Podcast appearances and mentions of John McPhee

Dillon Osleger wears a lot of hats: geologist, professional mountain biker for Specialized, trail builder, public lands policy analyst and advocate, and now first-time author. His debut book, "Trail Work: Restoring the Paths and Stories of America's Public Lands," blends science, history, and personal reflection into a look at our relationship with the places we love. It's already earned praise from the likes of Bill McKibben, Robert Moor, and former M&P guest Rick Ridgeway. And for whatever it's worth, I loved it as well.  I've read a ton of books on public lands, and this one filled in many of the gaps in my knowledge on this super-important and timely issue. Raised by two geologists who moved the family from Riverside to Austin to Northern California, Dillon grew up idolizing mountain legends like Rick Ridgeway and Jeremy Jones, and he wanted nothing more than to spend his life outside. He was, by his own account, a poor student—right up until a NOLS course at fifteen showed him he could learn through the things he was passionate about. That realization helped transform him from a 2.9-GPA high school student all the way to a scientist who holds a master's in Earth Science, with a lot of biking, skiing, surfing, and fishing along the way. We recorded this at Mountainfilm in Telluride, the morning after Dillon shared a stage with literary heroes like Kevin Fedarko. We cover his mountain upbringing, how mountain biking became his way of finding clarity, why he thinks the traditional classroom can be challenging for many curious and energetic kids, and the deep connections between public lands and the rural communities around them. We also get into the writers who shaped him—John McPhee, Wendell Berry, James Rebanks—and his belief that the world is far more purple than the red-and-blue map suggests. We also talk a lot about the process of writing his book and some of the biggest lessons learned from tackling such an ambitious project.  More than anything, this is a conversation about loving a place enough to do the work for it. I loved this one. Enjoy! --- Dillon Osleger Trail Work: Restoring the Paths and Stories of America's Public Lands Full episode notes and links: https://mountainandprairie.com/dillon-osleger --- THANK YOU TO OUR SPONSORS: Mountain & Prairie is listener supported via Patreon, and brought to you with support from the Freeflow Institute, The Nature Conservancy in Colorado, and the Well Done Foundation for their generous sponsorship. --- TOPICS DISCUSSED: 0:00 - Introducing Dillon Osleger and highlighting TNC Colorado 6:12 - A nervous morning 8:39 - How Dillon got people interested in his book 11:12 - Growing up moving around 14:34 - Path to college 16:28 - Finding the right academia  19:16 - Mountain biking 23:30 - The question Dillon was trying to answer 28:12 - An overview of maps 34:04 - The Thomas Fire 37:12 - Public lands threats 42:30 - Real names 47:39 - Finding your why 51:13 - Bringing in jujitsu  53:16 - How writing the book changed Dillon 56:38 - The response to the book 1:02:29 - Book recs 1:09:13 - A purple world --- ABOUT MOUNTAIN & PRAIRIE: Mountain & Prairie - All Episodes Mountain & Prairie Shop Mountain & Prairie on Instagram Upcoming Events About Ed Roberson Leave a Review on Apple Podcasts

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

"Deep Time," a way of understanding the distant past popularized in the late 20th century by the writer John McPhee, changes our perspective on history. When looked at in the context of tectonic movements long-term climate shifts, human affairs can seem small, even insignificant. However, in Deep Time in the Mono Lake Basin: Nature and History Over the Last 10,000 Years (U California Press, 2026), Whittier College professor emeritus Bob Marks explains that people still matter, even within the long sweep of deep time. Rather than shrink human affairs down to nothing, deep time helps us contextualize the places where humans live, die, build societies, and destroy one another. Geology, hydrology, and climate change (anthropogenic and otherwise) are all part of the human story, and vice versa, in Marks' telling. The Mono Lake Basin, as a fragile and unforgiving environment that has been peopled for many centuries, is a perfect place to tell this story of environmental change, environmental degredation and, ultimately, hopeful ecoloigical restoration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

"Deep Time," a way of understanding the distant past popularized in the late 20th century by the writer John McPhee, changes our perspective on history. When looked at in the context of tectonic movements long-term climate shifts, human affairs can seem small, even insignificant. However, in Deep Time in the Mono Lake Basin: Nature and History Over the Last 10,000 Years (U California Press, 2026), Whittier College professor emeritus Bob Marks explains that people still matter, even within the long sweep of deep time. Rather than shrink human affairs down to nothing, deep time helps us contextualize the places where humans live, die, build societies, and destroy one another. Geology, hydrology, and climate change (anthropogenic and otherwise) are all part of the human story, and vice versa, in Marks' telling. The Mono Lake Basin, as a fragile and unforgiving environment that has been peopled for many centuries, is a perfect place to tell this story of environmental change, environmental degredation and, ultimately, hopeful ecoloigical restoration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

"Deep Time," a way of understanding the distant past popularized in the late 20th century by the writer John McPhee, changes our perspective on history. When looked at in the context of tectonic movements long-term climate shifts, human affairs can seem small, even insignificant. However, in Deep Time in the Mono Lake Basin: Nature and History Over the Last 10,000 Years (U California Press, 2026), Whittier College professor emeritus Bob Marks explains that people still matter, even within the long sweep of deep time. Rather than shrink human affairs down to nothing, deep time helps us contextualize the places where humans live, die, build societies, and destroy one another. Geology, hydrology, and climate change (anthropogenic and otherwise) are all part of the human story, and vice versa, in Marks' telling. The Mono Lake Basin, as a fragile and unforgiving environment that has been peopled for many centuries, is a perfect place to tell this story of environmental change, environmental degredation and, ultimately, hopeful ecoloigical restoration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

