Podcast appearances and mentions of edwin frank

My guest on the show today is Ash Carter, writer and editor for Air Mail magazine and all around chronicler of the post-war cultural elite. I asked Ash to come on after reading the most recent in a series of profiles he's written about great editors of the 20th century, some of whom, for reasons we discuss, were semi-cancelled in the last decade or two. He's written about, for instance, former New Republic editor and owner Marty Peretz, Peretz's longtime literary editor Leon Wieseltier, Vintage Classics legend Gary Fisketjon, New York Review Classics visionary Edwin Frank, and Dick and Jeanette Seaver of Arcade Publishing.It's a fun conversation that hits on a few of my abiding concerns: the legacy of the WASP elite on our culture and politics, the ways in which we should think about people who do bad things but have made great things, and graphic design, which Ash cares about more than the average magazine editor.I lead off the episode by saying something, perhaps against my better judgement, about Jeffrey Epstein (or Jeff Epstein, as we started calling him in my family for some reason).Here's what I say. I am genuinely befuddled.I was listening to Jay Kang and Tyler Austin Harper's podcast, Time to Say Goodbye, and they weren't full conspiracy on Epstein, but I'd say 70% conspiracy.Here's Harper, for instance, on a recent episode:it does appear to be true that …. There is an international network of very powerful pedophiles that have a not inconsiderable amount of leverage on various halls of power. It shouldn't be lost. We've said this on the show before, but two out of the last four presidents were people who were very friendly with Epstein. But I think the real story here is that, yes, you have this hard kernel of like true blue elite pedophilesAnd then on the other side of things I was reading some posts by Michael Tracey and Matt Taibbi, and their perspective seems to be that Epstein was basically an immensely sleazy guy who paid for sex with young women and didn't look too closely at whether they were over or under 18 but didn't necessarily have a particular desire to have sex with underage women. Their paradigm is that a lot of this is Russiagate style hysteria/moral panic, fueled both by conspiracy theorists of all stripes and by various political and media actors who are cynically pumping up the story to drive clicks and gain electoral advantage,Claude AI comes in somewhere in the middle, telling me that “the evidence strongly supports that Epstein … Epstein deliberately and systematically sought out minors. The infrastructure he built—the recruitment network, the payments, the documentation—wasn't consistent with someone who simply preferred young-looking women and occasionally made mistakes. It was consistent with someone whose preference was specifically for adolescent girls.”It also says that when it comes to the question of other men being involved, it's murky: “The names that circulate publicly—Clinton, Trump, Dershowitz, various billionaires—appear in flight logs or visitor records, but presence at Epstein's properties doesn't establish participation in abuse. Epstein cultivated legitimacy by surrounding himself with prominent people, many of whom may have had no idea what else was happening.”I say all this not to offer my own two cents but just to articulate the opposite, which is that I have no clue. The evidence is too vast, and my time too limited, to feel as though I can have a direct interpretation of the evidence, and many of the people to whom I typically turn for a relatively sober account of reality, against conspiracy theory, or moderately conspiratorial. And then the people like Tracey and Taibbi complicate things too, because although their extreme skepticism of official narratives is so often distortionary, and therefore not a good guide to what's actually going on, in some cases it can provide a very useful signal for when we should be skeptical of official narratives,They were more right than wrong about Russiagate, or at least right about certain things that most people got wrong. So is this Russiagate all over again, and if so, what the hell does that mean, because as I ponder the comparison I realize I still don't even know what to make of Russiagate?I don't know. It was always the case that the gatekeepers were wrong about some big things, but it used to be the case that we just swallowed their narratives anyway, because we weren't exposed to alternatives. Now we're living in this fractured informational environment where we're so much more acutely aware of the fragility of the conventional narratives, and so much more exposed to alternatives, but our brains haven't gotten bigger in proportion in order to sift through the data more efficiently and effectively.I spend a lot of time thinking and reading about these things, and have a lot of faith in my capacity to perceive what's going on most of the time with some accuracy, but here I'm just adrift, and I wonder if in my adriftness I'm experiencing firsthand something like what most people who don't think, read, and write about this stuff as much as I do experience when confronting the political world, and what role this plays in pushing them into self contained bubbles or tribes that replicate, in a way, the single narrative cognitive environment we all had back in the days of the gatekeepers. So there's still a conventional narrative that we have to protect us from too much cognitive dizziness, it's just that there are many of them at once.Anyway, that's my two cents on Epstein. I'll keep trying to get a handle on it, but I won't have any guests on to talk about it because who needs another podcast about the Epstein files.Hope you enjoy my conversation with Ash.Peace. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

