Podcast appearances and mentions of George Saunders

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

Littérature étrangère de Gorian Delpâture : « Le dernier combat de Loretta Thurwar » de Nana Kwame Adjei-Brenyah (Albin Michel). À la croisée des univers de Colson Whitehead, George Saunders ou encore Carmen Maria Machado, ce roman imagine un monde où des condamnés peuvent purger leur peine à condition qu'ils participent à un programme nommé « Divertissement pénal d'action criminelle » (DPAC). Téléréalité d'un nouveau genre, celui-ci met en scène des combats de gladiateurs version 2.0, où les participants se livrent une lutte à mort sous les yeux d'une foule en liesse et de millions de streameurs. Si, au bout de trois ans, l'un d'entre eux est encore en vie, il est libéré. Superstar du circuit et combattante la plus capée, Loretta Thurwar est en passe de réaliser l'exploit. À l'aide de son légendaire marteau, elle enchaîne les victoires et s'approche chaque jour un peu plus du but ultime. Dans cette dernière ligne droite, elle peut compter sur le soutien d'Hamara Stacker, sa coéquipière et compagne. Mais pour ce faire, elle devra d'abord déjouer les embûches que lui tendent les producteurs du DPAC, prêts à tout pour accroître leurs profits. Usant de la dystopie comme miroir grossissant, Nana Kwame Adjei-Brenyah montre à quoi ressemblerait un système carcéral aux mains du secteur privé : déshumanisation des détenus, avidité prédatrice, dérives racistes et sexistes. La société du spectacle dans toute son horreur. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Send us a textSimon reports in from Sardegna before Lee and he veer off into talking about what draws us to snake oil. Things covered: Getting the sound right while recording in a 'cathedral', flight delay, the mundanity of owning a place, Nodi networking function in Alghero, bumping back into Italian, experiences that are both concrete and abstract, dealing with uncertainty, meeting a life-coach, snake-oil, "l'aria fritta" (fried air), what draws us to people selling fried air, having one's buttons pushed over and over again, Sardegna drawing in a dreamcatcher vibe, homemade brick oven and making pizze, primal human experiences, cranio-sacral massages, gong showers (sound baths), golden showers, people talking (or not) about their kinks, piss play, more prevalent than us vanillas, lacking imagination (or perhaps theory of mind), Portishead, Beth Gibbons (singing Gorecki Symphony 3), how to be introduced into something we didn't use to like (e.g. yoga for Lee), the things we end up doing and believing, jam cocktail (listener feedback), unattributed quote from last week to George Saunders' commencement speech (in the links below).  --- Related links (and necessary corrections): Beth Gibbons singing Górecki's Symphony No. 3 (not number 5): https://www.youtube.com/watch?v=-YlGYxCSDJUGeorge Saunders' commencement speech at Syracuse: https://genius.com/George-saunders-graduation-speech-at-syracuse-2013-annotated Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

Episodio septuagésimo sexto, bajo la lluvia los libros nos mojan.En este episodio, Fernando nos cuenta desnoticias sobre mensajes en el tiempo que llegan ahora, ya sea escondidos en baldosines de un teatro, ya en la portada de un disco de rock.Hablamos de Aguamala, de Nicola Pugliese, un libro que llueve por dentro y por fuera y que nos hace creer en las muñecas, pero no mucho.En el curso de relatos rusos con George Saunders, analizamos La nariz, de Nikolai Gogol, una crítica entre líneas en clave satírica de un hombre que pierde su apéndice nasal, Alfredo participa otra vez a destiempo, pero llega a tiempo.Por último, Ana inventa el argumento de La riada, de Michael McDowell, y no da una, aunque se acerca un poquito.Os recordamos que nuestra próxima lectura rusa será El capitán de la astronave POLUS, de Valentina Zuravleva, que tienes disponible en nuestra página web. https://acortar.link/q5Ci2SPresentación: al principio.Desnoticias: minuto 2.Hablamos de Aguamala, de Nicola Pugliese: minuto 16.En nuestro curso de lectura (o lo que sea), analizamos el cuento La nariz, de Nikolai Gogol: minuto 32.Libropedia inventada: Ana reseña a ciegas La riada, de Michael McDowell: minuto 59.Despedida: al final.Puedes comprar los libros de los que te hablamos donde te apetezca, pero nosotros te sugerimos que lo hagas a través de una pequeña librería y que te dejes aconsejar por los libreros.La sintonía del programa es de Charles Matuschewski y el logo del programa de Ana Nuria Corral. Las cortinillas animadas son de Jara Vicente. La traducción sincronizada de Elvira Barrio.Cualquier sugerencia o crítica, incluso malintencionada, la podéis enviar a hola@cierraellibroalsalir.com. Búscanos en facebook (sobre todo), o en twitter o en bluesky o en instagram o en youtube, prometemos contestar lo antes posible.Esto es todo por hoy. Dentro de un mes, otro episodio.¡No te olvides! Cierra el libro al salir.#libros #literatura #NicolaPugliese #Aguamala #blackwater #LaNariz #Gogol

Ο Θανάσης Δρίτσας συνομιλεί με τον συγγραφέα, ποιητή και μεταφραστή Γιώργο-Ίκαρο Μπαμπασάκη με αφορμή την πρόσφατη παρουσίαση του βιβλίου «Έρως και Ασθένεια» στο οποίο έχει συνεισφέρει σημαντικά ως μεταφραστής-επιμελητής της έκδοσης. Ο Γιώργος-Ίκαρος Μπαμπασάκης θα αναφερθεί επίσης στο δικό του συγγραφικό έργο αλλά και σε έτερα ζητήματα που αφορούν την πλούσια εμπειρία του ως μεταφραστή. Παράλληλα ο διάλογος περιλαμβάνει αναφορές στον βίο και το έργο γνωστών ιατρών-λογοτεχνών και μια ευρύτερη προσέγγιση της σχέσης ιατρικής και τέχνης με έμφαση στην λογοτεχνία.Γιώργος-Ίκαρος Μπαμπασάκης: ΒιογραφικόΟ Γιώργος-Ίκαρος Μπαμπασάκης γεννήθηκε τον Απρίλιο του 1960. Είναι ποιητής, μεταφραστής και συγγραφέας. Συνεργάστηκε με την εφημερίδα Ελευθεροτυπία για δέκα χρόνια, ενώ διατήρησε τη Στἠλη του Βιβλίου στα free-press Lifo και City Press. Διατηρεί τη στήλη Σάκος Εκστρατείας του Επίμονου Αναγνώστη στην Book Press, ενώ συνεργάζεται ανελλιπώς με το περιοδικό Χάρτης και το περιοδικό Φρέαρ. Εργάστηκε στην ελληνική ραδιοφωνία (Δεύτερο Πρόγραμμα, ΕΡΑ 4, Εν Λευκώ, Στο Κόκκινο, Κανάλι 1, και 24/7).   Ίδρυσε και διηύθυνε την επιθεώρηση Propaganda και το Εγχείρημα Κορέκτ όπου δημοσιεύτηκαν κρίσιμα κείμενα για την πολιτική και την κουλτούρα των καιρών μας. Στη Βραχεία Λίστα για το Κρατικό Βραβείο Μετάφρασης 2018 (George Saunders, Λήθη και Λίνκολν, εκδ. Ίκαρος). Στη Βραχεία Λίστα για το Κρατικό Βραβείο Μαρτυρίας 2021 (Η Κοκό στην Κοπεγχάγη, εκδ. νήσος). Ζει και εργάζεται στην Αθήνα. Έργα του (μεταξύ άλλων): Τριλογία του Χάους (Διασυρμός, Αγάπη/Love, Πάρκο), εκδ. Εστία. Τριλογία της Αβανγκάρντ (Καταστασιακοί, Γκυ Ντεμπόρ, Ουίλιαμ Μπάροουζ), εκδ. Κριτική. Τριλογία της Ηδύτητας (Η Κοκό στην Κοπεγχάγη, Γιατί οι Νεκροφόρες δεν έχουν Κοτσαδόρο, Ιδρυτική Συνθήκη), εκδ. Νήσος. Ανθολογίες-Ουρλιαχτά με Σιγαστήρα, Κεραυνοί σε slow motion, εκδ. Ιωλκός

Ο Θανάσης Δρίτσας συνομιλεί με τον συγγραφέα, ποιητή και μεταφραστή Γιώργο-Ίκαρο Μπαμπασάκη με αφορμή την πρόσφατη παρουσίαση του βιβλίου «Έρως και Ασθένεια» στο οποίο έχει συνεισφέρει σημαντικά ως μεταφραστής-επιμελητής της έκδοσης. Ο Γιώργος-Ίκαρος Μπαμπασάκης θα αναφερθεί επίσης στο δικό του συγγραφικό έργο αλλά και σε έτερα ζητήματα που αφορούν την πλούσια εμπειρία του ως μεταφραστή. Παράλληλα ο διάλογος περιλαμβάνει αναφορές στον βίο και το έργο γνωστών ιατρών-λογοτεχνών και μια ευρύτερη προσέγγιση της σχέσης ιατρικής και τέχνης με έμφαση στην λογοτεχνία.Γιώργος-Ίκαρος Μπαμπασάκης: ΒιογραφικόΟ Γιώργος-Ίκαρος Μπαμπασάκης γεννήθηκε τον Απρίλιο του 1960. Είναι ποιητής, μεταφραστής και συγγραφέας. Συνεργάστηκε με την εφημερίδα Ελευθεροτυπία για δέκα χρόνια, ενώ διατήρησε τη Στἠλη του Βιβλίου στα free-press Lifo και City Press. Διατηρεί τη στήλη Σάκος Εκστρατείας του Επίμονου Αναγνώστη στην Book Press, ενώ συνεργάζεται ανελλιπώς με το περιοδικό Χάρτης και το περιοδικό Φρέαρ. Εργάστηκε στην ελληνική ραδιοφωνία (Δεύτερο Πρόγραμμα, ΕΡΑ 4, Εν Λευκώ, Στο Κόκκινο, Κανάλι 1, και 24/7).   Ίδρυσε και διηύθυνε την επιθεώρηση Propaganda και το Εγχείρημα Κορέκτ όπου δημοσιεύτηκαν κρίσιμα κείμενα για την πολιτική και την κουλτούρα των καιρών μας. Στη Βραχεία Λίστα για το Κρατικό Βραβείο Μετάφρασης 2018 (George Saunders, Λήθη και Λίνκολν, εκδ. Ίκαρος). Στη Βραχεία Λίστα για το Κρατικό Βραβείο Μαρτυρίας 2021 (Η Κοκό στην Κοπεγχάγη, εκδ. νήσος). Ζει και εργάζεται στην Αθήνα. Έργα του (μεταξύ άλλων): Τριλογία του Χάους (Διασυρμός, Αγάπη/Love, Πάρκο), εκδ. Εστία. Τριλογία της Αβανγκάρντ (Καταστασιακοί, Γκυ Ντεμπόρ, Ουίλιαμ Μπάροουζ), εκδ. Κριτική. Τριλογία της Ηδύτητας (Η Κοκό στην Κοπεγχάγη, Γιατί οι Νεκροφόρες δεν έχουν Κοτσαδόρο, Ιδρυτική Συνθήκη), εκδ. Νήσος. Ανθολογίες-Ουρλιαχτά με Σιγαστήρα, Κεραυνοί σε slow motion, εκδ. Ιωλκός