"Deep Time," a way of understanding the distant past popularized in the late 20th century by the writer John McPhee, changes our perspective on history. When looked at in the context of tectonic movements long-term climate shifts, human affairs can seem small, even insignificant. However, in Deep Time in the Mono Lake Basin: Nature and History Over the Last 10,000 Years (U California Press, 2026), Whittier College professor emeritus Bob Marks explains that people still matter, even within the long sweep of deep time. Rather than shrink human affairs down to nothing, deep time helps us contextualize the places where humans live, die, build societies, and destroy one another. Geology, hydrology, and climate change (anthropogenic and otherwise) are all part of the human story, and vice versa, in Marks' telling. The Mono Lake Basin, as a fragile and unforgiving environment that has been peopled for many centuries, is a perfect place to tell this story of environmental change, environmental degredation and, ultimately, hopeful ecoloigical restoration. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

"When I was writing the book, I used a lot of my interest in art criticism and nature writing to get cross pollinate into my sports writing. And I really try not to fall into a rut and just read only adjacent to my own subject or my own field," says Giri Nathan, author of Changeover: A Young Rivalry and a New Era of Men's Tennis.Today we have Giri Nathan (@giricube on IG), he is a staff writer/cofounder of Defector and the author of Changeover: A Young Rivalry and a New Era of Men's Tennis. It's one of the best books I've read in the last couple years. It's funny and voicey and if David Foster Wallace's tennis writing made sweet, sweet love to John McPhee's Levels of the Game, you get Changeover. How Giri is able to illustrate why Carlos Alcaraz and Jannik Sinner are so captivating and capable of inheriting the mantle held by Roger Federer, Rafa Nadal, and Novak Djokavic (who's still going) is a triumph. This book may very well be the future of sports biography in that access to principal figures is almost impossible so you have to approach your subject more with a critical eye, like an art critic, and we talk about that …Giri Nathan's work has appeared in New York Magazine, The NYT Book Review, The Believer, and National Geographic. He made the 2025 edition of the Year's Best Sports Writing and The Best American Food & Travel Writing.In this conversation we talk about: Him taking John McPhee's CNF class at Princeton Art criticism and nature writing as influences for Changeover Losing fandom The relationship to personality and style Writing from contemporaneous excitement Writing the fun scenes The insider-outsider perspective And keeping a running list of adjectives so he doesn't repeat himselfReally fun stuff here.Order The Front RunnerWelcome to Pitch ClubShow notes: brendanomeara.com

Daredevil Michelle Khare lives life to the extreme in Challenge Accepted, amassing more than 6 million followers and more than 1 billion views. Across the show, you'll see Michelle attempt everything from Tom Cruise's Deadliest stunt to Harry Houdini's water torture cell to trying to earn a black belt in taekwondo in only 90 days.This episode is brought to you by:Fin powerful AI Agent for all your customer service: Fin.Ai/TimMonarch track, budget, plan, and do more with your money: Monarch.com/Tim Momentous Fiber+ 3-in-1 formula with soluble fiber, insoluble fiber, and Solnul® resistant starch: LiveMomentous.com/TimAG1 all-in-one nutritional supplement: DrinkAG1.com/TimTIMESTAMPS:[00:00:00] Start.[00:00:24] Challenge Accepted: The logline and why breakdowns stay in the edit.[00:03:05] Growing up in Shreveport, LA: Friday night movies, the AFI Top 100, and interning on Snitch.[00:06:15] Podcasting: While “easier” than writing books, it's a heck of a lot more work than meets the ear.[00:21:24] Quality over quantity: 8–10 episodes a year, scarcity as strategy, and building a defensible moat.[00:31:47] “Hard choices, easy life.” — Jerzy Gregorek, calling the FAA 300 times, and why no one copies you when the barrier is insanity.[00:35:32] Dartmouth to Google.org: the Fermi estimation faceplant and not getting the job.[00:37:10] BuzzFeed as graduate school of the internet.[00:40:37] Work for someone else first: My case against starting a company right out of school.[00:47:28] The stolen book: Michelle pulls out a battered 2016 copy of The 4-Hour Workweek and reads her fear-setting chart aloud.[00:51:10] “I've never designed my own rubric of success” — the nightmare, the repair plan, and what Michelle was putting off out of fear.[00:56:59] Practicing poverty: studio apartment, stripped-down life, moonlighting for a year, then the three-month-savings leap.[01:06:58] Kebab-shop destiny: meeting stunt coordinator Steve Brown in L.A. — now he does Avatar and straps Michelle to planes.[01:09:04] Surface area for luck: Bill Gurley, Kevin Kelly's sleeping bag, and Seneca on voluntary discomfort.[01:12:44] Coach, mentor, cheerleader: the three-person Formula One team you actually need.[01:17:20] The art of the cold email — and cold-calling the FBI tip line to meet “The Hollywood Guy.”[01:21:55] Michelle's three-paragraph, six-sentence formula for emails that open any door.[01:26:15] My cold email playbook: the “via” trick, include your damn cell number, and why “Yo, Ferriss” is an auto-archive.[01:36:24] The fake Tim Ferriss Podcast phishing scam: Zoom calls, screen access, and hijacked Facebook pages.[01:40:58] Emailing Hank Green, Brandon Sanderson's unpublished novels, and why your first cold emails are just practice reps.[01:46:37] Michelle's storytelling syllabus: Survivor, Snyder's Save the Cat, and peer review of whatever went viral last week.[01:48:44] The magic of Jeff Probst, and dissecting the bones of storytelling.[01:53:12] John McPhee's red-ink writing class at Princeton.[01:58:38] Six Thinking Hats broke Michelle's pessimism; Radical Candor taught her how to give feedback.[02:07:20] The slinky org chart: Seven full-timers that balloon to 50 for a shoot, then compress right back.[02:21:21] Scope creep, saying no to big checks, and why Michelle has never hit creator burnout.[02:30:34] My No Book teaser: 850 pages on renegotiating commitments and getting back on the wagon.[02:33:31] The Mindy Kaling manifesto: @MindyKalingFan, The Office, and shattering expectations for Indian women in entertainment.[02:40:38] Wishlist shout-out: Norland College, where Mary Poppins meets Secret Service.[02:42:48] Episodes Michelle would pay to relive.[02:47:40] Episodes Michelle would pay to skip.[02:52:15] Seven marathons, seven continents, one week.[02:57:10] Free Solo, Alex Honnold in the creepy van, and things both of us would never do.[03:00:38] Books gifted most: Radical Candor, The Great CEO Within, and Adam Grant's Originals.[03:01:21] Michelle's billboard.[03:02:45] A primetime Emmy run and parting thoughts.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this clip, Delta Force operator John 'Shrek' McPhee strips back the Hollywood myths of elite military units to reveal the gritty reality of tier-one operations. McPhee breaks down the stark contrast between the highly visible Navy SEALs and the true "Gray Man" culture of Delta Force, reflecting on what it took to pass a pre-internet selection process that was a total black hole. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode was originally published on August 19th, 2021. This week's podcast guest is especially exciting to me as he is one of my literary heroes. John McPhee [24:10] is a Pulitzer Prize-winning author (Annals of the Former World), and in his numerous other books he has written about such diverse topics as nuclear energy, the merchant marine, basketball, Alaska, bark canoes, oranges, continental drift, flood control, tennis, farmer's markets, and many other eclectic topics. Whether or not you are interested in a subject, you can be sure you will be when you finish reading one of his books you will be fascinated. John has also been a staff writer for The New Yorker since the 1960s. In our interview, he talks about his two favorite fish to catch on the fly rod--the American shad (which he wrote an entire book about, The Founding Fish), and the chain pickerel, which he did not write a book about but did pen a short essay on in his collection of stories The Patch. (I doubt is anyone in the world who would count those two fish in combination as their favorites--but he is never conventional.) I hope you enjoy the interview as much as I enjoyed talking to him. In the Fly Box this week, we have some great questions and tips: A reminder from a listener that I wrote an encyclopedia of fly fishing. Some great tips from a listener on using tippet rings. A question about what constitutes a watershed when concerned about transporting aquatic invasives. A suggestion from a listener on ways to offset your carbon footprint when taking fishing trips.  Which is a better rod for fishing the surf and jetties--a traditional 9-foot 9-weight rod or a two-handed rod? Do you always recommend using a net? A listener calls me on the carpet for my flippant remark about manhandling carp. A great thought from a listener that sometimes taking photos of fish hinders the moment.