Though the last twelve episodes have taken Marina Warner and her interlocutors through many worlds and texts, no series could ever encompass the full scope of fantastic literature. This episode, recorded live at Swedenborg House, is an attempt to fill the gaps, or fail heroically. Marina and Adam Thirlwell are joined by Edwin Frank, editorial director of the New York Review Books and author of ‘Stranger than Fiction: Lives of the Twentieth Century Novel'. Together they assess existing canons and definitions, redefine and rediscover categories and exceptions, and consider the pleasures and uses of the fantastic. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠https://lrb.me/applecrff⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠https://lrb.me/closereadingsff⁠⁠⁠⁠ Read more in the LRB: Colin Burrow: Fiction and the Age of Lies ⁠https://www.lrb.co.uk/the-paper/v42/n04/colin-burrow/fiction-and-the-age-of-lies⁠ Marina Warner on fairytale: ⁠https://www.lrb.co.uk/the-paper/v12/n21/marina-warner/that-which-is-spoken⁠ Jonathan Lethem on Stanisław Lem and Science Fiction: ⁠https://www.lrb.co.uk/the-paper/v44/n03/jonathan-lethem/my-year-of-reading-lemmishly⁠ A.D. Nuttall on the rhetoric of the fantastic: ⁠https://www.lrb.co.uk/the-paper/v04/n21/a.d.-nuttall/really-fantastic

This week, Scott sat down with his Lawfare colleagues Anna Bower, Michael Feinberg, and Roger Parloff to talk through the week's big domestic news stories, including:“Diving Head First into the Shallow End of the Jury Pool.” A federal magistrate judge has concluded that the government may well have made substantial misrepresentations and other errors before the Grand Jury in the prosecution of former FBI director James Comey, and has ruled that Comey is entitled access to extraordinary discovery to make his case that these errors warrant dismissal, among other possible remedies. What does this ruling—which is now on appeal—mean for the Comey prosecution and for the Trump administration's other efforts to prosecute the president's enemies?“The Ep Files: Fight the Future.” Republicans in Congress are hotly divided on the question of the Epstein files. While some Republicans (along with many Democrats) have sought broader disclosures from the Justice Department, among other sources, Speaker Mike Johnson and others have thrown up roadblocks to relevant requests, in part out of apparent concern that they may contain damaging revelations about President Trump. But the White House did an about-face this week, switching to support legislation that would compel disclosure of the investigatory materials—clearing the way for it to move forward. What explains the switch in time? And where might it lead?“Pipe Dreams.” The right wing media outlet The Blaze released a bombshell report last week, indicating that they had identified a law enforcement and intelligence official as the likely perpetrator of the Jan. 6, 2021, attempted pipe bombing of the DNC and RNC headquarters in Washington, D.C.—a longstanding obsession in certain corners of the internet. But its claims were quickly rebuked by senior FBI officials, triggering a round of mutual incrimination and accusation. What does this tell us about the state of the investigation and the broader relationship between the Trump administration, law enforcement officials, and prominent portions of his support base?In object lessons, Anna revisits an older novel, echoed by some current events: Nora Ephron's “Heartburn.” Roger revisits the November 13, 2015, terrorist attacks across Paris, commemorating the event's 10-year anniversary with a recommendation of a video on Le Monde. Scott will be revisiting one of his favorite holiday events in the DC area: the Aimee Mann and Ted Leo Christmas Show. And Mike is revisiting novels of the past, bit by bit, through Edwin Frank's “Stranger than Fiction: Lives of the Twentieth Century Novel.”To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Scott sat down with his Lawfare colleagues Anna Bower, Michael Feinberg, and Roger Parloff to talk through the week's big domestic news stories, including:“Diving Head First into the Shallow End of the Jury Pool.” A federal magistrate judge has concluded that the government may well have made substantial misrepresentations and other errors before the Grand Jury in the prosecution of former FBI director James Comey, and has ruled that Comey is entitled access to extraordinary discovery to make his case that these errors warrant dismissal, among other possible remedies. What does this ruling—which is now on appeal—mean for the Comey prosecution and for the Trump administration's other efforts to prosecute the president's enemies?“The Ep Files: Fight the Future.” Republicans in Congress are hotly divided on the question of the Epstein files. While some Republicans (along with many Democrats) have sought broader disclosures from the Justice Department, among other sources, Speaker Mike Johnson and others have thrown up roadblocks to relevant requests, in part out of apparent concern that they may contain damaging revelations about President Trump. But the White House did an about-face this week, switching to support legislation that would compel disclosure of the investigatory materials—clearing the way for it to move forward. What explains the switch in time? And where might it lead?“Pipe Dreams.” The right wing media outlet The Blaze released a bombshell report last week, indicating that they had identified a law enforcement and intelligence official as the likely perpetrator of the Jan. 6, 2021, attempted pipe bombing of the DNC and RNC headquarters in Washington, D.C.—a longstanding obsession in certain corners of the internet. But its claims were quickly rebuked by senior FBI officials, triggering a round of mutual incrimination and accusation. What does this tell us about the state of the investigation and the broader relationship between the Trump administration, law enforcement officials, and prominent portions of his support base?In object lessons, Anna revisits an older novel, echoed by some current events: Nora Ephron's “Heartburn.” Roger revisits the November 13, 2015, terrorist attacks across Paris, commemorating the event's 10-year anniversary with a recommendation of a video on Le Monde. Scott will be revisiting one of his favorite holiday events in the DC area: the Aimee Mann and Ted Leo Christmas Show. And Mike is revisiting novels of the past, bit by bit, through Edwin Frank's “Stranger than Fiction: Lives of the Twentieth Century Novel.”To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute. Hosted on Acast. See acast.com/privacy for more information.

