss Pulitzer Prize-winning essayist and critic Andrea Long Chu (the “it girl of the trans world,” as I called her). He is a recent refugee from academia, now living and working as a freelance writer in Chicago, writing for Tablet magazine, American Affairs, and elsewhere. At 35 he is only a few years younger than Jamie, but is the product of a very different set of formative biographical and intellectual influences. Raised in a conservative Southern Baptist family in a suburb of Memphis, Blake's big coming out, as he tells the story, was less as a gay man than as the kind of academically credentialed, world-traveling, city-based sophisticate he has become. If Jamie's sense of loss is maybe something in the vicinity of what I proposed at the top of this post–that he went from being in the ultimately victorious mainstream of the gay rights struggle to being seen as a member of the privileged oppressor class, at best a second-class “ally” and at worst an apostate to the cause –than Blake's experience is less about any personal or political loss of status or standing than it is a variant of the venerable intellectual and literary tradition of pining for a scene or scenes from eras prior to your own. Think Owen Wilson's character in Woody Allen's Midnight in Paris, who was magically transported back to Paris in the 1920s, the scene he'd always romanticized, only to fall in love with a woman from that era who herself romanticizes and eventually chooses to abandon him for another, earlier cultural moment, the Belle Époque scene of the 1890s. For Blake, the key era, maybe, was the brief post-Stonewall period before AIDS superseded all other concerns––so the 1970s, more or less– when gay male life was sufficiently out of the closet for a gay male public to come into existence and begin to define itself and understand how it related, or didn't relate, not just to the straight world but also to feminism, women, Marxism, black civil rights, and other left-wing and liberal movements. In a recent piece in Tablet, Blake writes about the magazine Christopher Street, founded in 1976, and its project of helping to bring into existence a coherent intellectual and cultural community of gay men:In its cultural politics of building a gay male world, Christopher Street featured poetry and short stories, helping launch the careers of the major gay writers of the late 20th century, such as Edmund White, Andrew Holleran, and Larry Kramer. It also ran many essays that contributed to an emerging awareness that there was a gay male canon in American letters, running from Walt Whitman and Hart Crane to John Ashbery and James Merrill.Christopher Street was by no means the only venue for the construction of a gay world, but [editor Michael] Denneny and his colleagues were perhaps the sharpest-minded defenders of its specificity—their demand that it be a world for gay men. In a debate that has now been largely forgotten, but which dominated gay intellectual life in the 1970s, Denneny's Arendtian perspective, with its debts to Zionism, was ranged against a vision of politics in which gay men were to be a kind of shock force for a broader sexual-cum-socialist revolution.For Blake, what's been lost or trumped is less the liberal politics that Jamie champions and that Christopher Street more or less advocated than the existence of a gay male world of letters that had fairly distinct boundaries, a relatively private space in which gay men–who may always remain in some way politically suspect, even reviled, by the mainstream–can recognize and talk to each other.  As he writes in another recent essay in Tablet, maybe half-seriously, “One should, …know one's own type (Jew, homosexual, philosopher, etc.) and remain at a ‘playful distance' from those outside it, with ‘no expectation of essential progress' toward a world in which the sort of people we are can be publicly recognized and respected. No messiahs, and no end to paranoias and persecutions—but, in the shade of deft silences, the possibility of cleareyed fellowship with one's own kind.”Jamie, Blake, and I had what I found to be a really exciting conversation about all these issues and more. Give it a listen.Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Merriam-Webster's Word of the Day for January 16, 2023 is: paladin • PAL-uh-din • noun A paladin is a leading champion of a cause, or a trusted military leader (as for a medieval prince). // The keynote speaker is regarded as a paladin of environmental justice. // The prince summoned the paladin and commended him for his actions in battle. See the entry > Examples: “This collection of stories by one of England's best novelists is both playful and serious in the manner of Laurence Sterne, the 18th-century author of ‘Tristram Shandy.' ... Sterne was the master of the marginal, the random, the inconsequential. In our own day, David Foster Wallace, Geoff Dyer and Ali Smith have become the paladins of this goofy manner.” — Edmund White, The New York Times, 2 Dec. 2016 Did you know? Rome wasn't built in a day, and we know the site where it was founded: Palatine Hill (known as Palatium in Latin), site of the cave where Roman legend tells us Romulus and Remus were abandoned as infants, nursed by a she-wolf, and fed by a woodpecker before being found by a herdsman. In ancient Rome, the emperor's palace was located on the Palatine Hill; since the site was the seat of imperial power, Latin palatium came to mean “imperial” as well as “palace.” From palatium came Latin palatinus, also meaning “imperial” and later “imperial official.” Different forms of these words passed through Latin, Italian, and French, picking up various meanings along the way, and eventually some of those forms made their way into English, including paladin and palace.