Since 2015, Lauren Collins, staff writer for the New Yorker, has called Paris home. The author of When in French: Love in a Second Language, Lauren moved from Switzerland to France with her French husband and continues to write for the New Yorker, following in their tradition (which includes writers such as A. J. Liebling, Anthony Bourdain, Calvin Trillin, John McPhee, and Adam Gopnick) of outstanding food writing and reporting on food-related topics.Her articles have ranged from subjects such as the controversial French tacos, spelled with an “s,” even though it's just one; Les Grands Buffets, the all-you-can-eat buffet restaurant that's the hardest reservation in France (in my experience trying, it's the hardest in the world); and the elusive El Mordjene Algerian hazelnut spread, a cult favorite that's nicknamed “beige gold,” which was banned in France.Lauren has also written on the wonders of Japan's fake foods, as well as “Where should I go?” a service that provides Americans and other visitors with “insider” French experiences, such as fulfilling the request of a client who wanted to be invited to a party in a French person's home.Recently Lauren reviewed the just-published memoir of former Président Nicolas Sarkozy's brief time in prison, titled How Nicolas Sarkozy Survived Twenty Days Behind Bars, a book that received a mixed reception in France. In her newsletter Lettre Recommandée, she titled her story The Rush Job Memoir That's Topping the French Charts. Oh, and she got to meet Omar Sy!In the podcast, we discuss how these stories came to be, as well as how things have changed in France since Lauren's moved here, and what it's like being a journalist in France. As I do with Paris-based guests on my podcast, I asked Lauren to share some of her favorite addresses in the city for dining, which she was happy to do.Lauren's recommendations are Le Récamier, Le Soufflé, Chez Carrie, Enni Udon, Magnolia, La Joie, and Rosario, as well as Finkstuebel in Strasbourg. In the podcast, she explains why they are her favorites.Enjoy listening in!-David* Follow Lauren Collins on Instagram* Subscribe to Lauren's newsletter, Lettre Recommandée* Read Lauren's articles in The New Yorker This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidlebovitz.substack.com/subscribe

John McPhee's 1977 book Coming into the Country inspired young people to visit Alaska and many stayed. More recently, one of McPhee's former students followed his path around the state, and was featured on Talk of Alaska. On this Talk of Alaska, we revisit Lori Townsend's 2017 conversation with McPhee about his book and his travels. Join us for a walk down memory lane on this very special Talk of Alaska.

Many young people have been inspired to venture to the 49th state by the book Coming into the Country, by John McPhee. Nearly 50 years later, a student of McPhee's followed in his footsteps and wrote about his life changing travels through Alaska's vast wilderness. The author and Alaskans who helped him learn about the state, and how climate change is reshaping the Arctic, join us to discuss his book, North to the Future, on this Talk of Alaska.