When the polymorphous writer Ursula K. Le Guin died in 2018, she left behind novels, short stories, poetry, essays, manifestos and French and Chinese translations. The huge and loyal readership among children and older readers that she built during her lifetime has only grown since her death, as has recognition of her work as ‘serious' literature. Chafing against her confinement in genre fiction, she liberated sci-fi, fantasy and YA literature from the condescension to which they had long been subjected. In 2016, she joined the short list of authors to be published in their lifetime by the Library of America. For the final regular episode of Fiction and the Fantastic (though there will be one more special episode) Marina and Chloe read ‘The Left Hand of Darkness' and ‘The Dispossessed': works of exceptional imaginative power and intellectual range, passionate idealism and keen-eyed observation. Is Le Guin's status in both literary and ‘genre' canons a testament to the force and clear-sightedness of her radical – even prophetic – political vision? And what does it mean for the fantastic if we accept her self-characterisation as a ‘realist of a larger reality'? Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠https://lrb.me/applecrff⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠https://lrb.me/closereadingsff⁠⁠⁠⁠ Further reading and listening from the LRB: Colin Burrow on Ursula K. Le Guin: https://www.lrb.co.uk/the-paper/v43/n02/colin-burrow/it-s-not-jung-s-it-s-mine A collection of writing on science fiction from the LRB: https://www.lrb.co.uk/collections/in-hyperspace Amia Srinivasan on Le Guin's experiments with pronouns: https://www.lrb.co.uk/the-paper/v42/n13/amia-srinivasan/he-she-one-they-ho-hus-hum-ita Colin Burrow discusses Le Guin with Thomas Jones on the LRB Podcast: https://www.lrb.co.uk/podcasts-and-videos/podcasts/the-lrb-podcast/magical-authority Next episode: A taxonomy of fantastic literature with Marina, Adam Thirlwell and Edwin Frank.