Writer/director/friend of the show John Butler (Handsome Devil! Papi Chulo! Amazon's The Outlaws!) makes a return appearance from a similarly rainy Dublin, for a conversation that goes to unexpected, beautiful and nameless places. Along the way, we dive into: standup specials, Colm Toibin, Bronski Beat, Heartstoppers, Barbarian, Edmund White, being along vs. being lonely, a unique and rarely-discussed form of queer love and grief, the special magic of Irish Sea, and, you know, GOD.

Author and Literary Hub Managing Editor Emily Temple and Lit Hub Associate Editor Katie Yee join hosts V.V. Ganeshananthan and Whitney Terrell to talk about Lit Hub's 38 favorite books of the year as chosen by the staff. The list spans genres from historical to memoir to post-digital post-capitalist manifesto to lesbian Sasquatch novel. Each editor reads a selection from a favorite, Temple from St. Sebastian's Abyss by Mark Haber and Yee from The Swimmers by Julie Otsuka.   To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/ This podcast is produced by Anne Kniggendorf. Selected Readings: Emily Temple The Lightness  Katie Yee Others: Our 38 Favorite Books of 2022, Literary Hub Fiction/Non/Fiction Season 5 Episode 26: “This is Such Bullshit.” Shelly Oria and Kristen Arnett on the Reproductive Rights Crisis Fiction/Non/Fiction Season 1 Episode 4: Edmund White and Emily Temple on Literary Feuds, Social Media, and Our Appetite for Drama The Marriage Portrait by Maggie O'Farrell Getting Lost by Annie Ernaux Patricia Wants to Cuddle by Samantha Allen How High We Go in the Dark by Sequoia Nagamatsu St. Sebastian's Abyss by Mark Haber My Three Dads by Jessa Crispin Fight Like Hell by Kim Kelly The Bond King by Mary Childs Empire of Pain by Patrick Radden Keefe No One is Talking About This by Patricia Lockwood The Vanishing Half by Brit Bennett The Nickel Boys by Colson Whitehead On Earth We're Briefly Gorgeous by Ocean Vuong Demon Copperhead by Barbara Kingsolver My Year of Rest and Relaxation by Ottessa Moshfegh If I Survive You by Jonathan Escoffery Trust by Hernan Diaz Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin An Immense World by Ed Yong The Sky is Yours by Chandler Klang Smith Elderflora by Jared Farmer https://moonpalacebooks.com/browse/filter/t/kelly%20link/k/keyword Kelly Link Donald Barthelme Mrs. Bridge by Evan S. Connell The Swimmers by Julie Otsuka Earthlings by Sayaka Murata Tender is the Flesh by Augustina Bazterrica The Ultimate Best Books of 2022 List ‹ Literary Hub Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special holiday episode of Shelf Life, we took time out from our regular format to see what  guests old and new read in 2022. The episode starts with Joyce Maynard, who shot to fame with her 1998 memoir At Home in the World, in which she wrote candidly about the traumatic relationship she had with the author of Catcher in the Rye, J.D. Salinger. But Maynard has also written many novels including Labor Day and To Die For, both made into acclaimed movies, as well as (more recently), Count the Ways.   After discovering what books found their way onto Joyce's reading list in 2022 we pose the same question to Darcey Steinke, author of Suicide Blonde, Jesus Saves, and Flash Count Diary, among others, before rounding out the show with the legendary Edmund White, now 82, a pioneer in contemporary queer fiction (A Boy's Own Story, The Beautiful Room is Empty)  and still writing up a storm (a new novel is due in May 2023) and the irrepressible director, writer, and performer John Waters, a debut novelist himself in 2022 with Liarmouth: A Feel Bad Romance.