"Anything beats writing. Writing is tough," says John McPhee, staff writer for The New Yorker and author of more than thirty books of nonfiction.Hey CNFers, this is Episode 500 of The Creative Nonfiction Podcast, the show where I speak to tellers of true tales about the true tales they tell. There are kilometer stones like 100, 200, 300, and 400, but this one, this is a milestone and it features the writer and journalist who made me want to write narrative nonfiction in the first place: John McPhee.John is a titan, a soft-spoken titan. He is the author of more than 30 books, including A Sense of Where You Are, Levels of the Game, his Pulitzer Prize-winning Annals of the Former World, and the book that made me want to write nonfiction: The Survival of the Bark Canoe. John is 94 years young, still lives in Princeton where he has taught an exclusive masterclass on factual storytelling, a class taken by the likes of David Remnick and the late Grant Wahl, I believe, among countless people who have gone on to write and report with distinction.He's been a staff writer for The New Yorker since the 1960s when William Shawn was the editor. Not long thereafter, he was offered a job to teach at his alma mater Princeton University and he famously edited students' submissions not unlike how Shawn edited him at The New Yorker. He's written about such wide ranging topics from basketball, to tennis, to bark canoes, to Alaska, to lacrosse, to oranges, to myriad topics in geology.John is synonymous with thinking through structure and coming up with unique structures for most of his stories, each one something of a fingerprint: no two are alike and the facts borne out from this intensive, slow reporting dictate the shape of the story he has locked into.His work is methodical and patient. He hangs out. He fills notebook after notebook, rarely uses a recorder, maybe only if there's someone speaking in such technical jargon that there's no way to keep pace. His career has been this wonderful balance of give and take: teach for most of the year and not write; then write and not teach. John is unassuming and gentle and an example of how you can do this work without bombast or pyro and still be riveting and sometimes downright hilarious.So we talk about: The influence of his high school English teacher Olive McKee Living room fighters Writing on spec The notebooks he's used for decades How a lack of confidences is an asset What a good editor does Writing as teaching How having a plan frees you to write The panic of having not written leads to productivity And how proud of his daughters he isParting shot on what it all means at 500 and maybe where I see the show going for the next 500.Order The Front RunnerNewsletter: Rage Against the AlgorithmWelcome to Pitch ClubShow notes: brendanomeara.com

Alaska is very much in the news these days, and understanding more about it and the Arctic has never been more important. That's why Paul and Jonathan are discussing John McPhee's book, Coming Into the Country, since it's arguably the best book ever written about Alaska.Note: We Want to Hear From You!We'd love for you to share with us the stories or topics you'd like us to cover next month on Reviewing the News; ask your most pressing mountain town advice questions, or offer your hot takes for us to rate. You can email those to us here.CHECK OUT OUR YOUTUBE CHANNELSBlister Studios (our new channel)Blister Review (our original channel)TOPICS & TIMES:New BLISTER+ Members (0:56)A book that came out in 1977, feeling more relevant in 2025 (1:56)John McPhee's background & The Salmon River (5:04)Changes happening in the blink of an eye (11:22)Recent flooding (13:13)Permafrost (17:12)What does Alaska look like in 2075 if we continue in this direction (21:53)Human values & preserving landscapes (28:37)The state capital (35:31)Current CRA of land management on Trump's desk (39:59)Alaska is one of the most important landscapes in the world (47:12)CHECK OUT OUR OTHER PODCASTS:Blister CinematicCRAFTEDBikes & Big IdeasBlister Podcast Hosted on Acast. See acast.com/privacy for more information.

In this episode of Radio Maine, Dr. Lisa Belisle welcomes back Dr. Chuck Radis—rheumatologist, author, and storyteller—to discuss his newest book, Mystery in the Room (RHEUM): A Physician's Journey Treating Patients with Rare Diseases. Drawing inspiration from Oliver Sacks and John McPhee, Dr. Radis blends medical insight with personal reflection, exploring the art of diagnosis, the humanity behind clinical encounters, and the balance between science and empathy. Together, they discuss how technology, including AI, might paradoxically help physicians reconnect with patients, why listening remains medicine's most powerful diagnostic tool, and how life on Peaks Island continues to shape Dr. Radis's perspective as both a doctor and a writer. Radio Maine is proudly sponsored by the Portland Art Gallery, where we explore and celebrate creativity and the human spirit.