Om dagens bokmarknad metadels består av 1800-talsromaner, vad är då en modern roman? Mattias Hagberg försöker skilja äpplen från päron. 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. Det börjar med en röst, en röst som förefaller komma ur tomma intet: ”Jag är en sjuk människa… Jag är en ond människa. En frånstötande människa.”Fjodor Dostojevskijs ”Anteckningar från källarhålet”, om en namnlös, ensam och bitter man, är omöjlig att värja sig mot. Monologen är påträngande och andfådd; orden väller fram över sidorna; budskapet är svårfångat och motsägelsefullt, men rösten är ändå, på något märkligt sätt, övertygande. Stämman, som kommer mot mig som läsare, är självisk och karaktärslös, den koketterar gärna med sina egna tillkortakommanden och med sin förkärlek för det låga, lidelsefulla och irrationella.Dostojevskij slår an en ton som på en och samma gång känns uppriktig och lögnaktig, intim och främmande. På ett ställe utropar den namnlösa romanfiguren: ”Men nu räcker det… Vad har jag lyckats förklara med dessa ordanhopningar?” Och på ett annat: ”Jag vill här varken försvara lidandet eller välståndet. Det jag försvarar är… mina egna infall och en garanterad rätt att följa dem, närhelst det känns nödvändigt.”Ja, vad är detta egentligen för en text? Vad vill den? Ett intressant svar på dessa frågor finns hos den amerikanske kritikern och tidskriftsredaktören Edwin Frank i hans uppslagsrika studie ”Stranger than Fiction: Lives of the Twentieth-Century Novel” från 2024, ett svar som pekar fram mot en samtida diskussion om litteraturens roll och betydelse.Med Dostojevskij, skriver Edwin Frank, börjar den moderna romanen. Här möter vi för första gången en text som inte utger sig för att vara något annat än just litteratur, men som samtidigt undflyr alla försök att inordnas. Romanen förefaller, med Edwin Franks ord, att handla om ”allt och ingenting”. Här finns ingen entydig handling, ingen början och inget slut, inga distinkta karaktärer, bara en röst som mal och mal, som talar utan att bry sig om ifall någon lyssnar.Visst, ”Anteckningar från Källarhålet” hade föregångare, texter som rörde sig mot det subjektiva och irrationella, men ingen annanstans hade anslaget varit så tydligt och så konsekvent genomfört som hos Dostojevskij. Titeln på Edwin Franks bok, det svåröversatta engelska uttrycket ”stranger than fiction”, är talande. Det bär på en hel teori om litteratur som det kan vara värt att dröja vid; det vill säga att den moderna romanen, den som uppstod med Dostojevskij och fortsatte med författare som Franz Kafka, Gertrude Stein och Virginia Woolf, inte i första hand bygger på fiktion, utan på något mycket märkligare, något mycket mer udda och undflyende.För Edwin Frank är fiktionen intimt förknippad med det tidiga 1800-talet. Fiktionen var romantikens och realismens verkningsfält. Författarna i denna tradition ville avbilda och underhålla, berätta och gestalta, de ville spegla verkligheten eller få den att framträda på nytt med fantasins hjälp. Men även om de bröt ny mark, riktade blicken mot nya områden och nya företeelser, var de fast förankrade i sin form – i den klassiska berättelsen, med sin tydliga början, mitt och slut. De ville förmedla en känsla av trovärdighet. Läsaren skulle bjudas in i en värld som kändes sammanhängande och förståelig. En form som numera dominerar bokmarknaden, och som i dag kanske bäst beskrivs med orden kommersiell realism.Den moderna romanen däremot, den som Edwin Frank kallar 1900-talsromanen, ville något annat, eller rättare sagt något mer.Men vad?Edwin Frank svarar med en katalog, eller en konstellation, som han själv uttrycker det. I ”Stranger than Fiction” lyfter han fram ett trettiotal romanförfattare som verkat i Dostojevskij efterföljd, från André Gide till W. G. Sebald, och deras verk.1900-talsromanen är för Edwin Frank inte en form utan ett förhållningssätt. Den vill inte inordna sig, eller underordna sig någonting, eftersom den inte är intresserad av samma saker som sina föregångare; den vill inte bygga världar, den vill inte gestalta, den vill inte kommunicera. Den är reaktiv i stället för formativ – det vill säga: den moderna romanen är ett subjektivt svar på en upplevelse eller en erfarenhet, inte ett objektivt sätt, en objektiv form, för att gestalta en situation. Därmed blir också själva språket, det personliga uttrycket, en naturlig del av denna reaktion. De författare som Edwin Frank lyfter fram är inte i första hand intresserade av att sända begripliga budskap till sina läsare. Nej, de svarar med de ord de har till hands, med det språk som är möjligt i just deras situation. De prövar sig fram. Undersöker och testar. De försöker. Ja, ordet försöker är centralt. Den moderna romanen, den som Edwin Frank kallar 1900-talsromanen, är en anstas.Hos Dostojevskij är detta tydligt, det räcker med att läsa de första raderna ur ”Anteckningar från källarhålet” för att förstå att här arbetar en författare som reagerat starkt på sin samtids övertro på förnuftet och framsteget, och som gör det på sitt alldeles egna sätt, såväl språkligt som innehållsmässigt. Men det skulle så klart gå lika bra att exemplifiera med någon av de andra romanerna ur Edwin Franks katalog, som Ralph Ellisons reaktion på rasismen i den bitvis absurda ”Osynlig man” från 1952, eller Chinua Achebes svar på kolonialismen i ”Allt går sönder” från 1958, eller Elsa Morantes uppgörelse med den moderna historieskrivningen i romanen ”Historien” från 1974. I debatten om litteratur är det vanligt att göra en distinktion mellan fin- och fullitteratur, mellan det som är bra och det som är dåligt – som om litteraturen var en produkt en på en marknad, där det gällde att göra rationella val. Inrättandet av en kanon handlar om just detta, liksom betygsättning av litteratur, eller listor över de bästa böckerna just nu.Men det finns ett annat synsätt, ett annat språk för att tala om litteraturen i allmänhet och romankonsten i synnerhet. Som inte är intresserat av värdering i traditionell bemärkelse, utan av litteraturen som ett levande förhållningsätt till en värld i ständig förändring. Ur denna blickpunkt växer litteraturen ur ett existentiellt behov av att reagera på sin omgivning. Den är inte bra eller dålig. Sann eller falsk. Den är responsiv. Den är ett genuint försök att svara på en verklig erfarenhet – ett försök som dessutom, i kraft av sin originalitet och sitt språk, kräver ett gensvar av den som läser. Mattias Hagbergkulturjournalist, litteraturkritiker och författare, samt universitetslektor i litterär gestaltningLitteraturEdwin Frank: Stranger Than Fiction – Lives of the Twentieth-Century Novel. Vintage publishing, 2024.