Here are the 4 KEEN ON AMERICA take-aways in our conversation about the dysfunctional American immigration system with Felipe Torres Medina1) Background & Immigration Journey* Felipe Torres Medina is a comic writer for "The Stephen Colbert Show" and author of the new book America Let Me In about the US immigration system* Born in Bogotá, Colombia, Medina moved to the US at 21 on a student visa to pursue a master's in screenwriting at Boston University* Medina received an "alien of extraordinary ability" visa (talent visa for artists) after graduation, and eventually got a green card after marrying2) On the US Immigration System* Medina describes the immigration process as expensive (costing "tens of thousands of dollars" in legal fees) and filled with bureaucratic challenges* He emphasizes that legal immigration requires "tremendous privilege and money" that most people don't have* The book takes an interactive "choose your own path" format to highlight the maze-like nature of the immigration system* He points out that there hasn't been comprehensive immigration reform since the Clinton administration (nearly 30 years ago)3) Comedy as Commentary* Medina uses humor to process his experiences and create community around shared frustrations* He was inspired by writers like Julio Cortazar, George Saunders, Tina Fey, and Carrie Fisher* The book aims to educate Americans who "have so many opinions about immigration" but "don't know what it entails"* He mentions that making the book interactive and game-like adds "levity" to a tense topic4) How to Fix the System* While critical of Trump's immigration policies, Medina says the book isn't specifically about Trump but about a "flawed and messy" system created by multiple administrations* He suggests moving US Citizenship and Immigration Services out of the Department of Homeland Security to change the narrative that immigration is a security threat* His proposed reforms include creating better pathways for educated immigrants and hiring more USCIS staff to reduce backlogs FULL TRANSCRIPT* Andrew Keen: Hello everybody. It is Sunday, March the 9th, 2025. Interesting piece in the times. A couple of days ago, The New York Times, that is about the so-called British flame thrower who is a comic best suited to taking on Trump. They're talking about a man called Kumar. Nish Kumar looks very funny, and apparently he's very angry too. I have to admit, I haven't seen him. It's an interesting subject. It suggests that at the moment, even in spite of Trump and outraging many Americans, the state of American humor could be amped up a bit. My guest today is a writer on The Stephen Colbert Show and a comic, or certainly a comic writer in his own right, Philippe Torres Medina. He has a new book out on Tuesday. It's called America Let Me In, and I'm thrilled that he's joining us from Harlem in Manhattan today. Congratulations, Phillip, on the new job. What do you the new book? I was going to say job. That's a Freudian error here. What do you make of the Times's observation that American humor isn't in its best state when it comes to Trump?Felipe Torres Medina: Oh, wow. That's that's an interesting question. First of all, I love Nish Kumar. I think he's a wonderful, wonderful comedian. He's very funny. He has a level of wit and his observations are just wonderful. I hadn't seen this article, but I really appreciate that the times recognized him because he's been working very hard for a lot of years. I think more than American humor not being fit for the moment. I think at least personally for me, a little bit of addressing Trump again began. And addressing Trump in general is, you know, jokes have to be new. And after basically ten years of Donald Trump every day, all the time, it's certainly hard to continue to find new angles. Now, the dysfunction of the administration and perhaps sometimes the cruelty and whatever they're doing does provide you with material. But I think it can cause you as a writer to be like, oh God, here we go again. More Trump stuff. You know, because that's what we're talking about.Andrew Keen: Do you see your book, Philippe, as a Trump book? America? Let me in. It's about immigration. I mean, obviously touches on in many ways on Trump and certainly his hostility to immigration and immigrants. But is it a Trump book, or is it a broader kind of critique or observation about contemporary America?Felipe Torres Medina: Yeah, I never set out to write a book about Trump or a Trump book. My goal is to write a book about the immigration system, because I went through it, and as a comedian, I encountered in it many contradictions and absurdities that just kind of became fodder to me for comedy. So I try to write this book about the system, but the system was caused by many administrations in many parties, you know, now, the current hostility or the current everythingness of immigration, you know, immigration being kind of in the forefront of the national discourse certainly has been aided by Republican policy in the past ten years and by Donald Trump's rhetoric. But that doesn't mean that this is a book about Trump or as a response to Trump. It's actually a book responding to a system that is flawed and messy, but it's the one we have.Andrew Keen: Yeah. You described the book as a love letter to immigrants, but it's not a love letter to the system. Tell me your story. As you say. You went through it so you have firsthand experience. Where were you born?Felipe Torres Medina: So I was born in Colombia. I was born in Bogota, Colombia, which is the capital of Colombia. I lived there most of my life. I moved to United States when I was 21 on a student visa, because I came here to do my masters. I did my master's in screenwriting at Boston University. And after that, you know, I started working here as a comedian, but also as a writer. And I was able to get an alien of extraordinary ability visa, which is a very pretentiously named visa, kind of makes you sound like you're in the X-Men, but it it's just what they call talent visas for artists, athletes, entrepreneurs, educators, whatever. And so I got one of those and then several renewals of those. And then, you know, thanks to my work as a writer, as a comedian, initially as a copywriter in advertising, I was able to I bought I met the love of my life, got married, and then I have a green card and that's why I'm here.Andrew Keen: Yeah. As and quoting here, it sounds rather funny. An alien of extraordinary ability. Do you think your experience is typical? I mean, the even the fact that you came for grad school to to Boston puts you in a, in a kind of intellectual or professional elite. So is your experience in any way typical, do you think?Felipe Torres Medina: I wouldn't say typical. I would say my experience is the experience of many people who come here. And I think it's the experience of the people who are, quote unquote, the immigrants we want. Right. And, you know, if we're going to dive into the rhetoric of the of immigration these days, I came the right way and did everything, quote unquote, the right way. You know, but what this book and also this journey that I took to immigrate here proves is that it's it's only possible with tremendous amount of privilege and tremendous, tremendous amount of money. You know, it's a very expensive process for the majority of people.Andrew Keen: How much did it cost you?Felipe Torres Medina: Oh, I think in total since I started. I mean, when you count the fact that for most, like master's programs, you don't get any sort of financial aid unless you get, like a scholarship from your own country or a sort of like Fulbright or something like that. There's already the cost of a full master's program.Andrew Keen: But then you weren't coming. I mean, you didn't pay for your master's program in order to get immigration papers, you know.Felipe Torres Medina: Of course, that, but I, I had to pay for my master's program to be able to study here. You know, I didn't have I didn't have my any sort of aid. But, you know, discounting that in terms of immigration paperwork, I've spent tens of thousands of dollars because you have to hire immigration lawyers to make sure that everything's fine. And those are quite expensive.Andrew Keen: Was it worth it?Felipe Torres Medina: Well, yeah. You know, I met the love of my life. I live a.Andrew Keen: Very. I mean, there are lots of loves of. You could have met someone else, and that's true. Or you might have even you might have even met her or him at an airport somewhere else while they were on vacation.Felipe Torres Medina: That's that's possible. But yeah, I mean, I live a I live a good life. I do what I wanted to do, you know, I, I took got my master's because I wanted to write comedy professionally and I get to do that. And I do think when I set out to do this, I was like, well, the place with the best film and television industry in the world is and was then and still is the United States. So I was like, well, I have to go there, you know, and I was able to become a part of this industry and to work in this art form.Andrew Keen: You didn't get any job. You You got the combat job? Yes. I believe you drew the the short straw, right? I bet nobody else was right. Just Stephen Colbert.Felipe Torres Medina: Yeah, I'm very lucky. And but again, it's a mix of luck and hard work and all those things. So yeah, I don't I don't regret moving.Andrew Keen: So some people might be watching this maybe some some MAGA people. I'm not sure if MAGA people really watch this, but if they were they might be thinking, well, Philippe Torres Medina, he's a good example. He's the type of person we want. He jumped through many hoops. He's really smart. He's really successful. He brings value to this country. Is now a full time writer on the Colbert's show he came from it came from Latin America. And he's exactly the kind of person we want. And we want a system that's hard, because only guys like him have the intellectual and financial resources to actually get through it. Well, how would you respond to them?Felipe Torres Medina: I would say that I appreciate the compliment, but I wouldn't necessarily say that that's the best way to move forward on immigration now. I will say this book is a humorous take on the whole immigration journey. And so what? Like I tell different stories of different people coming here made up or inspired by real life. And one of the paths that you can take in this book, because this is kind of an interactive choose your own path book, is mine. But I think what this book tries to prove is that even if you do everything right, even if you, you know, have the money, sometimes it's very, very hard. And that, I think, does put us at a disadvantage when it comes to having a workforce that could be productive for the country, especially as birthrates are declining. You know, we are headed toward a but, you know, people have described as a barrel economy. If we don't simply up the population and the people who are upping the population and actually having children are immigrants.Andrew Keen: One other piece of news today, there's obviously a huge amount of news on the immigration front is apparently there's a freeze on funding to help green card holders. You've been through the process. You write about it in the new book. But how much more difficult is it now?Felipe Torres Medina: You mean under the current administration? Yeah. I wouldn't know. I you know, I think that.Andrew Keen: This idea of even freezing green card. Yeah. That holidays, even if you have a green card, you get frozen.Felipe Torres Medina: Yeah, exactly. And I think that that, you know, I think that that's what Trump did in his first term, more or less with legal immigration, was to create roadblocks and freezes and these kinds of things to kind of just like stymie the process and make it slower, make it harder, even for people who, again, are doing everything right to be able to remain in the country.Andrew Keen: And I'm guessing also some of the DOJ's stuff about laying off immigration judges and court stuff, they're taking office to leave. Apparently 100 immigration court staff are retiring. This adds to it as well.Felipe Torres Medina: Yeah. Yeah, exactly. I mean, Citizenship and Immigration Services, USCIS is a very particular part of the government because it is one of the few parts of the federal government that funds itself. Again, going back to cost the fees that they make are so big, they make so much money that if there's a government shut down, actually, USCIS does not shut down. It's one of the few parts of the government that didn't need to shut down, because they make so much money out of the immigrants trying to come here. So it's a really, really strange part of the government. It kind of doesn't know where it belongs. So seeing like the the DOJ's cuts that arrive into the and that may be implemented into USCIS. Kind I'm not familiar with any Dodge cuts recently on USCIS, but I suspect that they would be strange because it's a it's a very strange division of the federal government. It's not like the Department of Education or the like the Forestry Service. It's it's it's own kind of like little fiefdom.Andrew Keen: Are you wrote an interesting thing or you were featured recently on Lit Hub, where this show actually used to get distributed about how to write a funny book about American immigration. Of course, it's it's a good question. I mean, it's such a frustrating bureaucratic mess at the best of times. I do write anything funny, Philippe, about it.Felipe Torres Medina: Well, I think the, the to me, the, the finding a format to be able to explore this, this chaotic system. It's so, so complicated. It's like a maze. So to me, having this kind of interactive format allowed me to have some freedom to be like, okay, well, you know, one of the things that they taught me in my comedy education, when I was training at a theater here in New York, the Upright Citizens Brigade is the premise of if this is true, then what else is true? You know, so if this absurd thing is reality, then what? How can you heighten that reality? And for me, you know, the immigration system is so absurd. It's it's so Byzantine and chaotic that I was like, okay, well, I can heighten this to an extra level. And so when I keyed in on, on this format of like allowing the person who's reading it to be the many characters to inhabit the, the immigrants and also to be playing with the book, you know, going out and going to one page, making their own choices. It allowed me to change the tone immediately of the conversation because you say immigration and everyone's like, oh, you know, it gets tense. But if you're saying like, no, no, this is a game, you know, we're playing this game. It's about immigration, but it's a game. All of a sudden there's a levity to it, and then you take the real absurdities and the real chaos of the system and just heighten it, which is basically what you do with comedy at all times.Andrew Keen: Who are the the fathers or perhaps the mothers of this kind of comedy? The person who comes to my mind is is Kafka, who found his own writing very funny. Not, and I'm not sure everyone necessarily agrees. He, of course, wrote extensively about central mid European bureaucracy and its darkness and absurdity. Who's inspired you both as a comic writer and particularly in terms of this book?Felipe Torres Medina: Well, actually, Kafka also has a great book called America.Andrew Keen: Yeah. Which is a wonderful first paragraph about seeing this. Seeing the Statue of Liberty.Felipe Torres Medina: Yes. Which is also kind of about this. But I would say my inspirations comedically are, you know, I don't think I would have written this book without, like, the work of Tina Fey. I think Bossy Pants was a book where I was like, oh, you can be funny in writing. And Carrie Fisher is a big Star Wars nerd, you know, to like great, funny writer writers who are just, like, writing funny things about their lives. But I think the playfulness of it all, actually, I was inspired by this Argentine writer, Julio Cortazar, who wrote a novel that in English just translated as hopscotch. And this novel is a huge, like, structural disrupter, you know, in the like, what we call the Latin American boom of writing in the 60s, 70s and 80s. And he wrote this novel that is like a game of hopscotch. You're jumping from chapter two chapter. He's directing you back and forth. So I read a lot of that. And I, you know, I read that in my youth, and then I read it. I reread it as I was older. And then there are writers like George Saunders, who can be very funny while talking about very sad or very poignant things. And so that was also a big inspiration to me. But, you know, I am a late night writer, so I was interested in actually making it like, ha ha, funny. Not just, you know, sensible chuckle funny, you know, kind of like a very, like, intellectual kind of funny. So I was also inspired by, you know, my job and like Colbert's original character in Colbert's book, America, I am American. So can you the writing of The Onion and, you know, the book, The Daily Show Book America, which is just kind of like an explanation of what the federal government is and what the country is written in the tone of the correspondents or the the writers for The Daily Show back in the original Jon Stewart iteration. So those books kind of like informed me and made me like, realize, oh, I can you can make like a humorous guy that's jokey and funny, but also is actually saying something isn't just like or teaching you something. Because the biggest reason I started writing this book is that Americans don't know their own immigration system, and they have so many opinions about immigration, particularly now, but no one knows what what it entails. You know? And I don't just mean like conservatives, you know, I don't just mean like, oh, MAGA people. Like, I was living in New York in the Obama years or like the late Obama years, and none of my liberal Brooklyn, you know, IPA and iced matcha drinking friends had any idea what I was going through, you know, when I was trying to get my visas.Andrew Keen: The liberals drink IPA. I didn't know that I drink IPA, I mean, I have to change my. Yeah. It's interesting you bring up in the first part of that response, the, the the Argentine novelist. There's something so surreal now about America. An interesting piece in the times about not being able to pin Trump down because he says one thing one day, the next thing the next day, and everyone accepts that these are contradictions. Now, the times describes these contradictions as this ultimate cover. I'm not quite sure why they're a cover. If you say one thing one day, in the next something the opposite the next day. But is there a Latin American quality to this? I mean, there's a whole tradition of Latin American writing observing the, the cruel absurdities of of dictators and wannabe dictators.Felipe Torres Medina: Yeah. I mean, it's it's part of our literary tradition. You know, the dictator novel you have. But again, just as the feast of the goat, and you have Garcia marquez, my my compatriot, you know, like that.Andrew Keen: Was one of my favorite magnificent writing.Felipe Torres Medina: It's it's possibly, I hesitate to say, my favorite writer because it creates ranking, but.Andrew Keen: Well amongst your.Felipe Torres Medina: Favorite, among my favorite writers, 100 Years of Solitude. Obviously that is possibly my favorite novel, but he has also, I believe it's the Autumn of the Patriarch, which is his novel about. Exactly. Yeah. I mean, there is a there is. I wouldn't say it's a South American or Latin American quality to it. I think it's just once you encounter it, it is so absurd that art does have to come out and talk about it, you know, and, you know, you see the in a book like the Autumn of the Patriarch. That is a character full of contradictions. That is a character who, in chapter one, hates a particular figure because they he they think that they're against him and then is becomes friends with them and then hires him to be his personal bodyguard. You know, that is what dictators are, and that is what authoritarians do. It is the cult of the person. It is the whims of the person, and the opinion of the person are the be all and the end all to the point where the nation is. It is at the whims of, of of a a person, of those of those persons contradictions. So I wouldn't say it's necessarily a Latin American nature to this, but I think Latin America, because we experience dictatorship in many times supported or boosted by the United States. Latin Americans were able to find a way to turn this into art. And quite good art is what I would say.Andrew Keen: Yeah, and of course, it's the artists who are best able to respond to this. As you know, it's not just a Latin American thing. The Central Europeans, the Czechs in particular. Yes.Felipe Torres Medina: Milan Kundera.Andrew Keen: Yeah. Written a series of wonderful books about this. But the only way to respond to someone like Trump, for example, who says one thing one day, the next thing the next day when he talks about tariffs, he says, well, I'm going to have 25%. And the next day, oh, I've decided I'm not going to have 25%. Then the following day he's going to change his mind again. The policy people, I'm not very helpful here. We need artists, satirists of one kind or another humorist like yourself to actually respond to this, don't we?Felipe Torres Medina: I think so. I think that that that is what. Helps you? I mean, it's the emperor has no clothes, right? That's how you talk. And it's about all kinds of government, obviously. Autocracy or dictatorship is one thing, but at all in all systems of government, these are powerful people who think they have they know better and who think that they are invincible. And you know what? What satire or humor and art does is just point out and say like, wait, that's weird. That thing they just did is weird. And being able to point that out is, is a talent. But also that's why people respond to it so well. People say like, yeah, that is weird. I also notice that. And so you create community, you create partnership in there. And so all of a sudden you're punching up, which is something you want to do in comedy. You want to make fun of the people who have more power, and you're all punching up and laughing at the same thing, and you're all kind of reminding each other. You're not crazy. This is weird.Andrew Keen: Yeah. I mean, the thing that worries me. I was on Kolber on the Colbert Show a few years ago in the original show. I mean, it's brilliant comic, very funny. But him and Jon Stewart and the others, they've been going so long, and they. I'm not saying they haven't changed their shtick. I mean, writers like you produce very high quality work for them, but it's one of the problems that these guys have been going for a while and America has changed, but perhaps they haven't.Felipe Torres Medina: I mean, it's an interesting thing to bring up, particularly with with Stephen, because his show was completely different. Ten years ago, it was a completely different show. He was doing a character. Yeah, right. And now he's doing a more traditional late night show. I think I think the format of late night is a very interesting beast that somehow has become A political genre. You know, it didn't used to be with Letterman. Didn't you see with Conan O'Brien, Jay Leno? You know, they would dabble in politics. They would talk about politics because it's what people are talking about. But now it's become kind of like this world. It all has to be satire. And there's some there's some great work. And I do think people keep innovating and making, like, new things, even though the shows are about ten years old. You know, you have Last Week Tonight, which my wife writes for, but it's a show that does more like deep dive investigations and stuff like that. So it's more like end of the week, 60 minutes, but with jokes kind of format. But I do think, yeah, maybe like the shows, can the shows in the genre in general, like there's genre I could do with some change and some mixing it up and.Andrew Keen: Well, maybe your friend Kumar could.Felipe Torres Medina: Yeah. Well, what? Let us get.Andrew Keen: A slot to his own late night show. And I wonder also, when it comes to I don't want to obsess over Trump or that course it's hard not to these days, but because he himself is a media star who most people know through his reality television appearance and he still behaves like a reality television star. Does that add another dimension of challenges to the satirical writers like yourself, and comics like or satirical comics like Colbert and Jon Stewart?Felipe Torres Medina: I think it's just a layer of how to interpret him as a person. At least for me, it's like, okay, well, you have to remember that he is a show man, and that's what he's doing.Andrew Keen: Yeah. So they're coming back to your your metaphor of the air and power and not having any clothes on. He kind of, in his own nodding wink way, acknowledges that he's not pretending to wear any clothes.Felipe Torres Medina: Yeah, and, well, sometimes he is and sometimes he isn't. And that is. That's the challenge. And that's why writing jokes about him every day is hard. But, you know, we we.Andrew Keen: And the more I know I watched Saturday Night Live last week that Zelensky thing and it was brilliant. Zelensky and Musk and Trump. But I'm very doubtful it actually impacts in any way on anything. Well, and I.Felipe Torres Medina: Think that that's also a misconception people have about comedy. You know, comedy is there to be funny. You know, comedy isn't there to change your mind if it does that, great. But the number one impetus for For Comedy should be to make you laugh. And so the idea that, like, a sketch show is going to change the nation. I don't know. Those are things that I think are applied on to comedy. They're kind of glob down to comedy. I don't necessarily think that that's what it the, the people making the comedy set out to do so. I think if if it made you laugh and if it works. The comedy has done its job. Comedy, unfortunately, can't change the world, you know. Otherwise, you know, I'm sure there would have been a very. There are many good Romanian comedians who could have done something about it has.Andrew Keen: You know, time to time. I mean, Hava became Czech president for a while. You, you, you know, that you sometimes see laugh, laughter and comedy as a kind of therapy when it comes to some of the stuff you do with Kovat. Are you in in America? Let me in. Are you presenting the experience, the heartbreaking experience? So certainly an enormously frustrating experience of the American immigration system as a kind of therapy, both for people who are experiencing it And outsiders, Americans in general.Felipe Torres Medina: And for myself, I think.Andrew Keen: And of course, yes. So self therapy, so to speak.Felipe Torres Medina: I think so, I mean, it is for me a way to like comedy is a way to process things for me. It comes naturally to me, and it is inopportune at times when dealing with things like grief and things like that. But I mean event, anyone who's gone through grief, I think, can tell you there's one moment when things are going really bad and one of the people grieving with you makes one joke and you all laugh and you're like, this. This somehow fixed for one second. It was great. And then we're back to sadness. So I think comedy, you know, as much as again, I go back to what I said a second ago, it's about making you laugh and that making you laugh can create that partnership, can create that empathy and that that that community therapy, I guess, of people saying like, oh wait, yeah, this is weird, this is strange. And I feel better that someone else recognized it, that someone else saw this.Andrew Keen: It certainly makes you saying, hey, you wrote an interesting piece for The New Yorker this week. In times like these, where you, you write perhaps satirically about what you call good Americans. Is the book written for good or bad Americans or all Americans or no Americans? Who do you want to read this book?Felipe Torres Medina: Oh my God. I want everyone to read it and everyone to buy a copy so that I've got a lot of money. All right. No, I think it's written for most Americans and and immigrants as well. People living here. But I do think, yeah, it's written for everyone. I don't think I wrote it with particular like, kind of group in mind. I think to me, Obviously with my background and my political affiliations, I think liberals will enjoy the book. But I also think, you know, people who are conservative, people who are MAGA, people who don't necessarily agree on my vision of immigration, can learn a lot from the book. And I purposely wrote it so that these people wouldn't necessarily be alienated or dismissed in any way. You know, it's a huge topic, and I think it was more of a like, I know you have an opinion. I'm just showing you some evidence. Make with it what you will, but I'm just showing you some evidence that it might not be as you believe it is, both for liberals and conservatives. You know, wherever you are on the spectrum, liberals think it's super easy. Conservatives that think it's super easy but in a bad way to move here. And I'm here kind of saying like, hey, it's actually this super complicated thing that maybe we should talk about and we should try to reform in some way.Andrew Keen: Yeah. And I think even when it comes to immigration, often people are talking about different things. Conservatives tend to be talking about quote unquote, illegal immigration and progressives talking about something else, too. You deal with people who try to get into America illegally, or is that for you, just a subject that you're not touching in this book?Felipe Torres Medina: I address it very lightly toward the final pages of the book. I first of all, I can, like, claim ownership on all immigrant narratives. And I wrote this about the legal immigration system because it's what I've navigated. Again, I am not an immigration lawyer. I am not an activist. I'm a comedy writer who happened to go through the immigration like system, so I but I did feel like, you know, okay, well, let's talk for a second. You've seen how hard it is because I've shown you all this evidence in the first couple stories in the book. And again, I say in the last pages because because of the interactive nature of the book, this could there is potentially a way for you for this to be the first, one of the first things you read in the book, but to where the last pages of the book, I say, okay, let's talk about you. We've seen how hard it is. Let's talk about the people who do so much to try and come here and who go even harder because they do it in the like, in the unauthorized way, you know, or the people who come here seeking asylum, which is a legal way to come to the United States, but is very difficult. So I do present that, but I do think it is not necessarily the subject of a comedy book, As I said earlier, when you're dealing with comedy, you want to be punching up. You want to be making fun of people in authority figures or in a sort of status position that is above the general population or the the voice of the comic. And with with undocumented immigrants and people trying to come here in irregular ways. It's it's very hard to find the humor there because these people are already suffering very much. And so to me, the line is threading the line of comedy there. It can very quickly turn into bullying or making fun of those people. And I don't want to do that because a lot of people are already doing that, and a lot of people who are already doing that work on this in this administration. So I don't I don't really want to mess with that.Andrew Keen: Philip, I'm not sure if you've got a a Spanish translation of the book. I'm sure there will be one eventually.Felipe Torres Medina: Hopefully.Andrew Keen: If people start reading this in Colombia, where you're from, Bolivia or Argentina, Mexico, El Salvador, Guatemala, they think themselves, this is so hard to get in, even legally. Even if you have money to pay for lawyers, they might think, well, f**k it, I'll just try and get over the border illegally. And do you think in a way, I mean, it's obviously designed as a humor book, but in a way this would encourage any sane person to actually give up. I mean, go try and try and go somewhere else or just stay where you are.Felipe Torres Medina: I think, I think the book has a tone of I'm I'm a pretty optimistic person. So I think the book does have a tone of optimism and love for America. I do love the United States, where I, while presenting it as a difficult thing, I am also saying, like it? It's pretty good. You're going to have a good time if you make it here. So I don't think it will be a deterrent. Whether it's some sort of Trojan horse to create more people, to try and go through the border. I don't know, it'd be pretty funny if a funny book tended ended up doing that, but.Andrew Keen: It'd be great if we just got hold of the book and blamed you for for for all the illegal immigrants. But in all seriousness, it was been a lot of pieces recently about, according to the New York Times, people going silent for fear of retribution. As a comic writer and someone clearly on the left, the progressive in American politics. Do you think that there is a new culture of fear by some of your friends and colleagues in the comedy business? Are they fearing retribution? Trump, of all people, doesn't like to be laughed that some people say that he he only wanted to be president after Obama so brilliantly and comically destroyed him a few years ago.Felipe Torres Medina: I think in comedy, you know, I think people are tired of talking of Trump because, again, as I said, ten years of writing about him. I don't think anyone is necessarily afraid of talking about him or making fun of him. I think that is or his administration. I think that is proven like this past week with explosion of memes, making fun of J.D. Vance, his face, you know, to the point where J.D. Vance has tried to hop on the meme and be like, ha ha! Yes, I enjoy this very much too. Good job members. So like, obviously, first of all, he doesn't like it, but I think everyone is. And I think this is something that America does so well. Americans like to make fun of politicians, period. And even though I think in certain spaces of, you know, politics and activism, there might be fear of retribution that is much more marked. I think the let's make fun of of the Emperor for having no clothes that make fun of them is an instinct that that it's not going away and it won't go away any, anytime soon.Andrew Keen: Philip, finally, you've written a funny book about immigration. But of course, behind all the humor is a seriousness. Lots of jokes. It's a very entertaining, amusing, creative book. But it also, I think, suggests reform. You've given a great deal of thought. You've experienced it yourself. How can America improve its immigration story so that we don't have in the future more satirical books like America Like Me and what are the the reforms, realistically, that can be made that even conservatives might buy into?Felipe Torres Medina: Well, I think one of the biggest things is, if you look at it historically, there hasn't been comprehensive immigration reform since Clinton. Which is ridiculous. You know, we're nearing on 30 years there, and we're. We're basically 30 years since. And, you know, I'm 33, so it's a whole lifetime for a lot of people with no changes to a system, no comprehensive changes to a system. And that just means that, like it is going to become outdated. So obviously it's very hard right now with the tenor, but what we really need is for people to sit down and talk about it as a normal issue. And this is not an invasion. This is not a national emergency. It is simply an issue, an economic issue. And I think one of the biggest things, and one of my personal suggestions is that. The US Citizenship and Immigration Service has always been, as I said, this kind of strange ancillary part of the government. It started as part of the Department of Labor, eventually joining the Department of Justice. Then it goes back to labor. It kind of always bounces around. They don't know where it fits. And in after 911, it became part of the Department of Homeland Security. And I think that creates a an aura around immigration as something that is threatening to homeland security. You know, which is not true.Andrew Keen: Yeah. I see what you're saying. It's become the the sex when it comes to, in the context of Victorian something that we don't talk about, and we use metaphors and similes to, to, to describe. And I take your point on that. But what about some and I take your point on the fact that the system hasn't been reformed since Clinton. But let's end with a couple of final, just Doable reforms, Philippe, that can actually make the experience better. That will improve that. That might be cheaper that the the Doge people might buy into that both left and right will accept and say, oh, that's fair enough. This is one way we can make immigrating to America a better experience.Felipe Torres Medina: I think, rewarding if we're talking about this idea of like, we want the best immigrants, educated people. I think actually rewarding that because the current system does not do that for most people trying to get a work visa. They're subjected to a lottery where the chances are something like 1 in 16 of getting a work visa to be here, and that is really bad for companies in general. It's something that the big tech firms have been lobbying against for years, and because there's no consensus in Congress to actually do something. We have been able to address that. So I think actually rewarding the kind of like higher education, high achievement immigrants. In a way that isn't just like if you have $5 million, you can buy a gold car. Yeah, and.Andrew Keen: That's what Trump promised.Felipe Torres Medina: Right? Actually rewarding it in a way that's like, okay, well, if you have a college degree, maybe you don't just get a one year permit to work here, you know, maybe you can. There is a path for you to if you made your education here, if you start your professional life here, if you are contributing because all these immigrants are paying taxes or contributing, maybe there's a path that isn't as full of trapdoors and pitfalls. I would say that that that's one of the biggest things. And honestly, higher up, like I, I do think maybe this is my progressive side of me, but it's like get more people working in USCIS so that these waits aren't taking forever and getting more immigration judges, you know, hire people who are going to make this system efficient, because that is, I think, unfortunately, what Dodge thinks that the, you know, we're going to slim it down so it doesn't cost that much. Yeah. But if you slam it down, you don't have enough people. And there's a lot of people are still trying to come here and they're still trying to do things. And if you don't have enough people like working those cases, all you're creating is backlogs.Andrew Keen: Yeah. I'm guessing when those transforms the American immigration system through AI, you'll have another opportunity for you to write a book. Yeah. I mean, I let me in an important book, a very funny book, but also a very serious book by one of America's leading young comic writers full time, writing for Stephen Colbert, Philippe Torres Medina. Philippe, congratulations on the book. It's out next week. I think it will become a bestseller. Important book. Very funny too, and we can say the same about you. Thank you so much.Felipe Torres Medina: Thank you so much for having me.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