This week on From the Front Porch, it's a Literary Therapy session! Our literary Frasier Crane, Annie, is back to answer more of your reading questions and dilemmas. If you have a question you would like Annie to answer in a future episode, you can leave us a voicemail here. To purchase the books mentioned in this episode, stop by The Bookshelf in Thomasville, visit our website (search episode 551) or download and shop on The Bookshelf's official app: Kristi's voicemail: Tell Me Everything by Elizabeth Strout Olive, Again by Elizabeth Strout The Road to Dalton by Shannon Bowring Empire Falls by Richard Russo The Academy by Elin Hilderbrand The Fortunate Ones by Ed Tarkington (unavailable to order) My Monticello by Jocelyn Nicole Johnson (unavailable to order) Like Family by Erin O. White (releases 11/4) The Book of Goose by Yiyun Li The Vaster Wilds by Lauren Groff We Loved to Run by Stephanie Reents The Headmaster by John McPhee (unavailable to order) Old Lovegood Girls by Gail Godwin (unavailable to order) Courtney's voicemail: The Hounding by Xenobe Purvis Wild Dark Shore by Charlotte McConaghy All the Colors of the Dark by Chris Whitaker The Nature of Disappearing by Kimi Cunningham Grant These Silent Woods by Kimi Cunningham Grant Listen for the Lie by Amy Tintera The Professor by Lauren Nossett (unavailable to order) The Resemblance by Lauren Nossett (unavailable to order) Killers of a Certain Age by Deanna Raybourn Dominion by Addie E. Citchens Molly's voicemail: Buckeye by Patrick Ryan The Likeness by Tana French Table for Two by Amor Towles Play for Me by Libby Hubscher Pumpkinheads by Rainbow Rowell Christine's voicemail: Sharp Objects by Gillian Flynn Wild Dark Shore by Charlotte McConaghy Heartwood by Amity Gaige Fox by Joyce Carol Oates Penitence by Kristen Koval Knife River by Justine Champine Granite Harbor by Peter Nichols Matt's voicemail: Stone Yard Devotional by Charlotte Wood The Correspondent by Virginia Evans Beautyland by Marie-Helene Bertino Heart the Lover by Lily King Playworld by Adam Ross Among Friends by Hal Ebbott Dinosaurs by Lydia Milett Beautiful World, Where Are You by Sally Rooney Flashlight by Susan Choi Alana's voicemail: Unlikely Animals by Annie Hartnett The Sweet Spot by Amy Poeppel The Misfortune of Marion Palm by Emilie Culliton (unavailable to order) Far and Away by Amy Poeppel My Sister, the Serial Killer by Oyinkan Braithwaite The Big Finish by Brooke Fossey (unavailable to order) The Road to Tender Hearts by Annie Hartnett Less by Andrew Sean Greer Margo's Got Money Troubles by Rufi Thorpe Ana's voicemail: The Miraculous Journey of Edward Tulane by Kate DiCamillo The Tale of Despereaux by Kate DiCamillo The Wild Robot by Peter Brown Mrs. Piggle-Wiggle by Betty Macdonald The Midnight Post and the Postbox Clock by Sarah Dean (unavailable to order) Skunk and Badger by Amy Timberlake The Silver Arrow by Lev Grossman All the Best Dogs by Emily Jenkins Charlotte's Web by E.B. White Thank you to this week's sponsor, Discover Thomasville. Gracefully tucked within the storied Red Hills of South Georgia, Thomasville curates a distinguished Downtown experience that meanders along several blocks of our iconic red brick streets. Here, bespoke boutiques, master craftsmen, coveted antique art purveyors, and celebrated culinary artisans converge in harmony with the cultural richness of the Pebble Hill Plantation art tour and the tranquil allure of Birdsong Nature Center. Here, you Discover the Soul of the South. Here, you Discover Thomasville. Learn more by visiting thomasvillega.com/news. From the Front Porch is a weekly podcast production of The Bookshelf, an independent bookstore in South Georgia. You can follow The Bookshelf's daily happenings on Instagram, Tiktok, and Facebook, and all the books from today's episode can be purchased online through our store website, www.bookshelfthomasville.com.  A full transcript of today's episode can be found here. Special thanks to Dylan and his team at Studio D Podcast Production for sound and editing and for our theme music, which sets the perfect warm and friendly tone for our Thursday conversations.  This week, Annie is reading The Irish Goodbye by Heather Aimee O'Neill. If you liked what you heard in today's episode, tell us by leaving a review on Apple Podcasts. You can also support us on Patreon, where you can access bonus content, monthly live Porch Visits with Annie, our monthly live Patreon Book Club with Bookshelf staffers, Conquer a Classic episodes with Hunter, and more. Just go to patreon.com/fromthefrontporch. We're so grateful for you, and we look forward to meeting back here next week. Our Executive Producers are...Beth, Stephanie Dean, Linda Lee Drozt, Ashley Ferrell, Wendi Jenkins, Martha, Nicole Marsee, Gene Queens, Cammy Tidwell, Jammie Treadwell, and Amanda Whigham.

Vandaag bespreken we het boek Slow Productivity van Cal Newport. Ondertitel: De kunst van presteren zonder burn-out Engelse titel:  Slow Productivity: The lost art of accomplishment without burnout Calvin C. Newport is an American nonfiction author and full-time professor of computer science at Georgetown University. Eerdere boeken: A World Without Email: Reimagining Work in an Age of Communication Overload (NL: Bevrijd!) Digital Minimalism: Choosing a Focused Life in a Noisy World - (NL: Digitaal minimalisme) Deep Work: Rules for Focused Success in a Distracted World (meer dan 1.5 miljoen verkocht) (NL: Diep werk) The Time-Block Planner: A Daily Method for Deep Work in a Distracted World So Good They Can't Ignore You: Why Skills Trump Passion in the Quest for Work You Love (meer dan 350k verkocht) How to Be a High School Superstar: A Revolutionary Plan to Get into College by Standing Out (Without Burning Out) How to Become a Straight-A Student: The Unconventional Strategies Real College Students Use to Score High While Studying Less (meer dan 200k verkocht) How to Win at College: Surprising Secrets for Success from the Country's Top Students Het is duidelijk dat Cal een onderwerp heeft gevonden waar veel behoefte aan is in de wereld. Mensen ervaren dat ze te weinig rust en ruimte hebben naast hun werk, en dat er te veel stress is op het werk om echt iets gedaan te krijgen. In dit boek borduurt hij daar op verder, met het verschil dat dit boek bedoeld is voor kenniswerkers die meer controle hebben over hun eigen tijd. Een typisch Amerikaans boek, en duidelijke stelling en daarna zoveel mogelijk voorbeelden om te laten zien dat de stelling klopt. In het boek gebruikt Cal enkele bekende personen als voorbeeld zoals Jewel, Alanish Moyeset, Benjamin Franklin. Wat ik mis zijn de voorbeelden van mensen die deze keuzes ook hebben gemaakt, maar niet tot grootse veranderingen zijn gekomen en vooral blij zijn met een rustiger leven, zonder grote verwachtingen. Ik blijf het gevoel houden dat het werk moet bijdragen aan grootse resultaten. Het is een beetje de rode draad achteraf verklaren. Dat je zo gaat werken is geen garantie dat je deze grootse resultaten krijgt. He blijft uiteindelijk gaan om productiviteit. Dat is voor mij niet waarom we als mense bestaan, om productief te zijn. In de geschiedenis hadden we veel meer vrije tijd en deden we vooral wat we nodig hadden om te leven (benoemd Cal ook). Waarom dit nu zo geconcentreerd moet zijn op efficiency, productiviteit is mij een raadsel. Het boek leest lekker weg, en is een interessant boek voor veel kenniswerkers, ondernemers die alleen werken, en op zoek zijn naar een andere manier waarop ze hun doel bereiken, met meer focus en minder afleiding. Wie wil dat nu niet? Al komen de laatste meerdere ondernemers op mijn pad die vooral meer gedaan willen krijgen, de energie en inspiratie wat kwijt zijn. Ze willen minder afleiding (uitstelgedrag) en meer doen wat ze belangrijk vinden. Inhoud Inleiding Deel 1 - Bouwstenen 1 - De opkomst en ondergand van pseudo-producitiviteit 2 - Een langzamer alternatief Deel 2 - Principes 3 - Doe minder dingen 4 - Werk in een natuurlijk tempo 5 - Wees geobsedeerd door kwaliteit Conclusie Inleiding Mooie opening over de schrijver John McPhee die twee weken de ruimte neemt om niets te doen om zo ruimte te maken om diep na te denken. - 1966 - het weemoedige gevoel dat dit in 1966 nog kon en nu niet meer. Cal introduceert de productiviteit die niet veel effect heeft, meer mails sturen en in vergaderingen zitten. In de inleiding legt hij de oplossing hiervoor neer met langzame productiviteit. Deel 1 - Bouwstenen 1 - De opkomst en ondergand van pseudo-producitiviteit De pseudo-productiviteit gaat over het druk doen op kantoor voor kenniswerkers voortgekomen uit het idee dat we de productiteit van medewerkers kunnen meten en verbeteren met managers en a...