Edmund White's A Boy's Own Story: The Graphic Novel: Alessandro, Brian, Carroll, Michael, White, Edmund, Karash, Igor: 9781603095082: Amazon.com: BooksEdmund Valentine White III (born 1940) is an American novelist, memoirist, playwright, biographer and an essayist on literary and social topics. Since 1999 he has been a professor at Princeton University. France made him Chevalier (and later Officier) de l'Ordre des Arts et des Lettres in 1993. White's books include The Joy of Gay Sex, written with Charles Silverstein (1977); his trilogy of semi-autobiographic novels, A Boy's Own Story (1982), The Beautiful Room Is Empty (1988) and The Farewell Symphony (1997); and his biography of Jean Genet. Much of his writing is on the theme of same-sex love. White has also written biographies of three French writers: Jean Genet, Marcel Proust and Arthur Rimbaud. He is the namesake of the Edmund White Award for Debut Fiction, awarded annually by Publishing Triangle. Pianist: Vadim ChaimovichSupport the show

You're listening to Lingo Phoenix's word of the day for June 5. Hot Air Balloon Day Today's word is people, spelled p-e-o-p-l-e. people /ˈpiːpəl/ verb [transitive] formal if a country or area is peopled by people of a particular type, they live there SYN inhabit Honolulu is peopled by native Hawaiians, Japanese, Chinese, Filipinos, white Americans, and others. The region has traditionally been peopled by Armenians. a science-fiction novel about a mission to people Mars The upper part of the valley is well peopled, and many of the hills are cultivated high up. — Scientific American, 20 Apr. 2020 Most of the floors had at least a few offices with the lights on, at least some of them peopled with executives trying to figure out what to do now. — Greg Jefferson, ExpressNews.com, 20 Mar. 2020 Both writers invented a place and, in novel after novel, peopled it with the same characters. — Edmund White, Harper's magazine, 6 Jan. 2020 With your word of the day, I'm Mohammad Golpayegani. We love feedback. If you want to email us, our address is podcast@lingophoenix.com, or you can find me directly on Twitter and message me there. My handle is @MoeGolpayegani. Thanks for listening, stay safe, and we'll see you back here tomorrow with a new word.

David is a political writer and former attorney who took on high-profile cases for religious liberty. He was also a major in the Army Reserve who served in Iraq, and before that he served as president of FIRE, the campus free-speech group. David now writes for The Dispatch and The Atlantic, and his latest book is Divided We Fall: America's Secession Threat and How to Restore Our Nation. Last summer he wrote this wonderful review of my essay collection, Out On A Limb, but this is the first time we’ve spoken.You can listen to the episode right away in the audio player above. For two clips of my convo with David — on how many political Christians completely miss the point of Jesus, and on the “God gap” within the Democratic coalition — head over to our YouTube page.That convo is a good complement to our January episode with Christopher Rufo (the two have tussled before), so we just transcribed Rufo’s episode in full. Here’s a reminder of his stance on CRT in the schools:Starting around the 30-minute mark in the new episode, David and I discuss the tricky defense of liberalism in the face of both CRT curriculum and anti-CRT bills. We also grapple with the corrosive effects of Twitter and, in particular, the commentary surrounding the racist massacre in Buffalo this week. On that note, a reader writes:I am a member of a mainline Christian denomination and parent of young children. My personal and professional experience of social media is centered on connections with clergy colleagues and active church members attached to a wide variety of Christian denominations. When news of the racially motivated shooting in Buffalo broke, my social media relationships immediately shifted to a flurry of outrage, comments about the pox of racism built into the American way, and pithy memes noting that the root problem of all that ails us is white supremacy.For example, one friend wrote in response to the Buffalo shooting, “The root cause of gun violence is white supremacy. We will not be safe from gun violence until we end white supremacy. White fam, we are the ones who can end white supremacy. It is on us.” Presiding Bishop Michael Curry of the Episcopal Church released a statement decrying the racism behind the shooting. Members of my left-leaning church have asked and encouraged me to preach from the pulpit about the evils of white supremacy and white fragility, especially now in light of the Buffalo shooting. However, I did not hear a thing from these same people or religious bodies following the racially motivated shooting by Frank James on the NYC subway last month. Mr. James has been indicted on federal terror charges after shooting ten people. Were there no official prayers for victims and to end racial violence from religious bodies because no one ultimately died in the subway shooting? Why were there no tweets, memes, or impassioned calls to “do better” after such a horrific, calculated attack? The silence after that racially motivated shooting compared to the outcry after this month’s racially motivated shooting is noteworthy. And essential to the CRT worldview. Racism is unique to white people. Another sign of our racialized culture war comes from this