JOIN TSL WORKSHOPS: https://tslworkshops.circle.so George Saunders is a writer of novels, short stories, and non-fiction, whose work has amassed a collection of awards, including The Booker Prize for his debut novel, Lincoln in the Bardo. His essay collection A Swim in a Pond in the Rain, which focuses on the storytelling prowess of four Russian masters, was not only a bestseller, but invited passionate responses from his readers, who are as obsessed with story math as we are. George is the ultimate story junkie, as evidenced by his wildly popular Substack, Story Club, which features his musings about the mechanics, mystery, and magic of great storytelling. CHECK OUT GEORGE'S SUBSTACK: https://georgesaunders.substack.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Ya en el aire el septuagésimo cuarto episodio de Cierra al libro al salir, el de necesitamos meses nuevos. En este episodio descubrimos en las Desnoticias el alfabeto de Chon, el más antiguo del mundo. También sabemos que hay un mes más que se nos ha perdido —estaba escondido en el calendario Kodak— y queremos recuperar para nosotros o, en su defecto, el día Osvaldo que inventó la cerveza argentina Quilmes. Salimos del estocentrismo para contarnos Necesitamos nombres nuevos, de Noviolet Bulawayo, una historia circular sobre la vida en Zimbabue y la migración a EEUU que nos ha gustado mucho, mientras nos hacíamos muchas preguntas sobre lo que significa tener un hogar y qué es la nieve. Analizamos en clave George Saunders el cuento ruso Los cantores de Iván Turgénev, y ¡por fin! Alfredo sale a la luz para contarnos sus impresiones. Presentación: al principio. Desnoticias: minuto 4. Hablamos de Necesitamos nombres nuevos, de NoViolet Bulawayo: minuto 20. En nuestro curso de  lectura (o lo que sea), analizamos el cuento Los cantores, de Turgénev: minuto 53. Análisis del mismo cuento por nuestro amigo Alfredo: minuto 1 h. 11. Despedida: al final. El próximo cuento ruso que analizaremos en la sección sin nombre será "Un abogado de moda", de Nadezhda Teffi, y lo puedes leer aquí: https://acortar.link/fwKWDa Puedes comprar los libros de los que te hablamos donde te apetezca, pero nosotros te sugerimos que lo hagas a través de una pequeña librería y que te dejes aconsejar por los libreros. La sintonía del programa es de Charles Matuschewski y el logo del programa de Ana Nuria Corral. Las cortinillas animadas son de Jara Vicente. La traducción sincronizada de Elvira Barrio Cualquier sugerencia o crítica, incluso malintencionada, la podéis enviar a hola@cierraellibroalsalir.com. Búscanos en facebook (sobre todo), en instagram o en youtube, prometemos contestar lo antes posible. Esto es todo por hoy. Dentro de un mes, otro episodio. ¡No te olvides! Cierra el libro al salir. #IvanTurgenev #NoVioletBulawayo #GeorgeSaunders #libros #literatura

Last episode for January is Pastoralia by George Saunders, this is a book of short stories that all have the trademark Saunders satirical edge. Content warning: swearing, brief mentions of death and a sick child Our next book discussion will be The Story of a Goat by Perumal Murugan. You can find it at your local bookstore or library and read along with us. If you want to read along with The Bookstore Challenge 2024, you can join us on The StoryGraph to see what others are reading for each month and get ideas for your TBR: The Bookstore Challenge 2025. Get two audiobook credits for the price of one at Libro.fm when you sign up using the code BOOKSTOREPOD. Website | Patreon

New year, same us. We discuss (more like complain about, to be honest) Maggie O'Farrell's novel After You'd Gone. January's prompt is to read a book published in the year 2000. Our next book discussion will be Pastoralia by George Saunders. You can find it at your local bookstore or library and read along with us. If you want to read along with The Bookstore Challenge 2024, you can join us on The StoryGraph to see what others are reading for each month and get ideas for your TBR: The Bookstore Challenge 2024. Get two audiobook credits for the price of one at Libro.fm when you sign up using the code BOOKSTOREPOD. Website | Patreon  

In today's episode I have the pleasure of speaking with Rachel Cockerell, a London-based author, whose first foray into writing began as a family memoir, and evolved into a remarkable and innovative work of historical non-fiction called Melting Point. Melting Point is a great 2024 release from Headline, and will be coming out in Spring of 2025 in the States. The book was longlisted for the 2024 Baillie Gifford Prize, and explores the origins of the Zionist movement, and one of its particular, little-known chapters – the Galveston Plan.  Most interestingly, perhaps, is the structure – it's a polyphonic blend of primary sources and texts, which she splices to build a story arc. The book is an absolutely fascinating read that touches on identity, belonging, and the search for a place to call home. I thoroughly enjoyed it, and would strongly recommend it. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading! Rachel Cockerell's four books were: Big Magic, Elizabeth Gilbert (2015) Lincoln in the Bardo, George Saunders (2017) The Old Ways, Robert Macfarlane (2012) Golden Hill, Francis Spufford (2016)

We are back and we have a recap of our reading in 2024, along with the challenge prompts for 2025, since I don't know how we chose books before we starting following these prompts. The challenge prompts start around 37:04.  Prompts from past years. Our books for January are After You'd Gone by Maggie O'Farrell and Pastoralia by George Saunders. If you want to read along with The Bookstore Challenge 2025, you can join us on The StoryGraph to see what others are reading for each month and get ideas for your TBR: The Bookstore Challenge 2025. Get two audiobook credits for the price of one at Libro.fm when you sign up using the code BOOKSTOREPOD. Website | Patreon 

Ya en el aire el septuagésimo tercer episodio de Cierra al libro al salir, el del jardín de los impostores. En él, os recomendamos diez libros que no hemos leído con el aplomo propio de un par de impostores y después jugamos a las adivinanzas literarias con muy poco éxito porque, aunque parezca que sabemos de libros, es todo impostura. ¡Ah! Acordaos de leer el cuento Los cantores, de Iván Turgénev, para poder desmenuzarlo en el próximo episodio. Lo podéis leer aquí https://encr.pw/lIuZO  Presentación: al principio. Recomendación de una web: minuto 4:00. En www.3books.co tienes un proyecto de entrevistas a escritores muy interesante. Recomendaciones literarias: minuto 6:00.  Las recomendaciones de Ana: Antártida (Claire Keegan), Niños muertos (Martin Amis), Los niños perdidos (Valeria Luiselli), El maravilloso viaje de Nils Holgersson (Selma Lagerlöff) y Todos nuestros ayeres (Natlia Ginzburg). Las recomendaciones de Fernando: Poeta X (Elizabeth Acevedo), El día de la liberación (George Saunders), Chicas muertas (Selva Almada), Diarios alfabéticos (Sheila Heti) y El salvaje (Guillermo Arriaga) Fernando se mete en un jardín por impostor: minuto 14:00. Adelantamos que al final sabe salir. Juego literario: minuto 20:00. Adelantamos que la victoria es para Ana. Despedida: al final. Puedes comprar los libros de los que te hablamos donde te apetezca, pero nosotros te sugerimos que lo hagas a través de una pequeña librería y que te dejes aconsejar por los libreros. La sintonía del programa es de Charles Matuschewski y el logo del programa de Ana Nuria Corral. Las cortinillas animadas son de Jara Vicente. La traducción sincronizada de Elvira Barrio Cualquier sugerencia o crítica, incluso malintencionada, la podéis enviar a hola@cierraellibroalsalir.com. Búscanos en facebook (sobre todo), o en twitter o en instagram o en youtube, prometemos contestar lo antes posible. Esto es todo por hoy. Dentro de un mes, otro episodio. ¡No te olvides! Cierra el libro al salir. #recomendacionesliterarias #relatos #literatura

SUMMARY: Our best books this year had everything: Murder! Therapy! Lyndon B. Johnson! The three elements of good literature. Come join us as we review our favorite books of the year. Happy New Year, and thanks for listening to The Book Pile! We really appreciate it. See you in 2025!WATCH KELLEN'S NEW COMEDY SPECIAL ON YOUTUBE!https://www.youtube.com/watch?v=JpBt0W1zrDU&t=1237s-Get two free tickets to any of Kellen's live shows in 2024-2025 by joining The Book Pile's Patreon at:https://www.patreon.com/TheBookPile-Dave's book / game The Starlings is here: https://www.amazon.com/dp/B0CMBBLGXN?ref=myi_title_dpBuy any of the books (the BEST books!) mentioned in this episode and support the podcast at the same time! Just click below! In no order, they are:A Gentleman in Moscow, Amor Towleshttps://amzn.to/3DOeiAcPermission to Feel,   Marc Brackett Ph.D.https://amzn.to/49YI0i2Here One Moment, Liane Moriartyhttps://amzn.to/4gPRAGVWhat Alice Forgot, Liane Moriartyhttps://amzn.to/40eKo13Dead Men Scare Me Stupid, John Swartzwelderhttps://amzn.to/40fOIx9Mexican Gothic, Silvia Moreno-Garciahttps://amzn.to/40dlK0xThe Body, Bill Bryson Tchaikovskyhttps://amzn.to/3Pga9rqA Short History of Nearly Everything, Bill Brysonhttps://amzn.to/3BSwZlVThe Years of Lyndon Johnson (book 1 of 4), Robert Carohttps://amzn.to/3BSA1GP Children of Time, Adrian Tchaikovsky https://amzn.to/3DLBLSBThe Very Persistent Gappers of Frip, George Saunders https://amzn.to/3PfNIT44000 Weeks: Time Management for Mortals, Oliver Burkemanhttps://amzn.to/3VZ9pusThe Great Mental Models (book 1 of 4)https://amzn.to/41QsfI7  Raising Emotionally Strong Boys, David Thomashttps://amzn.to/40cY24MAdult Children of Emotionally Immature Parents, Lindsay C. Gibson PsyDhttps://amzn.to/3DyRkx3Bea Wolf, Zach Wienersmithhttps://amzn.to/4gBW1opSlaughterhouse-Five the Graphic Novel, Kurt Vonnegut & Ryan Northhttps://amzn.to/4gBQPkmEichmann in Jerusalem, Hannah Arendt https://amzn.to/3VWGUO4The Creative Act: A Way of Being, Rick Rubinhttps://amzn.to/49V2VCJThe Nutshell Technique, Jill Chamberlainhttps://amzn.to/40hcpoNZen in the Art of Writing, Ray Bradburyhttps://amzn.to/3VZa0wcLive From New Yorkhttps://amzn.to/3VZe8wcTo Hold Up The Sky, Cixin Luihttps://amzn.to/4iYk9mLQuiet, Susan Cainhttps://amzn.to/3Pif1MLThe Elephant in the Brainhttps://amzn.to/3DBgwTHWhen Breath Becomes Air, Paul Kalanithihttps://amzn.to/4a12SVPA Heart that Works, Rob Delaneyhttps://amzn.to/3Wo9BUzTHE HOSTS!-Kellen Erskine has appeared on Conan, Comedy Central, Jimmy Kimmel Live!, NBC's America's Got Talent, and the Amazon Original Series Inside Jokes. He has garnered over 200 million views with his clips on Dry Bar Comedy. In 2018 he

In the latest literary episode, Beave and Len sit down in their comfy chairs in front of a roaring fire, light their pipes, and educate you on fine literature. Specifically, they talk the New York Times' recent list of the Top 100 Books of the 21st Century. How many have you read? We go through the ones we actually have read, the ones we have on our shelves but have not yet gotten to, and ones that may have been snubbed but are still fantastic. Tune in for some good book recommendations!