Anybody out there like to do big things? Anybody out there feel like your life is so full sometimes you can barely think? Anybody out there wonder if there's a better way? Yeah … me too. In this much belated episode, I'm asking big questions about how much work is enough and how to make that happen in an ambitious life … because, right now, I'm right I've got no way around those questions. The story of the picnic table comes from Draft No. 4. It was retold in Cal Newport's Slow Productivity where some of the stories in this episode also originated. Research on the relationship between work quantity and quality is summarized in Scott Young's book, Get Better at Anything. ReferencesMcphee, J. (2018a). Draft No. 4 : On the Writing Process. Farrar, Straus And Giroux.Mcphee, J. (2018b). Pine Barrens. Daunt Books.Newport, C. (2023, April 28). Danielle Steel and the Tragic Appeal of Overwork - Cal Newport. Study Hacks. https://calnewport.com/danielle-steel-and-the-tragic-appeal-of-overwork/Newport, C. (2024). Slow Productivity. Penguin.Pema Chödrön. (2018). The wisdom of no escape : and the path of loving-kindness. Shambhala Publications, Inc.quoteresearch. (2013, September 16). Quote Origin: “To Be Is To Do” “To Do Is To Be” “Do Be Do Be Do” – Quote Investigator®. Quoteinvestigator.com. https://quoteinvestigator.com/2013/09/16/do-be-do/Young, S. H. (2024). Get Better at Anything: 12 Maxims for Mastery. HarperCollins UK.

Dan Feder is a Senior Managing Director of Investments at the University of Michigan's $18 billion endowment.Our two hour conversation talks through the past, present, and future of all things venture capital, and investing more broadly.Dan lays out the case for why most institutional investors should change how they approach asset allocation, why risk and uncertainty are not the same, the importance of relevance and independent thinking, advice for fund managers raising from institutional LP's, the trend of VC's rolling up services businesses, and what he learned from beating Lance Armstrong in a race.Thanks to Chris Douvos @ Ahoy Capital and Adam Kurkiewicz at WashU for their brainstorming topics for Dan!Special thanks to Ramp for supporting this episode. It's the corporate card and expense management platform used by over 40,000 companies, like Shopify, CBRE and Stripe. Time is money. Save both with Ramp. Get $250 for signing-up here: https://ramp.com/ThePeelTry Hanover Park - the modern, AI-native fund admin https://www.hanoverpark.com/TurnerTimestamps:(5:50) Beating Lance Armstrong in a race(8:05) “The will to win is nothing without the will to prepare”(10:39) Why investors need to re-think asset allocation(22:31) Difference between risk and uncertainty(29:26) How endowments work(33:12) Endowment portfolio construction(40:47) From law, to industrial buyouts, to venture(49:13) Narrowing scope to increase returns(54:54) Why career planning as an LP is hard(58:24) VC in the 00's(1:08:18) Venture vs Adventure Capital(1:15:16) VC's rolling up legacy industries(1:20:17) Importance of relevance(1:26:25) Traits of the top investors(1:28:25) Importance of trust in institutional LP fundraising(1:32:54) Venture is the most competitive ass class(1:35:37) Why venture firms do not persist over time(1:38:27) How venture will change going forward(1:43:37) The Newman CycleReferencedA Sense of Where You Are by John McPhee: https://www.amazon.com/Sense-Where-You-Are-Princeton/dp/0374526893Risk Uncertainty and Profit by Frank Knight: https://www.amazon.com/Risk-Uncertainty-Profit-Frank-Knight/dp/1614276390Follow DanTwitter: https://x.com/federdanLinkedIn: https://www.linkedin.com/in/danfederFollow TurnerTwitter: https://twitter.com/TurnerNovakLinkedIn: https://www.linkedin.com/in/turnernovakSubscribe to my newsletter to get every episode + the transcript in your inbox every week: https://www.thespl.it/

Join us in conversation with NOEL RUBINTON, journalist, essayist, and author of “Looking for a Story: A Complete Guide to the Writings of John McPhee”. Noel Rubinton's writing has spanned many fields, including government, politics, culture, transportation, and history. His essay about H.P. Lovecraft and Providence is collected in the New York Times book Footsteps: Literary Pilgrimages Around the World and he wrote the foreword to Repression, Re-invention, & Rugelach: A History of Jews at Colgate. A graduate of Deerfield Academy and Brown University, he has been reading John McPhee's writing for many decades. He is a regular visitor to Maine and had a book talk at the Blue Hill library in July 2025 to promote his new book, “Looking for a Story: A Complete Guide to the Writings of John McPhee” published by Princeton University Press this year.Conversations from the Pointed Firs is a monthly 1-hour audio series with Maine-connected authors, artists, innovators, thinkers, doers, and exemplars, discussing literature, creative projects, music, and more that invokes the spirit of Maine, its history, its ecology, its culture, and its contribution to community and quality of life. https://www.pointedfirs.org/