What should great fiction do for us? That's the question asked by Edwin Frank, editorial director of New York Review Books and author of Stranger than Fiction: Lives of the Twentieth-Century Novel.  Good books—and there were many written during the past hundred years—can entertain, just as they can give us pleasure. But great ones have the ‘power to breach,' that is, to upset and provoke us, shattering our illusions about the world.  On this episode, Frank speaks with Commonweal contributor and literary critic Tony Domestic about authors like Dostoevsy, Proust, and Virginia Woolf, among others. For further reading: Fiction by Alice McDermott Mollie Wilson O'Reilly on George Eliot's double life  Tony Domestico's latest books column 

A project that has been over a decade in the making “Stranger than Fiction: Lives of the Twentieth-Century Novel” traces the trajectory of the 20th century novel through 32 titles from “The Immoralist” and “In Search of Lost Time” to “The Enigma of Arrival” and “Good Morning Midnight.”

Medaya Ocher and Eric Newman are joined by writer and artist Renee Gladman to discuss the re-release of “To After That (TOAF)” and her latest book, “My Lesbian Novel.” TOAF focuses on one of Gladman's abandoned manuscripts, working through its creation and revision in an attempt to parse what literary failure means. “My Lesbian Novel” completely reinvents and reimagines the lesbian romance. Gladman discusses form and its possibilities, as well as the artist's struggle to realize the vision of a project. Also, Edwin Frank, author of Stranger than Fiction: Lives of the Twentieth Century Novel, returns to recommend Louis Aragon's Paris Peasant.