listener:In your episode with Douglas Murray, you mentioned that you had to explain to someone how white people did not invent racism. I serve at the school board in Manhattan and we had the same discussion at our last meeting. The district is pushing a book called “Our Skin” to teach elementary kids how white people invented racism. Money quote:“A long time ago, way before you were born, a group of white people made up an idea called race. They sorted people by skin color and said that white people were better, smarter, prettier, and that they deserve more than everybody else,” the book declares.Here’s how Murray addresses the canard that white people invented racism:On a lighter note, here’s a fan of last week’s episode with Tina Brown:In your conversation about the Queen’s inscrutable nature and unceasing impartiality, you forget one spectacular lapse into utter bias: the 1995 referendum on Quebec sovereignty!Pierre Brassard, a Quebec disc jockey, called Buckingham Palace impersonating the (then) Canadian PM Jean Chretien begging her to support the NO side and, astonishingly, got through to Queen Elizabeth! In the conversation, broadcast live in Montreal, she actually said, “It sounds as though the referendum may go the wrong (!) way...”. She said many other things that were blatantly against Quebec separating and was willing to make a public statement. Here’s the audio (and pardon Elizabeth R’s surprisingly bad French!): While I voted Non and thought the hoax was screamingly hilarious, this referendum was about the self-determination of a nation and she was hardly a glowing example of non-interference and impartiality. Quebec separatists were apoplectic. She wouldn’t even make a clear declaration in favour of the “No” side in the Scottish referendum! Ah, well ... even Captain Kirk broke the prime directive 33 times. Self-determination must be overrated. Here’s Tina on why the best British monarchs tend to be women:Another fan of the episode writes:So I’m a stereotypical NPR-listening, NYT-reading, Anglophilic liberal, happy to watch whatever B-grade pablum PBS airs on Sunday nights, as long as it has a British accent. So of course I fell in love with Downton Abbey. Part of my stereotypical outlook is holding a certain condescension toward the lower-class examples of American culture — you’d never catch me watching a soap opera, for example. But somewhere in the last season of Downton Abbey, it hit me full-on that the show is just a soap opera for snobs. That realization was a nice, bright, uncomfortable look in the mirror. What a hypocrite I am! That said, I can’t wait for the new Downton Abbey movie that opens this week:On the subject of Americans and their relationship with the British monarchy that you and Tina Brown discussed, to me it isn’t very complicated. It’s the embodiment of our cultural heritage, so it represents roots and stability in our land that values change and progress. And the monarchy is sacramental — another quality our society lacks, and which we’ve projected onto the office of the president as compensation. Toggling from listeners to readers, one of the latter writes:I have been thinking a lot about your May 6 column on the SCOTUS leak (“How Dare They!”) and the following week’s large number of reader responses to it. First, I want to say that, although I’m fiercely pro-choice, your column was strongly persuasive and helped me to think about Roe v Wade in a very different way. I love this about the Dish — the way you introduce complexity and nuance to issues that are polarizing and thus typically presented in stark black-and-white terms. But there is one potential detail of your argument that I continue to struggle with. While I accept that, in a liberal society, such issues as abortion should be a matter of debate and resolution via the popular voice, in practice they rarely are — because of the reality of our political system. Because of our two-party system and the primary elections that determine candidacy, most moderate, centrist voters simply do not have a choice to exercise their opinion on a wide variety of issues. They cannot vote individually on issues of substance, in an a la carte fashion. They are forced to accept a homogenous party platform that, in toto, represents the least worst of two extremes. For example, if I am a pro-choice moderate conservative who supports free markets, minimal government regulation, and low taxation, and is concerned about wokeness and CRT, my only choice to cast a vote in support of access to abortion is to vote for a candidate who is antagonistic to these other issues of import to me. You cite statistics in your column indicating broad support among Republicans for a moderate stance on abortion. Yet, I would argue that relatively few of these voters are going to voice that support by voting for a Democratic candidate — especially a far-left candidate — even if this means voting for the far-right opponent. This, then, is interpreted by the GOP as proof that their constituency supports the extreme view held by the majority of the GOP candidates. If we had a center party, I may be more optimistic in sharing your view of things. But as it stands, I feel like our choice is no choice at all.I feel you. But this is unavoidable in a democracy with political parties and winner-takes-all systems. Another reader has a few more laments:I believe anti-abortion-rights activists have not fully considered the consequences of how eliminating legal abortion will impact families. It is almost certain that the rate of child poverty in America will increase if a ban on abortion takes place.  