Host: Peter Neill Producer: Trisha Badger Music by Casey Neill Conversations from the Pointed Firs is a monthly audio series with Maine-connected authors and artists discussing new books and creative projects that invoke the spirit of Maine, its history, its ecology, its culture, and its contribution to community and quality of life. Airs the first Friday of every month from 4-5pm. Online at pointedfirs.org. Our guest for September 2025 on Conversations from the Pointed Firs is NOEL RUBINTON, journalist, essayist, and author of “Looking for a Story: A Complete Guide to the Writings of John McPhee” published by Princeton University Press this year. About the host: Peter Neill is founder and director of the World Ocean Observatory, a web-based place of exchange for information and educational services about the health of the ocean. In 1972, he founded Leete's Island Books, a small publishing house specializing in literary reprints, the essay, photography, the environment, and profiles of indigenous healers and practitioners of complimentary medicine around the world. He holds a profound interest in Maine, its history, its people, its culture, and its contribution to community and quality of life. The post Conversations from the Pointed Firs 9/5/25: Noel Rubinton first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Jonathan shares some big news about Blister Summit 2026 (and announces dates); reveals what we'll be reading next for the Blister Book Club; talks about getting on a gravel bike this weekend at Rebecca's Private Idaho; and quickly goes over a bunch of other developments here at Blister.Note: We Want to Hear From You!We'd love for you to share with us the stories or topics you'd like us to cover next month on Reviewing the News; ask your most pressing mountain town advice questions, or offer your hot takes for us to rate. You can email those to us at info@blisterreview.comRELATED LINKSGet Yourself Covered: BLISTER+Get Our Newsletter w/ Weekly Polls & GiveawaysPre-Order Our 25/26 Winter Buyer's GuideOur Bike Buyer's GuideTOPICS & TIMES:Welcome New BLISTER+ Members (0:57)My Meeting w/ the National Ski Council Federation (3:21)This Weekend: Rebecca's Private Idaho (5:26)What I'll be Riding: ENVE Mog (8:36)Blister Summit 2026 News! (9:38)Flat Pedals vs ‘Clipless' Debate (12:46)Update: My Snowboarding Project (15:09)Blister Book Club: What We're Reading Next (17:45)* Sep 22: Thoreau's essay, Walking* Oct 20: John McPhee, Coming into the CountrySki Media isn't Dead (22:01)Skiers & Fantasy Football? (23:47)Our Bike Buyer's Guide & Winter Guide (26:16)CHECK OUT OUR OTHER PODCASTS:Blister CinematicCRAFTEDBikes & Big IdeasGEAR:30 Hosted on Acast. See acast.com/privacy for more information.

Host/Producer: Amy Browne Noel Rubinton, journalist and author of Looking for a Story: A Complete Guide to the Writings of John McPhee, (2025, Princeton University Press) will be in Blue Hill tomorrow (Tuesday) evening to talk about the book. The event is sponsored by Blue Hill Books and will take place at the Blue Hill Public Library at 7pm. We spoke with him as he was preparing to travel to Maine About the host: Amy Browne started out at WERU as a volunteer news & public affairs producer in 2000, co-hosting/co-producing RadioActive with Meredith DeFrancesco. She joined the team of Voices producers a few years later, and has been WERU's News & Public Affairs Manager since January, 2006. In addition to RadioActive, Voices, Maine Currents and Maine: The Way Life Could Be, Amy also produced and hosted the WERU News Report for several years. She has produced segments for national programs including Free Speech Radio News, This Way Out, Making Contact, Workers Independent News, Pacifica PeaceWatch, and Live Wire News, and has contributed to Democracy Now and the WBAI News Report. She is the recipient of the 2014 Excellence in Environmental Journalism Award from the Sierra Club of Maine, and Maine Association of Broadcasters awards for her work in 2017 and 2021. Theme music: BreakBeat Chemists I, 2015 Licensed under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 International License The post Around Town 7/14/25: Local News, Culture and Events first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Now there's almost too much news! We cover Erika Jayne dating Shrek (No - not the one you're thinking of), Denise Richards and Aaron Phypers getting divorced, and a little recap of Real Housewives of Atlanta. (00:00 - 24:15)We then give our full unvarnished thoughts on Bravo's newest gem, Next Gen NYC. (24:15)And then dive in to this week's explosive episode of The Valley (season 2 episode 13) - "Kristen Doute and a Fan". (44:35)If you enjoyed this episode and need more Turtle Time in your life, join the ⁠Turtle Time Patreon⁠ and become a Villa Rosa VIP to hear exclusive bonus content! We're recapping the Vanderpump Rules series from the beginning each week.And if you need even more Turtle Time in your life, follow us on ⁠⁠TikTok⁠⁠ or ⁠⁠Instagram⁠⁠. And please, if you want to watch some of the fun things we do, subscribe on YouTube.RIVERSIDE AI SUMMARY:In this episode, the hosts discuss various topics in the reality TV world, including Erika Jayne's new romance with John McPhee, the food situation at BravoCon, the prevalence of fake news in the industry, and the legal troubles surrounding the Chrisleys and Juicy Joe. They also touch on Denise Richards' split from Aaron Fipers, Phaedra Parks' return to Atlanta, and the exciting new series Next Gen NYC. The conversation wraps up with a recap of the latest drama on The Valley's cruise ship, highlighting the evolving dynamics among the cast members. In this episode, the conversation revolves around the dynamics of friendships and tensions during an engagement dinner, highlighting the drama between cast members, particularly focusing on Janet's controversial comments and the fallout from accusations made during the event. The discussion also touches on the awkwardness of shared living spaces and the complexities of relationships within the group, culminating in confrontations that reveal deeper issues among the friends.RIVERSIDE AI TAKEAWAYS:takeawaysErika Jayne is dating John McPhee, nicknamed Shrek.The food at BravoCon has been a topic of discussion.Fake news is rampant in the reality TV world.The Chrisleys are facing legal issues, while Juicy Joe wants to return to the U.S.Denise Richards and Aaron Fipers have split due to irreconcilable differences.Phaedra Parks is making a notable return to Atlanta.Next Gen NYC is a fresh take on reality TV with a young cast.The Valley's cruise ship drama is heating up with intense confrontations.The dynamics between cast members are evolving in Next Gen NYC.The conversation highlights the importance of reliable news sources. The engagement dinner was overshadowed by tensions among friends.Brittany's threat to leave highlighted her frustrations with the group.The awkwardness of shared living spaces added to the drama.Kristen's engagement ring reveal sparked mixed reactions.Janet's comments about Danny and Nia escalated tensions significantly.Jax's gossiping habits continue to create rifts in relationships.The group dynamics are complicated by past grievances and loyalties.Kristen's anger towards Janet's comments was palpable.The episode showcased the challenges of navigating friendships in a reality TV setting.The fallout from accusations made during the dinner will likely have lasting effects. Hosted on Acast. See acast.com/privacy for more information.