Medaya Ocher and Eric Newman are joined by writer and artist Renee Gladman to discuss the re-release of “To After That (TOAF)” and her latest book, “My Lesbian Novel.” TOAF focuses on one of Gladman's abandoned manuscripts, working through its creation and revision in an attempt to parse what literary failure means. “My Lesbian Novel” completely reinvents and reimagines the lesbian romance. Gladman discusses form and its possibilities, as well as the artist's struggle to realize the vision of a project. Also, Edwin Frank, author of Stranger than Fiction: Lives of the Twentieth Century Novel, returns to recommend Louis Aragon's Paris Peasant.

Kate Wolf and Medaya Ocher are joined by the editorial director of the New York Review of Books and the founder of the NYRB classic series, Edwin Frank, to discuss his first work of nonfiction, the book, Stranger than Fiction: Lives of the Twentieth Century Novel. Taking the novel as the preeminent art form of the last century, Frank's book charts its winding path of development, beginning with Fyodor Dostoevskey's Notes from the Underground, published in 1864, and ending with W.G. Sebald's Austerlitz which arrived more than a 100 years later. Along the way, Frank looks at the many different forms and categories great 20th century novels take, from the distinctly modern and popular science fiction of H.G. Wells to the “minorness” of Franz Kafka; the historical precision of Thomas Mann to Gerturde Stein's stress on sentence itself, and James Joyce's stress on words. The book connects an eclectic collection of authors by way of style, sensibility, reception, temporality, and perhaps most importantly the influence of cataclysmic world events on their work and the shaping of their work on the world.

Kate Wolf and Medaya Ocher are joined by the editorial director of the New York Review of Books and the founder of the NYRB classic series, Edwin Frank, to discuss his first work of nonfiction, the book, Stranger than Fiction: Lives of the Twentieth Century Novel. Taking the novel as the preeminent art form of the last century, Frank's book charts its winding path of development, beginning with Fyodor Dostoevskey's Notes from the Underground, published in 1864, and ending with W.G. Sebald's Austerlitz which arrived more than a 100 years later. Along the way, Frank looks at the many different forms and categories great 20th century novels take, from the distinctly modern and popular science fiction of H.G. Wells to the “minorness” of Franz Kafka; the historical precision of Thomas Mann to Gerturde Stein's stress on sentence itself, and James Joyce's stress on words. The book connects an eclectic collection of authors by way of style, sensibility, reception, temporality, and perhaps most importantly the influence of cataclysmic world events on their work and the shaping of their work on the world.

The editorial director of New York Review Books and editor of NYRB Classics explains the origins and cult status of the incredibly popular series. Since its founding by Frank in 1999, NYRB Classics's mission has been to reintroduce out-of-print gems to a new audience, everything from Walt Whitman's Drum Taps to a Janet Malcolm work of journalism. Combined with a simple and magnetic design, this model inspired David Zwirner Books's own ekphrasis series, which focuses on writing about art, and which just celebrated its 20th edition with the publication of Virginia Woolf's Oh to Be a Painter!.   Oh to Be a Painter!, the most accessible collection of Woolf's writing on art, is available through David Zwirner Books. The entire ekphrasis series is now available as a special collection. 

Chad, Mauro Javier Cardenas (Aphasia), and NYRB publisher Edwin Frank kick off season 14 by talking about entropy, Gaddis's humor, how best to approach reading this book (fast and out of control), the little plot hints that are left to figure out, the lack of interiority in J R and how he develops characters and voice, and much more. It's a great time, a good introduction for anyone approaching the novel for the first time, and includes some random publishing gossip and a lament for proofreaders. This week's music is "Entropy" by El Ten Eleven. If you'd prefer to watch the conversation, you can find it on YouTube along with all our past episodes. You can watch the next episode on Wednesday, December 23rd where you'll also have the opportunity to ask questions, make comments, or correct inaccurate statements. Here's where you can find the complete reading schedule.  Follow Open Letter, Chad Post, and Brian Wood for random thoughts and information about upcoming guests. Be sure to order Brian's book, Joytime Killbox, which is now officially available at better bookstores everywhere thanks to BOA Editions. You can also support this podcast and all of Open Letter's activities by making a tax-deductible donation through the University of Rochester.