Welcome to a special episode of Startup Dad! It's the holiday time again when the list of responsibilities, performances, potlucks and gifts goes through the roof for already busy parents. To help you navigate the chaos I've asked many of my past guests to share with me their favorite books from the past year – those they'd gift to another person and those they'd tell parents to get for their kids. I've also highlighted parent's favorite meals to make with and for their kids.I'm joined by Alex Cohen, Andrew Capland, Brian Balfour, Adam Nash, Adam Grenier, Will Rocklin, Rob Schutz, Casey Handmer, Tye DeGrange, Josh Herzig-Marx, Carla Naumburg, and Michael Perry.In this episode we discuss:- Top book recommendations from 2024 for adults- Their top book recommendations for kids of all ages- A favorite recipe to make with your kidsWhere to find Adam Fishman- Newsletter: FishmanAFNewsletter.com- LinkedIn: https://www.linkedin.com/in/adamjfishman/- X: https://twitter.com/fishmanaf- Instagram: https://www.instagram.com/startupdadpod/Timestamps:[00:41] Favorite book to gift this holiday season?[14:27] Favorite book that you'd recommend to another parent for their kids?[28:52] What recipe do you like to get your kids involved in at the holiday time?_Show ReferencesA full list of ALL references in this show can be found here: https://docs.google.com/document/d/17eDnhGaRWvCqBl0RmM746Je7Ovpt7qL-14TNzQS4DUg/edit?tab=t.0Nick Soman's Episode: https://startupdadpod.substack.com/p/building-a-company-and-family-nick-soman-decentFounding Sales, The Founder Led Sales & Early Stage Go-to-Market Handbook by Pete Kazanjy: https://www.foundingsales.com/Decent: https://www.decent.com/Casey Handmer's Episode: https://startupdadpod.substack.com/p/astrophysics-saving-the-planet-and-three-kidsPoor Charlie's Almanack: The Essential Wit and Wisdom of Charles T. Mungerby Charles T. Munger: https://www.barnesandnoble.com/w/poor-charlies-almanack-charles-t-munger/1142619102Eric Bahn's Episode: https://startupdadpod.substack.com/p/integration-over-balance-and-hustling-with-kidsNever Split the Difference: Negotiating as if Your Life Depended on It by Chris Voss: https://www.amazon.com/Never-Split-Difference-audiobook/dp/B01COR1GM2/Demon Copperhead by Barbara Kingsolver: https://www.barnesandnoble.com/w/demon-copperhead-barbara-kingsolver/1140860121Eric Mauskopf Episode: https://www.youtube.com/watch?v=jOkHqWbJI1cWill Rocklin Episode: https://www.youtube.com/watch?v=LnPwKjSosyMA Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life by George Saunders: https://www.barnesandnoble.com/w/a-swim-in-a-pond-in-the-rain-george-saunders/1137150630Michael Perry's Episode: https://www.youtube.com/watch?v=AP6JJhiFfK4Four Thousand Weeks: Time Management for Mortals by Oliver Burkeman:https://www.barnesandnoble.com/w/four-thousand-weeks-oliver-burkeman/1137427241Tye DeGrange Episode: https://www.youtube.com/watch?v=BVs8FnMNIQILonesome Dove by Larry McMurtry: https://www.barnesandnoble.com/w/lonesome-dove-larry-mcmurtry/1001920809Adam Nash's Episode: https://www.youtube.com/watch?v=MaOCL5WSzhcWhen the Heavens Went on Sale: The Misfits and Geniuses Racing to Put Space Within Reachby Ashlee Vance: https://www.barnesandnoble.com/w/when-the-heavens-went-on-sale-ashlee-vance/1142161472Liftoff: Elon Musk and the Desperate Early Days That Launched SpaceX by Eric Berger: https://www.barnesandnoble.com/w/liftoff-eric-berger/1137428010Reentry: SpaceX, Elon Musk, and the Reusable Rockets that Launched a Second Space Ageby Eric Berger: https://www.barnesandnoble.com/w/reentry-eric-berger/1144620800Brian Balfour's Episode: https://www.youtube.com/watch?v=iiQ_wAwfv5s100% Unofficial AB to Jay-Z by Jessica Chiha: https://www.amazon.com/100-Unofficial-Jay-Z-Jessica-Chiha/dp/0648073912/Andrew Capland's Episode: https://www.youtube.com/watch?v=1p-4ir53gZcThe Big Leap: Conquer Your Hidden Fear and Take Life to the Next Level by Gay Hendricks:https://www.barnesandnoble.com/w/the-big-leap-gay-hendricks/1102667522Rob Schutz's Episode: https://www.youtube.com/watch?v=g611gCs4g0AThe Ferryman by Justin Cronin: https://www.barnesandnoble.com/w/the-ferryman-justin-cronin/1141941765Carla Naumburg's Episode: https://www.youtube.com/watch?v=qcrzFhbeIVsCase Histories (Jackson Brodie Series #1) by Kate Atkinson: https://www.barnesandnoble.com/w/case-histories-kate-atkinson/1100163888Josh Herzig-Marx's Episode: https://www.youtube.com/watch?v=YiaE6ZmaOIQGnomon by Nick Harkaway: https://www.amazon.com/Gnomon-Nick-Harkaway/dp/0525432930The Gone-Away World by Nick Harkaway: https://www.amazon.com/Gone-Away-World-Nick-Harkaway-ebook/dp/B001EL6R9W/Adam Grenier's Episode: https://www.youtube.com/watch?v=PoOXR_3dnLUFaster Than Normal: Turbocharge Your Focus, Productivity, and Success with the Secrets of the ADHD Brain by Peter Shankman:https://www.barnesandnoble.com/w/faster-than-normal-peter-shankman/1125456961Alex Cohen's Episode: https://www.youtube.com/watch?v=OOa9mS-CIuQOutlive: The Science and Art of Longevity by Peter Attia: https://www.amazon.com/Outlive-Longevity-Peter-Attia-MD/dp/0593236599Lloyed Lobo's Episode: https://www.youtube.com/watch?v=hRuVbAHaUb0Zero to One: Notes on Startups, or How to Build the Future by Peter Thiel and Blake Masters: https://www.amazon.com/Zero-One-Notes-Startups-Future/dp/0804139296Masters of Scale: Surprising Truths from the World's Most Successful Entrepreneurs by Reid Hoffman: https://www.barnesandnoble.com/w/masters-of-scale-reid-hoffman/1138865531Penguin Problems by Jory John: https://www.barnesandnoble.com/w/penguin-problems-jory-john/1123199367Red Mars (Book #1) by Kim Stanley Robinson: https://www.barnesandnoble.com/w/red-mars-kim-stanley-robinson/1100623050The Cat Kid Comic Club Collection: From the Creator of Dog Man (Cat Kid Comic Club #1-3 Boxed Set) by Dav Pilkey: https://www.amazon.com/Cat-Kid-Comic-Club-Collection/dp/1338864394/Pig the Pug (Pig the Pug Series) by Aaron Blabey: https://www.barnesandnoble.com/w/pig-the-pug-aaron-blabey/1123894006?Du Iz Tak? by Carson Ellis: https://www.barnesandnoble.com/w/du-iz-tak-carson-ellis/1123161884How the Grinch Stole Christmas! Full Color Edition by Dr. Seuss: https://www.amazon.com/How-Grinch-Stole-Christmas-Jacketed/dp/0593434382The Polar Express by Chris Van Allsburg: https://www.barnesandnoble.com/w/the-polar-express-chris-van-allsburg/1100303321The Pout-Pout Fish by Deborah Diesen: https://www.barnesandnoble.com/w/the-pout-pout-fish-deborah-diesen/1100935993Tickle Monster by Josie Bissett: https://www.barnesandnoble.com/w/tickle-monster-josie-bissett/1009267028The Hunger Games (Hunger Games Series #1) by Suzanne Collins: https://www.barnesandnoble.com/w/the-hunger-games-suzanne-collins/1100171585Teach Your Giraffe to Ski by Viviane Elbee: https://www.barnesandnoble.com/w/teach-your-giraffe-to-ski-viviane-elbee/1128007314Little Blue Truck Makes a Friend: A Friendship Book for Kids by Alice Schertle: https://www.barnesandnoble.com/w/little-blue-truck-makes-a-friend-alice-schertle/1142263535The Book with No Pictures by B. J. Novak: https://www.barnesandnoble.com/w/the-book-with-no-pictures-b-j-novak/1118663264How to Stop Freaking Out: The Ultimate Guide to Keeping Cool When Life Feels Chaoticby Carla Naumburg: https://www.barnesandnoble.com/w/how-to-stop-freaking-out-carla-naumburg/1145065982Someday a Bird Will Poop on You: A Life Lesson by Sue Salvi: https://www.barnesandnoble.com/w/someday-a-bird-will-poop-on-you-sue-salvi/1128829321The Spooky Wheels on the Bus: (A Holiday Wheels on the Bus Book) by J. Elizabeth Mills: https://www.barnesandnoble.com/w/the-spooky-wheels-on-the-bus-j-elizabeth-mills/1019165966From Grassroots to Greatness: 13 Rules to Build Iconic Brands with Community Led Growthby Lloyed Lobo: https://www.barnesandnoble.com/w/from-grassroots-to-greatness-lloyed-lobo/1143861087Ninja Life Hacks Mindsets 8 Book Box Set (Books 65-72: Accountable, Respectful, Flexible Thinking, Consent, Entrepreneur, Healthy, Negative, Adaptable) by Mary Nhin: https://www.amazon.com/dp/1637316976Improvise. Scene from the Inside Out by Mick Napier: https://www.amazon.com/Improvise-Scene-Inside-Mick-Napier/dp/156608198X---For sponsorship inquiries email: podcast@fishmana.com.For Startup Dad Merch: www.startupdadshop.comProduction support for Startup Dad is provided by Tommy Harron at http://www.armaziproductions.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit startupdadpod.substack.com

Host Meg Wolitzer presents two stories that reflect on the beauty and vulnerability of the natural world. In “Joyas Voladoras,” by Brian Doyle, we hear the many different heartbeats of the natural kingdom.The reader is Becca Blackwell. And a talking fox has a lot to tell us about reading aloud, shopping malls, and fried chicken “Fox 8,” a darkly funny fable by George Saunders read by John Cameron Mitchell.  And we're joined by the mother/daughter book club we've featured on a couple of earlier episodes, which discusses “Fox 8,” at the end of the show.