Most of the states which want to ban abortion also have small child-welfare programs. That will result in more children being born into poor economic circumstances.Another thing that will probably happen is an increase in crime. The crime rate in the US has been falling since the early ‘90s, when kids born after Roe first started reaching adulthood. There is a clear link between kids being neglected and unwanted and then turning to crime. This was documented in the book Freakonomics.I believe the pro-choice side will win this debate. But perhaps it will only win when the full, horrifying consequences of banning all abortions — such as in the Oklahoma bill just passed — comes into focus. This next reader goes meta:In your otherwise excellent compilation of reader thoughts about Roe, you had one response I want to quibble with. After quoting one reader, you wrote: “Oh please. This next reader gets specific:” — and then went on with the next quote.I don’t recall what the first reader said, and it doesn’t matter because your response was inappropriate no matter what was said. If you think the reader’s argument has no merit, omit the comment. If you have a rebuttal to the reader’s argument, offer it. Even if you disagree with the reader but lack the time or energy to formulate a proper response, that’s fine too: Just print the comment with no response.What’s not OK, ever, is to reply with just a snarky dismissal and no further comment. That’s rude to the reader, and it makes you look like a dick.That whole big collection of reader dissents was compiled and edited by my colleague, Chris, who does that every week to hold my feet to the fire. I don’t censor the reader criticism he offers — so forgive me the occasional harrumph. Another reader switches topics:I read these two excerpts in your weekly money quotes:“There were also homosexual women at the Pines, but they were, or seemed to be, far fewer in number. Nor, except for a marked tendency to hang out in the company of large and usually ferocious dogs, were they instantly recognizable as the men were,” - Midge Decter, who died the week, on Fire Island in the summer of 1980.“Well, if I were a dyke and a pair of Podhoretzes came waddling toward me on the beach, copies of Leviticus and Freud in hand, I’d get in touch with the nearest Alsatian dealer pronto,” - Gore Vidal, responding to Midge.I had known about Decter’s “The Boys on the Beach” essay for decades, maybe since the late ‘80s, but I had never read it — until a few months ago. I am 66 years old, was practically always out, loved to read all the gay literature, and I have to say, that essay got the pulse of ‘70s gay life and society better than Edmund White (his “States of Desire” was published in 1980 and I still have my copy) or any other commentator I know of, with the exception of Randy Shilts’s “And the Band Played On.”Decter had gay acquaintances, friends, and frenemies, and she saw aspects of gay life with a beady-eyed sharpness and skepticism I wish more of us had had back then. I remember when I officially came out in 1974 at 18, met a couple of good-looking guys in their late 20s/early 30s who, like the vast majority of gay men, talked about sex all the time, with a greater intensity than straight guys I knew. So I asked them how many guys they had been to bed with and they said maybe 500 or 600. Asked them if they were afraid of getting diseases, and they said “no” because they just went to the public health clinic to get a shot. And right there, I sensed that at some point, there would be a gay healthcare catastrophe. I was not the only who had that sense, but it was very censored in the community.I tend to agree about Decter’s accuracy and perception, however laced it was with disgust. It’s a riveting piece — proof that sometimes being alien to a subculture makes you a better observer of it. She and Larry Kramer were essentially on the same page when it came to gay male culture in the 1970s. And yes, the omens were there. And now there’s monkeypox, which seems as if it might have found the same transmission route as HIV. Gulp.Lastly, because we ran out of room this week in the main Dish for the new VFYW contest photo (otherwise the email version would get cut short), here ya go:Where do you think it’s located? Email your guess to contest@andrewsullivan.com. Please put the location — city and/or state first, then country — in the subject line. Proximity counts if no one gets the exact spot. Bonus points for fun facts and stories. The winner gets the choice of a VFYW book or two annual Dish subscriptions. If you are not a subscriber, please indicate that status in your entry and we will give you a free month subscription if we select your entry for the contest results (example here if you’re new to the contest). Happy sleuthing! Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe

How's this for fun? Take 27 incredible writers–including winners of the Pulitzer Prize, the National Book Award, PEN Awards, Women's Prize for Fiction, Edgar Award, and more–and invite each of them to write an erotic short story. Then publish the collection in one steamy anthology with the authors listed alphabetically at the beginning of the book but none of the stories attributed, so nobody knows who wrote what. We're talking about authors Robert Olen Butler, Louise Erdrich, Julia Glass, Rebecca Makkai, Helen Oyeyemi. Mary-Louise Parker, Jason Reynolds, Paul Theroux, Luis Alberto Urrea, Edmund White, and more. The idea was the brainchild of authors Hillary Jordan and Cheryl Lu-Lien Tan, and the book is called Anonymous Sex. In this episode, Hillary and Cheryl join Julie and Eve to discuss the responses they got when they reached out to authors, how the freedom of anonymity allowed authors to write outside their own identities, and what surprised them most about the collection (“there is a lot of cunnilingus in this book”). Cheryl Lu-Lien Tan is author of the international bestsellers Sarong Party Girls and A Tiger in the Kitchen: A Memoir of Food and Family. She's also the editor of the fiction anthology, Singapore Noir. Cheryl was a staff writer at The Wall Street Journal, In Style, and The Baltimore Sun, and her stories and reviews have also appeared in The New York Times, Times Literary Supplement, The Paris Review, The Washington Post, and Bon Appétit, among others. Hillary Jordan is the author of the novels Mudbound and When She Woke. Mudbound was an international bestseller that won multiple awards and was adapted into a critically acclaimed Netflix film that earned four academy award nominations. Hillary is also a screenwriter, essayist, and poet whose work has been published in The New York Times, McSweeney's, and Outside Magazine, among others. Find us on Twitter (@bookdreamspod) and Instagram (@bookdreamspodcast), or email us at contact@bookdreamspodcast.com. We encourage you to visit our website and sign up for our newsletter for information about our episodes, guests, and more. Book Dreams is a part of Lit Hub Radio and the Podglomerate network, a company that produces, distributes, and monetizes podcasts. For more information on how The Podglomerate treats data, please see our Privacy Policy. Since you're listening to Book Dreams, we'd like to suggest you also try other Podglomerate shows about literature, writing, and storytelling like Storybound and The History of Literature. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's a MASHUP!! Mary & Wyatt settle in for a chat about reproductive health & justice, life in the post-truth era, and how to feel grounded in a world where reality is under constant attack. In a sometimes stream-of-consciousness (but always rollicking fun) discussion, they also talk about why access to reproductive healthcare is a fundamental human right. Also on the agenda: scam-baiting, “The Amazing Race,” and poems by Edmund White and Tearisa Siagatonu. 

On Susanna Clarke's Piranesi, Ken Follett's The Evening and the Morning and Edmund White's A Saint from Texas

Michael Langan is an accomplished editor and writing coach who intimately knows the ins and outs of the publishing industry. He's an author himself, and helps other writers elevate their creative writing and critical reading skills.   He's also an avid student of the literary movement – studying Cultural History for over 2 decades, holding a phD in Creative Writing, and teaching English Literature at Greenwich University, London.   Other than focusing on his own writing career and helping his coaching clients, Michael also works as the Arts Editor at a popular LGBTQ magazine in London – interviewing acclaimed novelists such as Edmund White and Tom Spanbauer.   In this episode Michael reveals how to use the editing process to improve your writing, as well as how he navigates the tumultuous world of publishing.   Episode Highlights   A deep-dive into the tumultuous rollercoaster of the publishing industry How Michael's found agents to represent his work His advice for promoting yourself as a freelance editor How Michael pushes through tough writing challenges His advice for dealing with rejection when you're pitching your book to publishers The biggest differences between e-publishing, self-publishing, and traditional publishing How to prepare yourself for the intense editing process after you've written your book His method for breaking down huge projects and setting realistic writing milestones Why it's critical for editors to balance tough love and empathy when working with writers How to break through writers block when you're struggling to write Why it's critical that an editor learn to balance tough love and empathy

In this episode of the Fiction/Non/Fiction podcast, writers Edmund White and Emily Temple talk to hosts V.V. Ganeshananthan and Whitney Terrell about writers feuding with each other. Readings for the episode: ·      “25 Legendary Literary Feuds, Ranked,” by Emily Temple, Literary Hub.·      “YouTube, the Great Radicalizer,” by Zeynep Tufekci, The New York Times.·      The Unpunished Vice: A Life of Reading by Edmund White·      Caracole by Edmund White·      The Breaking Point: Hemingway, Dos Passos, and the Murder of Jose Robles by Stephen Koch·      “Ta-Nehisi Coates Deletes Twitter Account Amid Feud With Cornel West,” by Jennifer Schuessler, The New York Times.·      “Perchance to dream: In the age of images, a reason to write novels,” by Jonathan Franzen, Harper's Magazine. (paywall)·      “Why experimental fiction threatens to destroy publishing, Jonathan Franzen, and life as we know it: A correction,” by Ben Marcus (paywall)  Guests:·               Edmund White ·               Emily Temple  Learn more about your ad choices. Visit megaphone.fm/adchoices