Chad, Mauro Javier Cardenas (Aphasia), and NYRB publisher Edwin Frank kick off season 14 by talking about entropy, Gaddis's humor, how best to approach reading this book (fast and out of control), the little plot hints that are left to figure out, the lack of interiority in J R and how he develops characters and voice, and much more. It's a great time, a good introduction for anyone approaching the novel for the first time, and includes some random publishing gossip and a lament for proofreaders. This week's music is "Entropy" by El Ten Eleven. If you'd prefer to watch the conversation, you can find it on YouTube along with all our past episodes. You can watch the next episode on Wednesday, December 23rd where you'll also have the opportunity to ask questions, make comments, or correct inaccurate statements. Here's where you can find the complete reading schedule. Follow Open Letter, Chad Post, and Brian Wood for random thoughts and information about upcoming guests. Be sure to order Brian's book, Joytime Killbox, which is now officially available at better bookstores everywhere thanks to BOA Editions. You can also support this podcast and all of Open Letter's activities by making a tax-deductible donation through the University of Rochester.

Edwin Frank, the editorial director for the New York Review of Books, joins the podcast to discuss his long-running collection, the NYRB Classics Series. Vital Interests Podcast with Karen Greenberg is brought to you by the Center on National Security at Fordham Law.

Following a trip to India to speak at the Seagull School of Publishing, Edwin Frank sat down to talk about Uwe Johnson's Anniversaries and NYRB's overall editorial history, including surprise hits, books he wishes more people read, and much more. A brilliant reader, publisher, and thinker, this episode will be of great interest to fans of NYRB's books, or to anyone interested in the industry as a whole.  This episode's music is "Arcane Rambler" from the forthcoming Budos Band album. You can also follow Open Letter and Chad on Twitter and Instagram (OL, Chad) for book and baseball talk. If you don’t already subscribe to the Three Percent Podcast you can find us on iTunes, Stitcher, and other places. Or you can always subscribe by adding our feed directly into your favorite podcast app: http://threepercent.libsyn.com/rss

“In 1999, Edwin Frank founded New York Review Books to reintroduce out-of-print works—many in first translations from around the world—to the reading public. In the last seventeen years, you’ve likely picked up a New York Review Book—maybe because you were taken with its arresting design, or because you recognized a work you didn’t know by a major author: Walt Whitman’s unexpurgated Drum-Taps, say, or unpublished stories by Chekhov, or new versions of Aeschylus and Balzac, Dante and Euripides, or essay collections by Sartre, Lionel Trilling, Renata Adler, and Janet Malcolm. Since its inception, the series has won dozens of awards for its translations; the New York Times chose Magda Szabó’s The Door as one of the ten best books of 2015. New York Review Books have met not just with critical plaudits but commercial success, which naturally leads the curious reader to wonder: Who is Edwin Frank, anyway?” - Susannah Hunnewell, The Paris Review. Find out exactly who Edwin Frank is and what goes into his process of reissuing books in this installment of "Leonard Lopate at Large"

Edwin Frank, editor of New York Review Books, and Daniel Medin, professor at the American University in Paris and co-editor of Music & Literature and the Cahiers Series, joined us to discuss the program and history of New York Review Books.

We don’t have metrics to measure what happens when we read something that changes our life. So this episode is an attempt to deal with that.  We begin with writer Rob Walker who tells us about his “New Old Thing,”  a regular feature he produces for Yahoo Tech. Rob is one of the most thoughtful writers I know and if anyone can wean us from our addiction to the now it will be him. I also get to talk to one of my heros this week: Edwin Frank who is the editor in chief of the NYRB classics imprint. About 10 years ago I read a collection of Platonov stories, a book that definitely changed my life, and I became a life-long devotee of the series. I have always wanted to ask Edwin about his editorial sensibilities and what exactly binds all the books with the well designed multi-coloured spines together. Phyllis Rose is the author of The Shelf.  She “randomly” chose a shelf at the library near her house and read every book on it – then she wrote about the experience. It is a deep funny philosophical treatise on the act of reading itself. I will be gifting this book to my friends for years.