Lauren Oyler's “Revenge Plot”, a literary diary of her trip to this year's Republican convention in Milwaukee, is the cover story of this month's Harper's. So when I talked today with the Berlin based writer, we discussed both the revengefulness of the Republican party and what she calls the “risk aversion” of the Democrats. While Oyler cares a lot about the outcome of today's election, she is wary of what she calls the “constant catastrophizing” both on the left and right of American politics. While this probably won't be the final election in the history of American democracy, she suggests, it might be the first 21st century Presidential contest not dramatically shaped by the internet. LAUREN OYLER's essays on books and culture appear regularly in The New Yorker, The New York Times Magazine, London Review of Books, Harper's Magazine, Bookforum, and other publications. Born and raised in West Virginia, she now divides her time between New York and Berlin.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.TRANSCRIPTAndrew Keen: Hello, everybody. The day has come, it's Tuesday, November the 5th. Election Day. We don't know who's won, but many people are going to the polls. One person who won't be going to the polls is my guest today, Lauren Oyler. She's a distinguished American writer, bestselling writer, essayist, critic. But she happens to be, as I joked before, we went live in exile in Berlin. She lives there in Germany, but she's also the author of an excellent piece, it's the cover story of Harper's this week: "Reunion or Revenge: The GOP Identity Crisis." According to Lauren, they're on the brink. I'm not sure of what. Lauren is joining us from Berlin in Germany. Lauren, what's the view from there? Americans looking as crazy as ever?Lauren Oyler: We're looking for a bar to go to. To be honest, we've been we've been we've been caucusing, trying to figure out where we can watch the the results. And we just found there's one place. But, you know, it doesn't the results aren't really start coming in until midnight here. So the debate is about whether we will stay up--or, people have some bad memories of doing that in 2016. I personally have a bad memory of doing that in 2016 as well. So the view is we're looking at our phones.Keen: So I assume the bad memory was not that you drank too much or ate too much.Oyler: No, I did. I certainly did. I'm just I was with my boyfriend at the time and we had gotten in a fight earlier that day about Hillary Clinton. And I, I just remember being like, I just don't care. I just don't care. And then we went to the bar with our friends and got quite drunk. And and then we were walking home and I didn't live here at the time, so I didn't have we didn't have cell phone service. So we walked home at like three in the morning. We were really drunk and we were like, Well, we won't know anything. And then we got home and we like, laid in bed in the dark and and looked at our phones and we were like, no, this is terrible. So and then just laid in bed again, really drunk looking at our phones.Keen: It's something that could have occurred in one of your books or maybe in a in a DeLillo book. So are the Germans shocked? I mean, they they they've made a culture out of being a shock to other people that they particularly shocked this time around?Oyler: No, I don't think so. I remember right before I went to report this story, I was in a restaurant down the street from my house and I listened to--I was overhearing a conversation with this German guy, was talking to these people and he was like, he was he was like, Yeah, have you heard they have the plague in Colorado now? He's like, Yeah, this is crazy. Imagine if we had the plague in Berlin. Like, it was really like, I don't really think they sort of like, Yeah, this is crazy, but it's, you know, it's not it's not the first time. And I think to and in Europe, it used to be that you were reviled as an American. Certainly when I first moved here in 2012, there was still that kind of anti-American sentiment. But now far right populism has spread across the West and everybody is sort of commiserating with with you and just kind of like, you know, it could happen. It could happen to us at any time. It basically is the idea.Keen: The plague has come home to Germany from Colorado. So let's get to the piece, Lauren, you went to Milwaukee to cover the GOP's identity crisis. And it's a long essay. Very...to use the word Oyler-ish in the sense that it's it's a very creative piece of work, creative nonfiction, although some people might say there's a fictional element there. What was your overall take on this odd convention and why was it that it's almost five months ago now?Oyler: Yeah. Well, I think the big the the big concern that I had going into it was that, you know, you're right, it would be coming out it came out in the middle of October, and I would be reporting on something that had happened in July, which, of course, in the past would have been perfectly normal for this kind of piece of this kind of like literary new journalism type thing. Many, many great pieces about political conventions that I'm sure your listeners, listeners will be familiar with, things like Norman Mailer, they come out late. But, you know, now--Keen: It's timeless as well in their own way. I mean--Oyler: It's supposed to be timeless, but now everybody's sort of attitude towards the news is like, I need to hear it right now. And then it the cycle, the cycle, the cycle and it goes away. So you sort of forget about it. So I kind of was grateful for the assignment because the assignment was basically like write something of lasting literary value about about the circus and spectacle, which was very interesting. And, you know, it was sort of you're following the news as it's happening and you're like, well, I can't really like you just have to be aware of the general narrative as time has gone on, you can't really be too obsessed with anyone's story because as I learned when former President Trump was almost assassinated while I was on the plane there, like something can just completely derail the whole plan. But I had never been to a political convention before. I was surprised at how much I enjoyed doing that kind of reporting. And I was surprised at how at the dissonance between what was being reported by these live up to the minute coverage, like blogs or social media or things like this. The difference between the analysis that those those journalists would generally produce and what I was interested in or even like what I thought the mood was, frankly, as, as the title of the piece and the sort of the tag line suggests, like it was a bit fraught, I think, for the Republicans. I think I think the liberal media generally tends to want to keep to the storyline that they are evil masterminds of the chaos that they saw. But I what I saw there at least, was kind of a fracturing basically.Keen: Right? I mean, I think that the more I watch or listen to liberal media or mainstream media, they behave as if they're the grownups and. And perhaps some of these photos actually underline the fact that it's the Republicans who were the children. For better or worse, they're out of control. They need to be sent to their room and perhaps spanked, although I'm guessing most liberal media people don't believe in spanking anymore. I'm curious, Lauren. I had lunch with Rick MacArthur, the publisher of Harper's few months ago in New York. And like all publishers of traditional magazines, he claims poverty, not enough money to go around. Couldn't you find someone a bit closer? I mean, I assume he paid for you to fly from Berlin to Milwaukee. That's quite a long way. Why didn't he find a local person, or do you think he chose you, or they chose you, the editor chose you because you bring a slightly foreign perspective?Oyler: Do you don't think I'm such a good writer that it's worth flying me over there?Keen: Did they pay for first class?Oyler: No, it was was economy, which was good, actually, because I got I had some interesting conversations with my senior and they did say, you know, we won't pay for paper business, but I did buy the expensive internet in the end. But and I think I was staying in a Hampton Inn. Do you know how do you know how the--Keen: My God. So they put you up in a Hampton Inn?Oyler: Do you know how it works? So when you go to a convention, there's like the convention as the press, the press corps or the convention, if you like, a place to stay. And so many of the delegates were staying like in Madison, Wisconsin, or in Illinois, and I was in the same hotel as the USA Today people. So that speaks to me being like the, you know, the national and the the government's like belief in the value of Harper's magazine in comparison to other other places. So it was maybe like 20 minute drive away anyway. Non sequitur. So why do you think they asked me to go? Maybe because I do have a little bit of foreign perspective, I think to it is not you know, it is nice to have a literary writer juice politics coverage. You know, there's a long history of this. Norman Mailer is a wonderful introduction to this book that I have about ranting about journalists and reporters and why it's important to bring a novelistic eye to things. Joan Didion, obviously famously, and all sorts of other examples. George Saunders did a did a Trump rally in 2016. I think Patricia Lockwood did one as well. So I think there's that kind of tradition that that Harper's is a part of and wants to sort of continue in the face of maybe people saying that literary writing has no place in society anymore. But also, I assume that my being from Appalachia has something to do with it because, yes, as you say, I live in Berlin, but I was born and grew up in West Virginia, and although we did not know J.D. Vance was going to be selected as the VP when they assigned me this piece, it wasn't always a strong possibility. And I think the region sort of exerts a pull on the national media at least every four years. So I would assume that that also has something to do with it.Keen: That's interesting that, you know, the the other side of the Appalachian coin from J.D. Vance. You mentioned earlier, Lauren, that the the media reported on this differently from bloggers and some of the online crowd. What are the differences? Can you generalize about how the USA Today crowd covered it verses bloggers who perhaps weren't there or watching online?Oyler: Yeah, well, I think there is a certain kind of convention story that is just like we're here, there's someone on TV, they're doing a stand up. They have someone shooting them and they're just like, I'm here live at the convention. Like, here's how crazy it is. But the thing that I talk about in the piece especially is this Ezra Klein sort of blog about the convention. And I believe the headline that he wrote was for his podcast about it was I watched the Republican National Convention. Here's whatever, and that kind of dramatic headline style that that has been honed on the Internet--Keen: And this was a New York Times piece--Oyler: Well, the New York Times Piece...I watched the Republican National Convention on television. Why does that...anyone can watch the Republican National Convention on television. And they want it to be like a dramatic sort of...a little bit dangerous feeling that it did have at points. But but the thing that was surprising to me was how unenthusiastic many of the people there were or who were just there because, you know, they go every been ten times or whatever.Keen: I mean, you have some great photos in the piece of people looking pretty miserable, which of course probably makes most of us feel better about it. And I mean this one in particular for people watching a couple of white middle class people with cheese hats, one with a "Make America Great Again" sign, the other, "bring back common sense." They look most uncommon and most miserable.Oyler: And it's not to say that there wasn't, there were many sort of disturbing moments of enthusiasm, I think. But they weren't always the people on stage that you would--the biggest applause that I remember was not for Trump or for J.D. Vance. Of course, those went on forever. But this sort of passion, like the sort of scary passion that the media wants to find it in the Republicans. I noticed it most with Peter Navarro, who had just gotten out of prison that day and offering to give a trial, which was so bizarre and people were just screaming their heads off for him.Keen: And he's a China hater.Oyler: Yes, I can never remember what the sort of White House department of something that they invented that he was the head of. It was some kind of trade council.Keen: Like Go to War with China Department.Oyler: Yes. Yes. And he had just been let out of prison and he was missing a tooth. Which was really bizarre. And then Tucker Carlson, everybody was going crazy for it because he's like a celebrity. But there was not this kind of excitement for, say, Kid Rock or something like this. Or even Hulk Hogan.Keen: Yeah. So here's the question for you. Lauren, I think you're as well-positioned in every sense to to answer this question, which is the question I struggle with and I've talked to I've talked about endlessly on this show and I haven't resolved I'm sure I've bored most of my viewers and listeners. You mentioned Hulk Hogan, of course, the ultimate wrestler. In fact, I had Peter Osnos on the show last week. It was the original editor of Art of the Deal, and he said when he was editing out of the deal, he went with Trump to a wrestling contest, and Trump was enormously popular there back then, 30 or 40 years ago. To what extent is this whole--and I use this word carefully--spectacle, just wrestling. To what extent is it just another version of reality television and everyone understands in an odd kind of way that they're participating in this weird narrative. You've done a lot of thinking and writing on this in terms of the Internet, although some of the people participating in this are pre-Internet people. I mean, Trump is Mr. Reality television. So this goes back before the Internet. But to what extent is this, I don't know, reality, hyper reality, beyond reality, and how does it connect with--there is a reality of America on November the 5th, 2024. I hope that's a--I'm not sure it's a particularly clear question, but gives you an opportunity to talk about how you perceive this whole spectacle or circus.Oyler: Well, I think it's I think that the Republican Party and I think the American society in general, certainly American media, has been in a kind of transitional phase since 2020. Don't quote me on that, but like generally, like since Trump's term was a very crystal clear political moment in the country, I think. And it did make a lot of people sort of immediately think back and say what, what did I miss about the last ten, 15 years that led to this? Like, why didn't I see this coming? Why didn't I expect Donald Trump to be elected president in 2016? And that led to all this kind of--the things that you're referencing, which are, you know, reality, the effects of reality television and the effects of social media, you know, the sort of the the sense that--the desire for kind of like a more immediate relationship to our media that develops--all these things kind of developed in tandem, which is to say that, you know, someone who's watching the Hills on MTV, which is sort of my demographic, is not going to be the same kind of person who's watching wrestling per say. But there are many things that those two kinds of programing have in common, right? And it is kind of the ironic presentation of reality and scare quotes, right? And I think that Donald Trump, obviously a reality television host himself and and and certainly involved in professional wrestling can like sort of tap into could tap into that. But I don't think we're in that period anymore. I don't you know nobody is we aren't I hope we don't have graduate students writing dissertations on the on the Kardashians anymore which is what, you know that was such a prominent force in the media and in the sort of 2010s during Obama's administration. And I don't know exactly like what is next, right? The conversations we're having now are all about AI. They're all about Elon Musk. But it's certainly not this like pro-wrestling spectacle thing anymore. And I think you can see that because it's not as if that was that was not new, part of part of the spectacle that was created by the by the Hulk Hogan stuff was like that it was so surprising. But you can't keep bringing Hulk Hogan out every for, you know, you can't have them every four years. I'm sorry.Keen: An immortal Hulk Hogan or for that matter, Trump.Oyler: Yeah, yeah. And I do think that--picking J.D. Vance as the vice presidential nominee does indicate that they are trying to sort of move forward and kind of set the path for Trumpism after Trump. As many...that's not my phrase. It's a phrase everybody everybody uses, because also Trumpism is the most successful kind of Republican movement in a long time. You might remember the Tea Party didn't arrive. But there's a lot of dissent about that, I think. I think a lot of older people in the party that I talked to when I was at the convention were dissatisfied with Trump. And they would say, you know, I actually never liked him. I didn't vote for him in the primary in 2016. I would prefer he not do this. I overheard a man giving an interview to some some wire service and he, he really sounded like he was having an identity crisis. Like he was like, I don't know. This is not the party I grew up with. This is not the party I joined. What am I going to do? So there are lots of these older guys who feel that way. And then on the other side, there are lots of these young guys who I talked to who are kind of young Republicans in their early 20s, and they also don't really care. It's not like they're excited about Donald Trump. They're like excited by the kind of meme-ified free market capitalism opportunities that the Republicans sort of scoop up, right? Like they like crypto. They like, you know, they're like they have some really confused ideas about tariffs, which if you if you press them on it a little bit, you would say maybe you actually should vote for a Democrat because Trump is just putting more tariffs on things, just all sorts of things.Keen: By the way, it's the first time in this conversation, Lauren, I've heard the the West Virginian twang when you when you said tariffs. Say it again.Oyler: Tariffs? I mean, I can do it all day if you want. I was anticipating you asking me to perform the accent. Maybe when we talk about a little bit more about J.D. Vance.Keen: Yeah.Oyler: But but, yeah--Keen: Tariffs, and what about China? Could you do China?Oyler: Well, you know, I lived in Beijing for about two months.Keen: I mean, JD, is he the fool here or is he the one who's being made to look like a fool, do you think?Oyler: I think he's allowing himself to be made to look like a fool. I don't think that...Keen: Does he know what he's doing here?Oyler: Yeah. I mean, does he know what he's doing entirely? No. Does he know what he's doing? More than, like, Donald Trump's kids? Yes.Keen: It isn't hard, especially the boys. The girls disappeared, right? I think our girls have disappeared.Oyler: And yeah, good for them. I think I saw on Twitter that it's Ivanka's 43rd birthday today.Keen: Maybe a happy birthday, Ivanka, if you're well, I'm sure you've got better things to do. Although, she does seem to be participating. I'm sure she's severely embarrassed now by the whole thing.Oyler: Yeah, I think that that's a big issue for, you know, they're just they're struggling to have like a base for Trump anymore. And there is like a base for Republican, like a Republican Party base. But it doesn't seem like there's that many.Keen: Yeah, and your essay is entitled "The GOP's Identity Crisis." Maybe it should be "The Trump Family's Identity Crisis."Oyler: Yeah. I mean, he's he's not going to be around for that much longer.Keen: Yeah. I mean, what you said was interesting about talking to a lot of older people who suggested they don't like Trump. I mean, if he loses today, who knows what's going to happen? But if he does indeed lose and relatively decisively in the sense that it's clear that he lost. Do you think the knives are going to be out in your experience in Milwaukee? Yeah, there are enough people in the Republican Party will say enough is enough. This guy's a loser and we need to move on.Oyler: I mean, I think you can't lose two times in a row. You know, I mean, I think that there is enough...It's it's hard to say, well, what are the billionaires going to do? Like, what's Elon Musk going to do? What? Like, where's the money going to go? I don't know. I think they are trying to set up...to me at the convention, it seemed to me that, like J.D. Vance and Vivek Ramaswamy are the are the people that are sort of creating the most enthusiasm. But at the same time, you do have this kind of thing which the Democrats start with in 2016 and in 2020, which is that the younger members of the party have sort of radically different kind of Internet inflected ideas about what they want from the party. And the older guard is sort of scandalized a little bit by that. And it's kind of like a power struggle that will be interesting to watch if if Trump loses. And even if he wins, frankly.Keen: The narrative, the traditional narrative in mainstream media over the last few days has been mostly about men. Men, male and female voters, black and white voters, which is always a feature. And young and old voters. What wisdom did you derive on those fronts from from Milwaukee? Were there any young people there or any black people there? Were there any women there?Oyler: Were there any young people, black people or women there? Yes, there were there. It does skew older. It's very white. And, you know, the women who are there generally wives, even if they're also delegates, like they're not the main event. They don't have a Sarah Palin at this point right? There was...many of the women who spoke on stage were given a pink backdrop. They're very welcoming to women and minorities and young people. The rhetoric is all very much, we're not racist. America is not racist country. This is not a racist party. Over and over again, Tim Scott gave a big speech about how the Republicans aren't racist. Amber Rose Kanye West's ex-girlfriend, gave a big speech about how Republicans aren't racist. There was all this kind of state saying how not racist they were. And, you know, on the ground, obviously most people are white, most people are old, and most people are men. So, it was not super convincing, but it is kind of interesting to watch them say that because, of course, even ten years ago, they would have never cared about any of that, any of those kinds of points.Keen: Early on in the piece, you mentioned DeLillo. To what extent did he, especially in White Noise, did he predict all this? I mean, not just him, but that school of American writing.Oyler: But do you think they're predicting it or they're just observing their own time, and actually, it hasn't changed?Keen: I guess, yeah. I remember a review, I think it was Andrew Hagan's review in the New York Review of Books after 9/11, in which they were reviewing one of one of DeLillo's books about terrorism. I know Hagan wrote about DeLillo in the sense that reality kind of overtaking, maybe, his prediction or his his kind of work. It must be, again, to use a word, surreal here to to see this world that DeLillo already imagined in practice.Oyler: Well, I think he's probably talking about Underworld. But I think it's maybe our idea of of history being kind of flawed rather than DeLillo's being overtaken. I do think DeLillo has some struggles writing about the Internet, but that's fine. But I think, too, because I was reading so much of these convention pieces from the 60s and 70s, the conversation is the same. And that's nonfiction, right? And so I actually think this kind of like apocalyptic rhetoric and and ever greater spectacle, it does sort of get ever greater, but it has always been getting ever greater. And so I don't know that DeLillo has been like overtaken, because also people can read. People read, you know, Libra now, which is all about in the wake of the failed assassination attempt on Trump. Everybody was talking about Libra, which is about the assassination of John F. Kennedy, and the kind of, let's say, deep state apparatus surrounding that event. And also, you know, White Noise is a satirical novel. But but I think there was sort of some airborne toxic events in the United States.Keen: Yeah. I mean, he actually did write that in the book. I think about that. In a small town.Oyler: Exactly. But I believe White Noise is based on also a real incident. And DeLillo tends to work with actual news stories. Underworld is also sort of heavily researched and based on on on real, real events. So I think actually, maybe we we have to sort of admit that like as as as writers, as pundits, as journalists, as as whatever, it's in our best interest to say now is totally different. Right now, more than ever, everything's totally different. We're in a new paradigm. We're in a new era. This is especially bad. You know, you keep hearing this is the most important election of our lives. And we've been hearing that for every single election. And it's always been that kind of story. I can't really remember what your question was, but my my feeling about DeLillo is, like, amazing author. One of the best we have.Keen: Yeah, I know. I agree. And this idea of it being the most important election and of course, until the next one. This idea of an identity crisis. Lauren, what is an identity crisis? You noted that America is in a transitional stage. I mean, countries are always in transitional stages. They're always changing. Gramsci I think wrote that these kind of periods are a time for monsters. So we imagine the worst. What, to you, is an identity crisis, and why is the GOP going through it and not the Democrats? Might one argue that it's actually much healthier to face up to this crisis than to basically ignore it as the as the Democrats seem to be doing?Oyler: Yeah. Well, I think the Democrats, for all their faults, sort of dealt with this in the last two elections. And actually, you could say too the election of Barack Obama in 2008 was also a kind of identity crisis moment for them because the party didn't really want him, right? And Hillary's people, I believe, in 2008 were really critical of anyone who would go work for Obama, and it was it was actually like quite a big conflict. So you could say that basically the Democrats have been going through it as well. And now they've kind of they lost so humiliatingly in 2016 that they kind of had to do something about it, and they basically strong armed the left wing of the party in 2020, which for people of my generation, it was quite upsetting or like, galvanizing in some way, but you just don't really see so much...for someone who was really paying attention in 2020, the dissent against Kamala Harris is so much less than the dissent against Joe Biden in 2020. Does that sound right to you?Keen: Yeah, but I'm not sure you...I mean, if America is indeed in what you call this transitional stage where things the nature of the country, perhaps what we might think of as its kind of operating system is changing so dramatically. The Republicans are trying to face up to it and perhaps making fools of themselves, but at least they're addressing it. Why? Why the Republicans? Why the Democrats? So maybe America really isn't...I mean, this idea of a transitional stage is always true. So it's no more transitional in 2024 than it was in 2020 or 1920.Oyler: Yeah. Well, I think the Democrats have proven themselves to be quite denialists, right? Like they're very centrist. So the radical wing of the Republican Party. You could argue that J.D. Vance is part of part of the radical wing of the Republican Party. So I just think that the the Democrats are risk averse. They're very risk averse. And the things that they want are a return to normalcy when Republicans want like a radical reshaping of the government and society. They want...I went to some Moms for Liberty event where, you know, they weren't talking about this on the convention floor, but the Republicans give hearing to people who want to abolish the Department of Education. I can't remember what Trump's specific view on that is, but that's an incredibly radical proposal.Keen: I mean, Michael Lewis wrote a whole book on that: The Fifth Risk.Oyler: Yeah. But, it's not inconceivable that they would do that.Keen: Well, they did it. I mean, they did it in in 2016. I don't know if you're with the Department of Education, but some of these departments, they essentially shut down or appointed people with so hostile to the bureaucratic state that they by definition were going to ruin it.Oyler: Yeah. And then there was the the acronym R.A.G.E, Retire All Government Employees, and this kind of stuff. So but my point is that they you know, they see themselves as a revolution--the Republicans see themselves as a revolutionary party, and the Democrats are emphatically not. They're defining themselves against Republicans. So they're like, of course we're not America is not in an identity crisis. We just need to, like, get back to normal. But to go back to the phrase identity crisis, I think, too, is a reference also to J.D. Vance, whose whole career is, I argue, based on a sort of perversion of liberal identity politics, or an appeal to a kind of liberal identity politics. And the Republican Party's use of him or his use of them, is also based on this kind of Appalachian identity he has has created for himself in the media.Keen: Lauren, whatever happens today, the country's still profoundly divided. One side's going to win, one side is going to lose, but not by much. Lots of people have written about America in a process of divorce. You've presented the Democrats as denialists and the Republicans as so aggressively trying to figure themselves out in a slightly absurd way. Is this like a kind of traditional divorce where one partner denies there's any problems and the other exaggerates them? I don't know what the outcome of that kind of divorce usually is.Oyler: I don't know. Are you divorced?Keen: Yeah, but I'm not a denialist.Oyler: So you're so you're like--Keen: I mean, I was divorced.Oyler: What?Keen: I mean, I was. So...I've married and divorced.Oyler: Okay. But you have been through that. You've experienced--Keen: Yeah, I've done a divorce. Have you?Oyler: No. Never been married.Keen: But you've written about maybe not marriage, but you've written about...split ups, shall we say? I mean, you book Fake Accounts, which was a big hit, is about individuals and how they relate to one another. Is this like, maybe not a divorce, but a breakup in a in a weird kind of way, which, you know, you can't really breakup because you can't split the country in two?Oyler: Well, I don't think so, because I think it's probably...the thing about a romantic relationship is generally you are choosing in some way at least, to be in it and you're sort of declaring your your desire to be in it at some point in time. So if you're breaking it up, you're kind of it's seen as a failure, right? Whereas if you're an American citizen and you were just born in the country, you can't really control where you were born and you can't really, you know, there are only so many things you can do about that, and about your stake in the American political system and whether it breaks out. But are you asking for going is if this sort of south is going to secede or something like that--Keen: No, I'm saying, does this all tie into perhaps our therapeutic culture? I mean, is it coincidental that the kind of language that's being used both by the participants and observers like yourself is the same kind of language used by therapists, people addressing marriage breakups, relationship breakups, denialism, risk aversity, revenge plots, all this sort of thing?Oyler: Well, I think all the political parties are just made up of individual people, and as an individual person, the metaphors that we have at hand are our personal interpersonal metaphors. But I believe I'm a little rusty on this, but I believe Civilization and Its Discontents by Freud makes a similar kind of argument, right? Which is that there's a interpersonal metaphor that can be expanded to encompass the society. And you can read society psychoanalytically. I'm not a Freudian or even pro psychoanalysis per say, but it's not like it's actually not a new tendency that we we want to speak in these terms, especially in politics, which is different from government, right? Like in politics, all of the rhetoric, all of the language that politicians use and that they construct in order to make their case is incredibly personal and incredibly designed to incite emotion. That may remind you of things that happen in in private life, say. But I mean, are we getting a divorce? Like, we can't get a divorce. The Democrats or Republicans can't get a divorce. Maybe they need to grow up rather rather than split up.Keen: Finally, Lauren, I think your latest collection of essays is, No Judgment, I'm being critical...one of your strengths as a writer, thinker, or broadcaster, is your distance. I saw you had two interviews recently, one with GQ that says you don't take your work too seriously and then one with Vanity Fair, which suggests you care a lot. I wonder, and that's probably true of most of us, that we both hopefully don't take ourselves too seriously, but we also, in our own way, care a lot. Is this something that we should care about? I mean, so much hysteria. You noted earlier, every election is the most important election in American history. 2028 will no doubt be the same. You write without judgment, I think, that the piece also is written, in a sense, without judgment. But are you concerned with America? I mean, is this something to really worry about, or is it just one more scene and in the surreal history of the United States of America?Oyler: Well, I think, of course, it's something to care about. The idea I don't really care about things is obviously not totally true. But I think you can't care about the horse race aspect of of politics and you can't...the constant catastrophizing in the media hasn't worked. It's not accurate and it doesn't work. But of course it would be...I would prefer Donald Trump not win. Like, that will have many effects on even the country where I live, which is Germany. But to that point, I don't live in the United States and I don't live in the United States kind of for political reasons. And, of course, it shouldn't be a horrible catastrophe there the way that it is. Should care about it? Yeah. I think that if people don't care about it, or especially if young people don't care about it, it is a sense of that nothing that you do really matters, and like throwing stuff at the wall to see if it sticks politically. And that moment where everyone thought that they could do sort of political activism on social media has thankfully gone away. But there's been nothing to replace it to produce the kind of political subject for young people. So, I don't you know, I don't know what to do.Keen: Yeah,  it's interesting. I mean, I want to end this now because you've been very generous with your time. But I think your point, which hasn't really been made before...2024 is the first post-Internet election. Before, everyone was always obsessed with the Internet, always talking about how important it is. And now, you just don't read much about it. It's either it's the electric system, so it's just sort of ingrained into the system, or we've gone beyond the Internet, God knows where. But the Internet doesn't really feature in the discussion anymore.Oyler: No, I think that that's true. And I think that that's good because people are sort of accepting that it's a part of life now. I think the reason we focused on it so much in the previous two decades was because it felt like things were really radically changing. And maybe this sense that I have that we're transitioning into a new era and we don't really know what is the important thing to focus on is because it was so clear, I think, for many people that things were changing in a particular way with social media and social media was having these kind of drastic facts. And some people were in denial about that, and they would say, social media does matter. It's not real. Now, you can't really say that. But I think I noticed just before we got on the call that there was a New Yorker news, a breaking news story that The New Yorker published that that Russia was sort of inserting like kind of really bizarre election interference propaganda that was so bad. And it's not even going to be a big news story, right? Whereas that was such a huge news story in 2016 and 2020. And now we just sort of accept, yes, the foreign governments are going to attempt to use the Internet to interfere in our elections and we will almost certainly do the same. So, to relate this back to your question, should we all care? I think it's good to be realistic about these things, but it's hard to know where to put the emphasis at this point.Keen: Well, Lauren, Lauren Oyler, the author of Revenge--Revenge Plot, Not Revenge Post.Oyler: I thought you were going to say "romantic movie," which is cool.Keen: You've given me the title of this piece. 2024 is the first post-Internet election. I think that's very profound of you. Thank you so much, Lauren. And I hope I hope you're happy, because I think you and I probably agree on the kind of outcome of the election. But it's not the end of the plot, the revenge plot, whatever other kind of plot you want. We have to get you back on the show, Lauren, once the fog has cleared and we have a better idea of America post-2024. Thank you so much. And keep well and safe in Berlin. Really, I really appreciate it.Oyler: Thanks. Have a good night. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Avui visitem la llibreria Foster & Wallace de Vic per parlar amb Toni Ferron,

In this week's episode we take a look at a November Writing Challenge and offer tips for new writers to develop a sustainable writing habit. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 225 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 1st 2024 and today we are discussing part one of our November Writing Challenge. Before we get into that, we will talk about my current writing projects- we'll see where I'm at with that and do Question of the Week (because we did have time for Question of the Week this week). First up, writing progress. I am 85,000 words into Cloak of Illusion, and I am hoping to finish the rough draft next week, if all goes well. I think we'll end up about in the neighborhood of 100,000 words for the rough draft (with possibly 5,000 words either way, see how it goes). I'm also 17,000 words into Orc Hoard.  That will be the 4th Rivah Half-Elven book, and I'm hoping to have that out in December before the end of the calendar year. In audiobook news, production on Shield of Conquest is done. It's all paid for and ready, and it's just working its way through processing on various platforms, so it should be available soon. And you get it on my Payhip store right now, if you don't want to wait for the other platforms. Audio for Cloak of Spears is almost done. I should have a file to proof soon, which is very exciting. And then Hollis McCarthy, who did Cloak of Spears, is also going to be working on Ghost in the Tombs and that should be out before too much longer and also Shield of Conquest was excellently narrated by Brad Wills. So that is where I'm at with my current writing projects. 00:01:30 Question of the Week Now let's move on to Question of the Week. Now it's time for Question of the Week, which is designed to inspire interesting discussions of enjoyable topics. This week's question: do you keep a record of the books you have read? Obviously Goodreads is a giant website designed to do just that, but there are other methods, obviously. This question was inspired by one of those other methods. I was at a Barnes and Noble the other day and was bemused by the giant wall of reading journals that you can use to keep track of the books you have read. This elicited quite a few responses, this Question of the Week. They tend to fall into one of two camps, as we shall soon see. Joaquim says: No. No time, at least not for the physical books, even an app supporting barcodes was not successful and was later discontinued. For ebooks it's different because all your books are available on a list in Kindle/Digital Editions/Calibre (depending on their type). Justin says: No, it would look like bragging. I am a speed reader and don't watch TV. Reading is my primary mode of leisure. JD says: I have never even considered making a reading log. Surely that would be time better used for reading. AM says: I use a dot grid journal to make my own reading log and enjoy customizing what I track and adding some artistic embellishments. It's just a fun offline project for me and it made me self-conscious of what I read when I tracked on Goodreads. Adeline says: not keeping track at all. Doing that at the rate I go through books would just be a loss of a lot of time which could be spent reading. Barbara says: No, I don't keep any record of the books I read. I've been a voracious reader since I figured out what the alphabet was for back in first grade, used to get in trouble in class for reading ahead. I read fiction and nonfiction, although not equally. I have favorite authors, some of whose books I reread regularly. My digital library contains over 2,000 books, most of which I've read and while I think I don't read all that fast, in reality I read something over 700 words per minute. What's worse, I retain most of what I read, but if someone wants to keep track of what he or she reads, that doesn't bother me at all. Different strokes for different folks, as the song says. Jesse says: If I pick one up I have already read and don't immediately recognize it within a paragraph or two, it is probably time for a reread. Roger says: I buy a book before I read it, so my record is either on my bookshelves or on the Kindle. Kim says: I used to note in each paper version when I read/reread the books. Since ebooks, I keep a spreadsheet of book title and series, author, date read, major characters, reading order, my own personal ranking. Helps me keep track of authors, their series, crossovers, same-universe stories, and when the next books are coming out. I track all of that. Brandy says: It's impossible for me to do so. I reread whole series each time the new book comes out (yes, from the beginning). I'll often proofread, read for review, read for pleasure, reference, and beta. I'm also a foreign language and capture reader for translation of books. It was recommended therapy to help with linear retention after seizures and was always my main hobby. Jenny says: I use Goodreads but wish there was a better alternative. Tracy says: I just use Goodreads. Becca says: Since I started reading so much on Kindle, I've been letting it keep track of which books I've read. Me by myself, never kept track except in grade school when we had reading achievements. So it looks like the common options were either nothing or Goodreads, but one other person did what I did, which is I've kept a spreadsheet of every book I've read since 2010, since it felt like I was reading less than I used to, and I wanted to keep track of it quantifiably, since hard data is better than feelings. So I think in the last 14 years, the most books I've read in a single year is around 110 and the lowest would be a little over 40, though I think this year I will probably end up around somewhere around 75. My spreadsheets are not as detailed as Kim's. I just keep track of the day I started, the day I finished the title, the author's name, the genre, and whether or not it is an ebook or a paperback book. 00:05:12 Main Topic: Week 1 of November Writing Challenge So on to our main topic of the week: week one of our November Writing Challenge. What do I mean by that? I talked a little bit about it last week, but what I mean is that I do get lots of questions about how to start writing or questions about whether or not National Novel Writing Month or NaNoWriMo is worth doing. The difficulty of that is NaNoWriMo the organization is currently experiencing troubles. They've had some problems with some of their volunteers and this year they had a big blow up where they endorsed artificial intelligence in writing in a way that offended most of their user base and as I mentioned last week, I'm wondering whether that sort of shock therapy of writing 50,000 words in 30 days is the best approach for everybody. I mean, for some people it's a good thing. I usually write more than 50,000 words every month, but that's my job. But for someone else who's starting out, that kind of shock approach might be a bit like yo-yo dieting. We talked about that last week, how it's better to lose 1 pound a month and have it stay off than it is to lose 5 pounds a month only for you to change habits and then gain 10 pounds back. I wonder for some people National Novel Writing Month might be the equivalent of that sort of yo-yo crash diet where you make this massive effort and that burns you out and you give up on it again. If it feels like you're missing out when others are working on a bigger writing challenge this month and you want to start writing but feel overwhelmed, how about a smaller, more manageable writing challenge for the absolute beginner? That is what our November Writing Challenge will be-maybe 300 words a day or some other small number of your choosing, whether 300 or 500 or 1,000 or some other number. The key should be that the key is that it should be something small and something that you can realistically manage daily based on your current schedule and responsibilities and health and so forth. The inspiration for this idea was, as you may know, for the last year I've had a transcriptionist working on my podcast, which has been very helpful because that's something I would never have had the time to do myself. She too wants to write a novel and has started writing one and has experienced challenges trying to start one. She often says she has felt overwhelmed at the idea of starting one, and so let's follow along with her progress this month as well. So let's start. #1: What do you need to begin? Number one is a common question, technology/equipment. Someone once came to be concerned that they couldn't start writing because they didn't have software that “real” writers used only to be surprised that I used Microsoft Word and have been using Microsoft Word pretty consistently for the last 10 years. However, you don't even need to use Scrivener, Microsoft Word, or some other fancy software. I wrote Ghost in the Storm and Soul of Serpents and a couple of other books entirely using LibreOffice on Ubuntu Linux, which is of course free. That was back in like 2012/2013/2014 and back then I was more enamored of writing on, you know, small 10 inch screen laptops that I would install Ubuntu on and then enjoy the portability of them, that I could write anywhere using these very small laptops. That, however, was 10 years ago, and both the writer in question (me) and my eyes are 10 years older. These days I prefer to write on the biggest screen possible whenever possible, and my preferred laptop has a 17 inch screen which is less portable but definitely easier on the eyes. But the point is you don't need to spend a lot of money on software. You can write in Word on a cheap Windows 11 laptop. You can write on LibreOffice, which is and remains 100% free. You could write on a Chromebook using Google Docs. All you actually need is a word processor and some way to back up your work. Don't just store it locally. If you are writing Google Docs, you could save to the cloud automatically. Many other cloud services offer free tiers, and you can even email it to yourself every day to keep a backup because that way, if your computer and your backup flash drive are lost or damaged or stolen, you don't lose all your work. Why can't you write using paper? You can if you want to. However, keeping track of progress would be tricky, because then you might have to do, ok, I'm going to write like, you know, a page a day instead of 300 words and then if you ever want to publish it, you will have to transcribe it to electronic format. So if you want to write on paper, go ahead and just to be aware that you are creating more work for yourself in the long term, if you are fine with that. #2: The second thing we need to do is make a plan. I would suggest writing at least a simple outline and then make a plan for your word count goal for the month of November, whether it's 300 words a day or something else. You can write without an outline. I find that it's for myself, it's easier to write with an outline, and if you're an absolute beginner, outlining in advance might help you work through some plotting problems you would have otherwise run into later on in the book. I would recommend blocking out time on your calendar for writing, even if it's only 5 minutes a day. Treat it like an appointment that you have to keep. You could churn out a few paragraphs on your lunch break or write a few sentences while on the bus or train ride home. I know of documented cases where people have written entire books on a commuter train using their phones and they thumb typed the entire rough draft. That might be a little extreme, though I imagine the younger generations who grew up with cell phones would be more comfortable with that, but it's certainly possible. This may be the most important part. Make a plan for what you will do if something happens and you can't write as planned, whether it's a family emergency, something with your kids, something medical, house problems, or just any of the other random stuff that can come up in the course of day-to-day life. Plan for this possibility and write out what you'll do if it can't happen on that day. It's very easy to skip writing when many other things take up your day, and in fact, if you're just starting out, pretty much everything else that happens in your life tends to be higher priority than writing. But if you only write when your day is perfect, you're not going to be writing much because perfect days are few and very far between in life. If you can make a plan for what to do if you have something come up and try to keep to your writing appointment, that will probably be the best way of making progress. #3: The third thing we have to do is to prepare your mindset for writing and this is a big one, because people very often talk themselves out of doing things even before they start, and writers in particular seem to be very prone to this because they will talk themselves out of starting or psych themselves out halfway through the book or fall into the trap of endlessly repolishing the first chapter over and over until it is perfect. So what are the most common mental mindset pitfalls that writers can encounter? The first one, of course, is perfectionism/fear of starting. The ways to combat this are to realize that it is hard to be a beginner, but everyone was a beginner once upon a time. You will get better with practice. Cloak of Illusion is going to be my 157th book but a long time ago, I just had one book or zero books that I was struggling to finish. It's also a bad idea to edit as you go. Just keep going. A metaphor I've used that people have told me has found is helpful (from a quote from Shannon Hale) is that writing is like building a sandcastle in an empty sandbox. The first job of course, is to drag the bag of sand into the sandbox and fill up the sandbox, and the second step is to then actually build the sandcastle, which is editing. Creating the rough draft is filling up the sandbox and then the editing process is building the sandcastle but it's a bad idea to start building the sandcastle before you fill up the sandbox because you might psych yourself out and not finish filling up the sandbox, which is what you really need to do. It doesn't matter if it's good at first, it just needs to get done. Get the words down for the day. It's also a good idea to find a way to silence your inner critic and the best way to do that is to not edit as you go. If you don't go back and constantly revise and tinker, then you are less likely to start doubting yourself. There's a time and place for revising and tinkering and editing, but that is after your rough draft is done. It is important to do things in their proper order. Another metaphor I use to explain this is once upon a time, I moved into an apartment that was on the third floor of a building with no elevator, and I have a lot of books. Naturally I had to carry all those books up three flights of stairs and into the new apartment. By the time I was done, I was probably in the best shape of my life. I've found that is a useful metaphor for writing, because writing the first draft is carrying all those books up to the third floor of the apartment, and the editing process is once you have all the books in the apartment, the editing process, is arranging them properly on the shelf. Now you could start rearranging the books into proper order while they're still in the truck, but I think we'd all agree that was a waste of time because the books aren't getting out of the truck. They're not even going to stay in that order once you get them up the stairs. If you waste too much time rearranging the books in the truck, eventually the police are going to come by and complain that you're taking up the fire lane (not that this ever personally happened to me, of course). So it's good to finish the rough draft first and then focus on the editing. Another mindset challenge is telling yourself that you don't have time. We've already talked about a few ways to get around this. Start by making your goal small. Even if you write only 300 words a day, if you do it every day in November, you will have about 9,000 words by the end of the month, which could be a chapter, several chapters, or even a short story. For myself when I started writing, I was still working a full-time job. So what I would do in my lunch hour (my lunch hour was literally an hour) was I would scarf down my food in the first 10 minutes and then spend the remaining 50 minutes typing as fast as I could on my laptop before it was time to get back to work. I wrote several different books that way. You'll also find if you look honestly at your day, there are probably spots of wasted time where you could squeeze in a few 100 words on a phone or laptop if you brought it with you. For example, there are times in the day when I find myself just looking at memes on the Internet and if I was squeezed for time and could carve out some time there, that would be a few hundred words. If you find yourself waiting in a car to pick someone up, that is an excellent time to squeeze out a few hundred words. I've done that many times. Waiting rooms are good for that too, and any situation where you find yourself with dead time, like you're on hold, you're in a waiting room. You're waiting to pick someone up, you're on some form of public transit. If you have a cheap laptop or you can type on your phone, that is an excellent time to squeeze out a few words. Another possible mindset trap is just the intimidation factor of starting, and it might be helpful to remember back to when being creative didn't intimidate you, when creative work was a sort of play, and if you can recapture some of the playfulness of that, that may remove some of the intimidation factor. My transcriptionist found a quote from a writer named George Saunders on Dua Lipa's podcast, and he said, “so much of being an artist is trying to trick your habitual nature, which likes safety and security and repetition and being sure, trying to trick that person out and go back to the kid you were at 13 or 14 who was just overjoyed to be making something.” There is definitely something to be said for that, too, you know, as a way to get past the intimidation factor and some self-doubt. So those are some of the mindset trip traps we might fall into, and hopefully some techniques for getting past them. And finally, in future episodes, we will check in with my transcriptionist and see how she's doing with her writing progress, whether she has any questions. Since I'm recording this literally on the morning of November 1st, there's not any progress to report yet, but there is a question. Why do you think so many people want to write books but never start? And I think we talked about that pretty well in the episode. There's a lot of activation energy and you have to get over perfectionism and the fear of being laughed at and the time problem and just overall the fear of starting, but as other wiser people than me have said, 80%, maybe even 90% of life is just showing up and doing the work. Like for example, I never knew how to replace front porch steps, but when the front porch steps started rotting, the alternative was trying to find a carpenter, which is difficult and expensive, or figuring it out how to do it myself. So I watched some YouTube videos and bought some lumber and paint and figured out how to do it myself. Would a professional carpenter have done it better? Probably. However, last night was Trick or Treating and I had about 80 kids and their parents come up and down the porch steps to get candy. The porch steps held and not a single person fell in. So sometimes showing up really is just good enough. So anyone who is participating in some sort of writing challenge in November, whether NaNoWriMo or writing challenge month, if you want send any questions about the writing process and if time permits, I will include them in future episodes. You can send me an e-mail at jmcontact@jonathanmoeller.com or leave a comment on my blog or Facebook page. Please don't send me your story ideas or actual writing excerpts because I do not have time to read those and can't read them for legal reasons anyway. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes with transcripts on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.    

Ya en el aire el septuagésimo primer episodio de Cierra al libro al salir, el del estocentrismo. En nuestro episodio setenta,  comentamos una desnoticia para alejarnos del estocentrismo y leer las periferias, y otra sobre la gente que cree que está muerta y no lo está (o quizás sí); después hablamos de  Nadie es más de aquí que tú, de Miranda July; y para terminar os proponemos una nueva sección, un club de lectura-escritura basado en el libro A swim in a pond in the rain, de George Saunders. Presentación: al principio. Desnoticias: minuto 1:45. Consulta el mapa al que nos referimos aquí: http://bit.ly/3C7H5z3 Hablamos de Nadie es más de aquí que tú, de Miranda July: minuto 15:20. Comenzamos nuestro curso/club de lectura basado en un libro de George Saunders. Este mes, analizamos el cuento En el carro (o Camino de la escuela), de Chejov ( por si no lo has leído, está aquí https://bit.ly/4hvzM4o ): minuto 29:30.  Para el mes que viene, leeremos y analizaremos el cuento El novio, de Marina Tsvietaieva, que podéis encontrar en el libro Un espíritu prisionero o aquí: https://bit.ly/48xPEPI Despedida: al final. Puedes comprar los libros de los que te hablamos donde te apetezca, pero nosotros te sugerimos que lo hagas a través de una pequeña librería y que te dejes aconsejar por los libreros. La sintonía del programa es de Charles Matuschewski y el logo del programa de Ana Nuria Corral. Las cortinillas animadas son de Jara Vicente. La traducción sincronizada de Elvira Barrio Cualquier sugerencia o crítica, incluso malintencionada, la podéis enviar a hola@cierraellibroalsalir.com. Búscanos en facebook (sobre todo), o en twitter o en instagram o en youtube, prometemos contestar lo antes posible. Esto es todo por hoy. Dentro de un mes, otro episodio. ¡No te olvides! Cierra el libro al salir. #NadieEsMásDeAquíQueTú #GeorgeSaunders #Chéjov #MirandaJuly #relatos #literatura

Send us a textHere is our trailer on Youtube. Seven minutesDave inadvertantly scares away trick or treaters. Maybe next year.Del recounts highlights and lowlights of the World Series and wonders why millionaires make so many errors.Del figures out the right answer to the chicken quiz with a little help from his friends. We had seven winners while Frank and ML lost with style.Bucks discuss Ragged Clown listener feedback. If you want to know  where the name comes from, listen to this. Dave reads the short story Love Letter by George Saunders. Here's the video.What do you think?Give us your thoughts: BUCKSTWOOLD@GMAIL.COM Find us on FacebookLeave a Voice message - click HEREWHAT ARE YOU GOING TO DO WITH THE REST OF YOUR LIFE?

Previous Industries is an indie rap trio featuring Chicagoans Open Mike Eagle, Video Dave, and STILL RIFT.  Their debut Service Merchandise (Merge Records) pairs sly and hilariously heartbreaking musings with laidback beats by Child Actor, Quelle Chris, and Smoke Bonito. The writer George Saunders once said, “Nostalgia is, ‘Hey remember the other mall that used to be there?'” Service Merchandise plays like a time-bending, esoteric sci-fi expansion on that quote, utilizing “dead malls” as a metaphorical lens. In this WASTOIDS session, they answer calls from the Hotline, addressing—and in no way ducking—calls about batteries, White Hen Pantry, and their fashion style. Tune into HOTLINE: Previous Industries Is Not Ducking to get with it.Call us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.

A woman speaks to us from her room in a residential home, of some description. She reflects on her life, her family, her pets, on time—the past, present and the future—on Manson Family Alumnus Leslie Van Houyten, on History, on Death, on the Occult, on what it means to be “sensitive”…and so much more besides. All the while she is distracted, bothered, grounded, and charmed by her fellow residents, a rag-tag slice of American life if ever a novel saw oner. As you can imagine from a Lynne Tillman book—indeed, as you would hope—things get discursive, things get disrupted, things get WEIRD, very quickly. First published in 2006, AMERICAN GENIUS, A COMEDY achieves the eerie feat of growing more pertinent as time goes on. Deeply aware of the tradition of the novel—perhaps the American novel in particular—Tillman is also confident enough in the newness of her project, and mischievous enough in her approach, to subvert that tradition almost to breaking point. To echo the words of George Saunders, AMERICAN GENIUS, A COMEDY is “beautiful, sacred, insane.”Buy American Genius, A Comedy here: https://www.shakespeareandcompany.com/books/american-genius*Lynne Tillman is a novelist, short story writer, and cultural critic. Her novels are Haunted Houses; Motion Sickness; Cast in Doubt; No Lease on Life, a finalist for the National Book Critics Circle Award; American Genius, A Comedy; and Men and Apparitions. Her nonfiction books include The Velvet Years: Warhol's Factory 1965–1967, with photographs by Stephen Shore; Bookstore: The Life and Times of Jeannette Watson and Books & Co.; and What Would Lynne Tillman Do?, a finalist for the National Book Critics Circle Award in Criticism. Her most recent short story collections are Someday This Will Be Funny and The Complete Madame Realism. She is the recipient of a Guggenheim Foundation Fellowship and an Andy Warhol/Creative Capital Arts Writing Fellowship. Tillman is Professor/Writer-in-Residence in the Department of English at The University of Albany and teaches at the School of Visual Arts' Art Criticism and Writing MFA Program in New York. She lives in Manhattan with bass player David Hofstra.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Rarely do we devote one show to just one writer, but on this Selected Shorts, we turn the show over to universally beloved author George Saunders. Saunders somehow finds the good, or at any rate the imperfectly human, in his characters. The result is a catalog as funny as it is moving, as devastating as it is hopeful. On this program, two stories that perfectly illustrate this. “Love Letter” is from Saunders' latest collection Liberation Day. In it, an anxious grandfather who is ambivalent about the state of the world counsels an older grandchild. “Love Letter” is read by Stephen Colbert. And a favorite from our archives, “The Falls,” shows us two flawed men given a chance to do the right thing. René Auberjonois reads. The show also includes a conversation between host Meg Wolitzer and Saunders.

Meg Wolitzer presents three stories about the tricky subject of envy that question whether the grass is in fact always greener somewhere else.In Alexandra Petri's “Seneca Falls for You,” feminist Elizabeth Cady Stanton almost gets trapped in a romance novel.The reader is Ophira Eisenberg.  Ben Phillipe's sly fairy tale, “The Luck of Others,” read by Joanna Gleason, reminds us to beware of what we wish for.  And a small town charity auction surfaces envy and confusion in George Saunders' “Al Roosten,” read by Tony Hale.

En este episodio, Marisa nos habla sobre el peligro de aferrarnos a nuestras certezas y cómo eso puede limitarnos en nuestro crecimiento personal y nuestras relaciones. Inspirada por autores como Maria Popova, George Saunders y James Baldwin, reflexiona sobre la importancia de la curiosidad perpetua y la apertura hacia nuevas ideas. Además, comparte herramientas como la meditación y la lectura, que nos invitan a soltar el control y a vivir con más humildad, empatía y conexión. Un episodio que te hará cuestionar lo que crees y abrirte a lo desconocido.

Ya en el aire el septuagésimo episodio de Cierra al libro al salir, el de temor de payaso, excusa de biblioteca. En nuestro episodio setenta,  comentamos tres desnoticias sobre subastas literariohoteleras, sobre bibliotecas y sobre payasos, sin excusas; después hablamos de 84 Charing Cross Road, Hellen Hanff; y para terminar os proponemos una nueva sección, un club de lectura-escritura basado en el libro A swim in a pond in the rain, de George Saunders. Presentación: al principio. Desnoticias: minuto 2:20 Hablamos de 84 Charing Cross Road, de Hellen Hanff: minuto 21:00:.  Os proponemos leer el cuento En el carro (o Camino de la escuela), de Chejov, y comentarlo el mes que viene. Podéis encontrar el cuento en internet, por ejemplo, aquí: https://literatura.us/idiomas/ac/ac_camino.html minuto 36:00. Despedida: al final. Puedes comprar los libros de los que te hablamos donde te apetezca, pero nosotros te sugerimos que lo hagas a través de una pequeña librería y que te dejes aconsejar por los libreros. La sintonía del programa es de Charles Matuschewski y el logo del programa de Ana Nuria Corral. Las cortinillas animadas son de Jara Vicente. La traducción sincronizada de Elvira Barrio Cualquier sugerencia o crítica, incluso malintencionada, la podéis enviar a hola@cierraellibroalsalir.com. Búscanos en facebook (sobre todo), o en twitter o en instagram o en youtube, prometemos contestar lo antes posible. Esto es todo por hoy. Dentro de un mes, otro episodio. ¡No te olvides! Cierra el libro al salir. #84CharinCrossRoad  #GeorgeSaunders #Chéjov #relatos #literatura

Writer George Saunders on how famous short stories by writers like Chekhov, Tolstoy, Turgenev and Gogol are like miniature models of the world and how they can teach us to transcend our own limitations (R)

Send JKO a Text MessageReflecting on a quote from Brene Brown's Atlas of the Heart by George Saunders about “failures of kindness”, Judith Kambia Obatusa (JKO) highlights how fear often holds us back from being kind. She explores the courage it takes to show compassion, both to others and ourselves.Through Scripture and prayer, JKO encourages listeners to seek boldness, trust in God's strength, and act with kindness even in difficult situations. This episode also includes a special prayer from Psalms 118:8-9 that you can repeat by yourself to help you connect directly to God for courage and strength. Key scriptures: 2 Corinthians 3:5, Psalm 27:1, Philippians 4:13, Psalm 118:8-9.Nuggets of wisdom in this episodeFear can prevent us from helping when witnessing unkindness We need courage to overcome the struggle to show kindness, especially when it feels risky or uncomfortableWhen we show kindness we become conduits of God's love We can overcome the fear to act, by praying for courageReferences in this episode“Failures of Kindness” delivered by George Saunders, a transcript by James ClearJoin the Messy Can't Stop Her Sisterhood at https://www.facebook.com/groups/3204395256540448/If you would love to share your story on the #MessyCantStopHer podcast, click here to let me know. Thank you so much for listening. Music Credit: https://indiefy.me/wanted-carter

This week, we talk with Evan Friss, author of The Bookshop: A History of the American Bookstore, out now from Penguin Random House. Starting with Benjamin Franklin and moving up to the present day, it is a love letter to bookstores that The New York Times calls "A spirited defense of this important, odd and odds-defying American retail category."Books We Talk About: The Death and Life of Great American Cities by Jane Jacobs and the works of Donna Tartt, Haruki Murakami, Kurt Vonnegut and George Saunders.

In today's episode, I'm joined by Joan Leegant to discuss her new short story collection, Displaced Persons. Joan shares insights into her writing process, including how she often begins stories with no preset idea and allows stories to emerge from a first sentence. Many of Joan's stories are set among immigrants and Americans living in Israel. And while Joan's collection was accepted for publication before October 7th, it came in June, in the midst of a highly polarized and frightening time for people on every side of the current conflict. So we talk about what it's been like for Jewish writers publishing today, and also the way that fiction allows for empathic connections not always available in daily life."My method of writing anything, particularly short stories, is that I have no clue what I'm going to do when I sit down to write it. I have no clue what it's going to be about." Key Takeaways* Joan's collection is set in Israel and America, focusing on displaced individuals. She highlights the interplay of naive Americans with complex realities, particularly in Israel.* A notable story, Displaced Persons, features an American teaching English to African refugees. Joan explores the absurdity of a country founded by displaced persons dealing with new displaced populations.* "The material just was kind of urging itself to come out," Joan says about the stories she wrote while working on other novels. It's a testament to the compelling nature of the themes she explores.* In Remittances, the narrator empathizes with marginalized workers in Tel Aviv. It's a story of immigrants in a land that symbolizes a second chance, reflecting Israel as a haven for those on the edge.* Another powerful story, Beautiful Souls, follows two American girls in Jerusalem. Their naivete leads them into dangerous situations, showcasing the often startling collision of American innocence with Israeli realities.* Joan's stories on mental illness are deeply human, exploring family dynamics through the lens of mental health, not as a central theme but as a way to navigate complex relationships.* We discuss the impact of the Israel-Gaza war and the polarized publishing landscape. Though accepted before the October 7 attacks, Displaced Persons landed post-crisis, and Joan says she's navigated the current landscape by focusing on the universal human elements of her stories.* Fiction is transformative. Joan cites the power of fiction to expand empathy, offering a “glimpse into some deeper truth.” It's about illuminating the complexities of life through imagined worlds.* Leegant's belief in the power of fiction to expand empathy is echoed by George Saunders, who describes a story as a "black box" that provides a deeper glimpse into human nature. "You need to illuminate human truth, but you do it through imagined stories," says Leegant.* Joan's idea of “associative leaps” in writing, where characters' truths emerge organically, enriches her storytelling. Her characters' voices and feelings drive the narrative, rather than a pre-planned agenda.* On navigating the current volatile landscape: Joan learned to balance sensitivity with openness, not shying away from broader literary and academic engagements, while being mindful of the potential for polarization.* During a recent visit to Israel, Joan facilitated writing workshops helping teachers process trauma through expressive writing, a poignant testament to the healing power of storytelling.* We discuss fiction's ability to explore complex human conditions and to bridge gaps of empathy and understanding. "Our capacity should not be just read about people we already know, or we are exactly alike, but people we are nothing like," Leegant remarks."Our capacity should not be just read about people we already know, or we are exactly alike, but people we are nothing like." About Joan LeegantJoan Leegant's new story collection, Displaced Persons, won the New American Fiction Prize. Joan's first collection, An Hour in Paradise, won the PEN/New England Book Award and the Wallant Award, and was a finalist for the National Jewish Book Award and a Barnes & Noble Discover Great New Writers pick. She is also the author of a novel, Wherever You Go, named a "Significant Jewish Book" by the Union of Reform Judaism.Formerly a lawyer, from 2007 to 2013 Joan was the visiting writer at Bar-Ilan University outside Tel Aviv where she also gave talks on American literature and culture under the auspices of the U.S. Embassy and was a volunteer ESL teacher for African refugees and asylum seekers. She has taught at Harvard, Oklahoma State, and Cornish College in Seattle where she was the writer-in-residence at Hugo HouseAdditional Links* Displaced Persons has been selected for Hadassah's One Book, One Hadassah read! Register here to join the virtual conversation on August 22 at 7 PM (ET)* Joan Leegant's website and events schedule* On Moral Fiction (Kirkus Review), by John Gardner, 1978* Ron Carlson Writes a Story, by Ron Carlson* “Writing About Jews,” by Philip Roth, Commentary Magazine, December 1963.CreditsThis episode was produced by Magpie Audio Productions. Theme music  is "The Stone Mansion" by BlueDot Productions. Get full access to The Book I Want to Write at bookiwanttowrite.substack.com/subscribe

As part of its recent "100 Best Books of the 21st Century" project, The New York Times Book Review is interviewing some of the authors whose books appeared on the list. This week, George Saunders — who had three books on the list, including his short story collections "Pastoralia" and "Tenth of December" — joins host Gilbert Cruz to discuss his novel "Lincoln in the Bardo."

David Sedaris joins Deborah Treisman to read and discuss “Love Letter,” by George Saunders, which was published in The New Yorker in 2020. Sedaris is the author of more than a dozen books of essays, memoirs, and diaries, including, most recently, “A Carnival of Snackery” and “Happy-Go-Lucky.”

This week's book guest is Lincoln In The Bardo by George Saunders.Sara and Cariad are joined by comedy acting legend Sally Phillips to discuss teaching, graveyards, Civil War and hard-ons.Thank you for reading with us this series. We like reading with you! And we'll be back in September with more Weird reads!Lincoln In The Bardo is available to buy here or on Apple Books here.You can find Sally on Instagram: @sallysmackSara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Cariad's children's book The Christmas Wish-tastrophe is available to pre-order now.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Maria Popova was born in communist Bulgaria and emigrated to the U.S. six days after her 19th birthday back in 2003. She studied at the University of Pennsylvania after “being sold on the liberal arts promise of being taught how to live.”     Did it work?     Well, yes and no.     She spent her family's life savings in the first few weeks on textbooks and, despite attending an American high school in Bulgaria, found herself in a bit of culture shock. “I mean, fitted sheets? Brunch?” She worked hard, a defining Popova characteristic, sometimes eating store brand canned tuna and oatmeal three times a day to get by. “I figured it was the most nutritious combo for the cheapest amount.”     At one of her jobs in 2006 a senior leader started sending out a Friday email of miscellany to provoke innovation and then Maria took the project on herself—weaving together write-ups on seemingly unrelated topics. One day was Danish pod homes, another the century-long evolution of the Pepsi logo, another on the design of a non-profit's new campaign to fight malaria. It was becoming clear: You never knew what you were going to get from Maria. And in an era of homogenization that was so ever-delightful.     Maria's emails got popular and then she taught herself programming to put it all online on a site called BrainPickings.org.     I was blogging on 1000 Awesome Things every night in that internet paleolithic. I still remember so many times I'd be researching for some arcane bit of wisdom or trivia and Google would wisely fire me over to BrainPickings.org. I came to love the site which had a top-of-the-page tagline back then that read: “A scan of the mind-boggling, the revolutionary, and the idiosyncratic.”     And like my own blog's 'About' page, this one didn't reveal the author's name, face, or identity. Was the internet just a bit more chat-room-anonymous back then? Or was this just before social media had been invented or figured out they needed our real names to maximize their ad revenues? Either way, Maria and I never got to know each other then … but, thankfully, a full 18 (!) years later the endlessly curious, cool, and erudite Maria Popova is ... still going.     George Saunders, our guest in Chapter 75, says Maria Popova manifests "abundant wit, intelligence, and compassion in all of her writings." Seth Godin, our guest in Chapter 3 says Maria "is indefatigable in her pursuits of knowledge and dignity. She does her work without ever dumbing down the work." And Krista Tippett, host of On Being, calls Maria a "cartographer of meaning in a digital age." Perhaps no surprise the Library of Congress has included her project, The Marginalian (once called Brain Pickings), in their permanent web archive of culturally valuable materials     I agree with the accolades and find Maria, her blog, and her wonderful books (‘Figuring,' ‘The Snail With the Right Heart,' 'The Universe in Verse,' and ‘A Velocity of Being') truly exquisite and much-needed reflections of everything that makes life beautiful.     Like 3 Books, her site The Marginalian has remained free and ad-free over the years. Maria has no staff, no interns, no assistant, and The Marginalian is, in her words, “a thoroughly solitary labor of love that is also my life and my livelihood.”     The world can feel heavy, intense, and overwhelming—media, politics, and news pulls us away from those harder-to-measure things that make life wondrous. Love, connection, trust, kindness, passions, memories. The invisible but much-more-important guideposts that emerge as we look back on our lives from the end of it. That's where Maria and The Marginalian rescue us—to point our attention towards the turn of phrase in a poem, a forgotten piece of advice from Ralph Waldo Emerson on trusting ourselves, or to provide a close reading with some stunning artwork from a 100-year-old picture book that helps illuminates one of those impossible-to-articulate emotions that we all share and feel…     I loved this conversation with the much-requested Maria Popova on a wonderfully wide-ranging set of topics including, of course, her 3 most formative books…

Great songs capture our imaginations and reveal truths about the human experience, transmuting stories into sound. Ben Arthur explores this alchemy on his podcast SongWriter. Each episode, Arthur challenges a musician to compose one original song based on the writing of literary greats like George Saunders, Neil Gaiman and Joyce Carol Oates. Arthur and two California-based songwriters – Mexican-American singer Diana Gameros, and Hector Flores of the band Las Cafeteras – join us to talk about their creative process and the stories that resonate with them. And we hear from you: What's a story or song that has inspired you? Guests: Diana Gameros, Bay Area singer/songwriter originally from Cuidad Juarez, Mexico Ben Arthur, singer/songwriter; creator, SongWriter Hector Flores, LA based artist; co-founder, "Las Cafeteras" the band

George Saunders is one of literary fiction's most acclaimed living writers. Along with his many collections of short stories, he also published the Booker Prize-winning novel Lincoln in the Bardo. To celebrate Read This' first birthday, we're bringing you Michael Williams' interview with George Saunders. They talk about his life and career and the three words that made him a writer.

Author and creator Miranda July isn't bound by medium nor by expectations. From films like Me and You and Everyone We Know  and Kajillionaire, to books like No One Belongs Here More Than You and The First Bad Man, to an iPhone app that reroutes text messages to strangers, July's powers of creativity and observation are wise, surprising, and always delightful. Her second novel, All Fours, is the story of a woman's artistic cross-country quest that  has already won praise from George Saunders, Emma Cline, and Vogue for its intimacy, humor, and boundary defying freedom.On May 23, 2024, Miranda July came to the Sydney Goldstein Theater in San Francisco to be interviewed on stage by Anna Sale, host of the podcast Death, Sex & Money. 

Sam Harris speaks with George Saunders about his creative process. They discuss George's involvement with Buddhism, the importance of kindness, psychedelics, writing as a practice, the work of Raymond Carver, the problem of social media, our current political moment, the role of fame in American culture, Wendell Berry, fiction as way of exploring good and evil, The Death of Ivan Ilyich, missed opportunities in ordinary life, what it means to be a more loving person, his article “The Incredible Buddha Boy,” the prison of reputation, Tolstoy, and other topics. If the Making Sense podcast logo in your player is BLACK, you can SUBSCRIBE to gain access to all full-length episodes at samharris.org/subscribe. Learning how to train your mind is the single greatest investment you can make in life. That's why Sam Harris created the Waking Up app. From rational mindfulness practice to lessons on some of life's most important topics, join Sam as he demystifies the practice of meditation and explores the theory behind it.

Share this episode: https://www.samharris.org/podcasts/making-sense-episodes/372-life-work Sam Harris speaks with George Saunders about his creative process. They discuss George’s involvement with Buddhism, the importance of kindness, psychedelics, writing as a practice, the work of Raymond Carver, the problem of social media, our current political moment, the role of fame in American culture, Wendell Berry, fiction as way of exploring good and evil, The Death of Ivan Ilyich, missed opportunities in ordinary life, what it means to be a more loving person, his article “The Incredible Buddha Boy,” the prison of reputation, Tolstoy, and other topics. George Saunders was born in Amarillo, Texas, and raised in Chicago. He is the author of twelve books, including Lincoln in the Bardo, which won the 2017 Booker Prize for the best work of fiction in English, and Tenth of December, a finalist for the National Book Award. He is also the author of A Swim in a Pond in the Rain, a book about the Russian short story. In 2013, he was named one of the world’s 100 most influential people in the world by Time magazine. He has taught in the Creative Writing Program at Syracuse University since 1997. Website: https://georgesaundersbooks.com/about-george-saunders Learning how to train your mind is the single greatest investment you can make in life. That’s why Sam Harris created the Waking Up app. From rational mindfulness practice to lessons on some of life’s most important topics, join Sam as he demystifies the practice of meditation and explores the theory behind it.

From Mood, Moments, Mechanics, Materials (MMMM) to "Be aware, be charming," our Design Doc conversations over the years have inspired some of our favorite game design ideas. We talk about the ideas that have had a lasting impact on our game design, and how we're incorporating each one into our most recent project. Show notes: Okay, Let's Redesign Noirlandia, for Mood, Moments, Mechanics, Materials Scopeful Optimism, for discussion of scope FLETs, for fiddly little end things Imperfect Inspiration Kudos Conundrum Numbers Hide Everything Founder Energy Fish People, for "Be aware, be charming" High Life (2018 film) Lincoln in the Bardo (2017 George Saunders novel) Links/Credits: Website: turtlebun.com Patreon: patreon.com/turtlebun Design Doc intro/outro theme by Pat King Get in touch: Designdocpod (at) gmail (dot) com Turtlebun Discord: https://discord.gg/XD4WVDjvbz instagram.com/turtleandbun twitter.com/turtleandbun twitter.com/designdocpod

“What do I regret?” That was the question New York Times bestselling writer George Saunders answered in his 2013 commencement speech at Syracuse University. His approach was an older person (Saunders) who shared one or two regrets he’d had in life with the younger people (graduates) who could learn something from his examples. He listed a few things people might assume he regretted, like being poor and working terrible jobs. But Saunders said he really didn’t regret those at all. What he did regret, however, were failures of kindness—those opportunities he had to be kind to someone, and he let them pass. The apostle (Paul) wrote to the believers (church at Ephesus) answering this question: “What does the Christian life look like?” It’s tempting to rush in with our answers, like possessing a particular political view, avoiding certain books or films, worshiping in a particular manner. But Paul’s approach didn’t limit him to contemporary issues. He does mention practicing wholesome talk (Ephesians 4: 29), and ridding ourselves of things like bitterness and anger (v. 31). Then to conclude his “speech,” he says to the Ephesians as well as to us, “Don’t fail to be kind” (v. 32). And the reason behind that is because in Christ God has been kind to you. Of all the things we believe the Christian life to be, one of them, surely, is to be kind.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comAdam is the best magazine editor of my generation, and an old friend. From 2004 to 2019, he was the editor-in-chief of New York Magazine, and before that he edited the New York Times Magazine, and 7 Days — a weekly news magazine covering art and culture in NYC. His first book is The Work of Art: How Something Comes from Nothing.For two clips of our convo — on the bygone power of magazines, and the birth of the great and powerful performance artist Dina Martina — pop over to our YouTube page. Other topics: his upbringing on Long Island; fantasizing about NYC through the cosmopolitanism of magazines; being a “magazine junky extremely early”; the literary journalism of the ‘60s; Gay Talese; Joan Didion; Tom Wolfe; Adam's early start at The Village Voice; 18-hour workdays; joining Rolling Stone then Esquire; commissioning Frank Rich's groundbreaking piece on gay culture; the visual strength of mags; 7 Days “doomed from the start” because of a stock market crash; the NYT's Joe Lelyveld hiring Adam to “make trouble” with creative disruption; Tina Brown; “the mix” of magazines like a dinner party; the psychodrama of writers clashing with colleagues; how the Internet killed magazines; the blogosphere; podcasting; the artist Cheryl Pope and her series on miscarriages; Tony Kushner's Angels in America; when creation is tedious and painful; Leaves of Grass and its various versions; Montaigne's essays; Pascal and the incompleteness of The Pensées; Amy Sillman painting over her beautiful work; Steven Sondheim; choreographer Twyla Tharp; poetry as the concentration of language and the deconstruction of how we speak; poets Marie Howe and Louise Gluck; the fiction writer George Saunders; how weed suppresses the ego; and Adam's preternatural calm.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Oren Cass on Republicans moving left on class, Noah Smith on the economy, Bill Maher on everything, George Will on Trump and conservatism, Lionel Shriver on her new novel, Elizabeth Corey on Oakeshott, and the great Van Jones! Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Former stand-up comedian Max Delsohn sits down with Jared to talk about how humor and detailed line-level revision show up in his work for the stage and the page. Plus, he discusses a pleasure-forward writing process, switching MFA programs after the first year, and his experiences with big-name faculty like George Saunders and Mary Karr. Max Delsohn is a third-year MFA candidate in fiction at Syracuse University. His writing appears in McSweeney's Quarterly Concern, VICE, Joyland, The Rumpus, Passages North, Nat. Brut, and the essay anthology Critical Hits: Writers Playing Video Games, edited by J. Robert Lennon and Carmen Maria Machado, among other places. He has been awarded fellowships and residencies from the Saltonstall Foundation for The Arts, Mineral School, and Hugo House, and has been nominated for the Pushcart Prize three times. His debut short story collection, CRAWL, is forthcoming in fall 2025 from Graywolf Press. Find Max on social media @maxdelsohn, and sign up for alerts to pre-order his collection via his website, www.maxdelsohn.com. This episode was requested by Amy Peltz, Sarah Blood, and Frank Turner. Thank you all for listening! MFA Writers is hosted by Jared McCormack and produced by Jared McCormack and Hanamori Skoblow. New episodes are released every two weeks. You can find more MFA Writers at MFAwriters.com. BE PART OF THE SHOW — Donate to the show at Buy Me a Coffee. — Leave a rating and review on Apple Podcasts. — Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience. — Apply to be a guest on the show by filling out our application. STAY CONNECTED Twitter: @MFAwriterspod Instagram: @MFAwriterspodcast Facebook: MFA Writers Email: mfawriterspodcast@gmail.com

Today, actor and author Nick Offerman returns to the show! We call him up to unpack his latest role as a fictional president in Alex Garland's Civil War (2:30), the function of the film's politics (9:30), and a powerful poem by Wendell Berry (26:15). Then, we turn to Offerman's personal journey, beginning with his recent book Where the Deer and the Antelope Play (32:48), which was inspired by growing up in rural Minooka, Illinois (33:30) and his experiences with the late Sam Shepard at Steppenwolf Theatre (35:55). Shortly after working with Shepard, Offerman began to find his footing—on and off the stage—as a performer, carpenter, and fight choreographer (39:48). He reflects on his galvanizing role in the film Going All the Way (42:37), the guiding principles of George Saunders (45:30), lessons from his sensei Shōzō Satō (52:10), the start of his nearly two-decade marriage with actress Megan Mullally (54:05), the phone call that changed his life (1:00:00), and the complicated legacy of Ron Swanson from Parks and Recreation (1:06:36).  Then, before we go, we return to the timely (and urgent) message of his latest book (1:11:30), a piece by Jeff Tweedy (1:14:10), and words by Wendell Berry (1:16:45). For questions, comments, or to join our mailing list, reach me at sf@talkeasypod.com.See omnystudio.com/listener for privacy information.

In this short and sweet episode, Mary shares the secret to writing a book that's smarter than you (with some helpful words from George Saunders and Rufi Thorpe).

This week guest host Brad Blazeck is in the studio in Nashville to burn down Newsted's 2013 full length debut, Heavy Metal Music. This was a Tangent City of sorts so join in on the fun as we discuss:- getting into Fall Out Boy- Clint working in a record store in high school- pop-punk music- 90's, vinyl and Birmingham, AL- the negatives of social media- Pangea and kangaroos- Kirk's contributions to Metallica- Aerosmith- the tuning room- George Saunders and Spiderhead- The Eagles and "Those Shoes"- “Attitude” by Metallica- Lunar Satan Lyrics- Paul Stanley's stage banter- music video for “King of the Underdogs”- the merits of Chinese Democracy-  “Locomotive” by GNR- the jump from KEA to RTL- Mustaine's contributions to Metallicas- Clint's Metallica poster fiasco- 72 Seasons vs. Hardwired- Newsted on Vinyl- who is the lead singer of Kiss If you think Metal Up Your Podcast has value, please consider taking a brief moment to leave a positive review and subscribe on iTunes here:https://podcasts.apple.com/us/podcast/metal-up-your-podcast-all-things-metallica/id1187775077You can further support the show by becoming a patron. All patrons of Metal Up Your Podcast at the $5 level receive volumes 1-4 of our Cover Our World Blackened EP's for free. Additionally, patrons are invited to come on the show to talk about any past Metallica show they've been to and are given access to ask our guests like Ray Burton, Halestorm, Michael Wagener, Jay Weinberg of Slipknot and members of Metallica's crew their very own questions. Be a part of what makes Metal Up Your Podcast special by becoming a PATRON here:http://www.patreon.com/metalupyourpodcastJoin the MUYP Discord Server:https://discord.gg/nBUSwR8tPurchase/Stream Lunar Satan:https://distrokid.com/hyperfollow/lunarsatan/lunar-satanPurchase/Stream VAMPIRE:https://distrokid.com/hyperfollow/clintwells/vampirePurchase/Stream our Cover Our World Blackened Volumes and Quarantine Covers:https://metalupyourpodcast.bandcamp.comFollow us on all social media platforms.Write in at:metalupyourpodcastshow@gmail.com

Before his stories regularly appeared in The New Yorker, before the MacArthur and Guggenheim Fellowships, and before being named one of the world's most influential people by TIME, George Saunders was a roofer. And a doorman. And a technical writer. In this episode, George sits down with Adam and shares what he's learned from his winding path towards becoming a professional author, the secrets of creating work that sticks, and how to receive feedback and elevate our rough drafts. Available transcripts for WorkLife can be found at go.ted.com/WLtranscripts