Megyn Kelly is joined by retired U.S. Army Special Operations Sergeant Major John McPhee, founder of SOB Tactical, to discuss how he got into the Army, the people who misjudged him along the way, why he loved basic training, his rise to the Army Rangers and Delta Force, his experience in Afghanistan killing hundreds of terrorists, what really happened with bin Laden, whether he could have been killed or captured just months into the conflict, the political implications of war, why Hegseth and Trump are right to fix the military, the keys to leadership, why Jiu Jitsu is a core element of keeping him sane and in survival mode, his tough childhood, living in a brothel, his relationship with his parents, and more. More from McPhee- https://sobtactical.com/ Riverbend Ranch: Visit https://riverbendranch.com/ | Use promo code MEGYN for $20 off your first order.Everglades Foundation: Learn more about President Trump's Everglades support project at https://www.EvergladesFoundation.orgMasa Chips: Get 25% off your first order | Use code MK at https://MASAChips.com/MKFollow The Megyn Kelly Show on all social platforms:YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow 

This week on the KPL Podcast, we spoke with author Tom Lamont about his novel Going Home.  This is a sweet, heartwarming story three men not suited to be fathers  but step up to take charge of a toddler after an unexpected loss. Both parenting and friendship are examined in a whole new light.  Listen to learn more. Author ReadsHome by Marilynne RobinsonHuman Voices by Penelope FitzgeraldHidden America: from coal miners to cowboys, an extraordinary exploration of the unseen people who make this country work by Jeanne Marie LaskasThe Headmaster: Frank L, Boyden by John McPhee

Whether you've never heard of John McPhee - or are fascinated by his writing like Noel Rubinton - there's a lot to discover here, about McPhee and about Noel, who's new book is a study of McPhee's works.

John McPhee has been a staff writer for The New Yorker since 1965 and has written more than thirty acclaimed books that began on the magazine's pages. But few readers know or fully appreciate the true breadth of his writing. Looking for a Story: A Complete Guide to the Writings of John McPhee (Princeton University Press, 2025) leads readers through McPhee's vast published work, documenting much rarely seen or connected with McPhee, including remarkable early writing for Time magazine published without his name. In chronicling McPhee's career where he broke ground applying devices long associated with fiction to the literature of fact, Noel Rubinton gives insights into McPhee's techniques, choice of subjects, and research methods, shedding light on how McPhee turns complicated subjects like geology into compelling stories. Beyond detailing more than seventy years of McPhee's writing, Rubinton recounts McPhee's half century as a Princeton University writing professor, a little known part of his legacy. McPhee inspired generations of students who wrote hundreds of books of their own, also catalogued here. With an incisive foreword by New Yorker staff writer and former McPhee student Peter Hessler, Looking for a Story also includes extensive annotated listings of articles about McPhee, reviews of his books, and interviews, readings, and speeches. Whether you are already an admirer of McPhee or new to his writings, this book provides an invaluable road map to his rich body of work. Noel Rubinton is a journalist and strategic communications consultant whose writing has appeared in leading publications such as the New York Times and the Washington Post. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Noel Rubinton, author of "Looking for a Story - A Complete Guide to the Writings of John McPhee"

John McPhee has been a staff writer for The New Yorker since 1965 and has written more than thirty acclaimed books that began on the magazine's pages. But few readers know or fully appreciate the true breadth of his writing. Looking for a Story: A Complete Guide to the Writings of John McPhee (Princeton University Press, 2025) leads readers through McPhee's vast published work, documenting much rarely seen or connected with McPhee, including remarkable early writing for Time magazine published without his name. In chronicling McPhee's career where he broke ground applying devices long associated with fiction to the literature of fact, Noel Rubinton gives insights into McPhee's techniques, choice of subjects, and research methods, shedding light on how McPhee turns complicated subjects like geology into compelling stories. Beyond detailing more than seventy years of McPhee's writing, Rubinton recounts McPhee's half century as a Princeton University writing professor, a little known part of his legacy. McPhee inspired generations of students who wrote hundreds of books of their own, also catalogued here. With an incisive foreword by New Yorker staff writer and former McPhee student Peter Hessler, Looking for a Story also includes extensive annotated listings of articles about McPhee, reviews of his books, and interviews, readings, and speeches. Whether you are already an admirer of McPhee or new to his writings, this book provides an invaluable road map to his rich body of work. Noel Rubinton is a journalist and strategic communications consultant whose writing has appeared in leading publications such as the New York Times and the Washington Post. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

John McPhee has been a staff writer for The New Yorker since 1965 and has written more than thirty acclaimed books that began on the magazine's pages. But few readers know or fully appreciate the true breadth of his writing. Looking for a Story: A Complete Guide to the Writings of John McPhee (Princeton University Press, 2025) leads readers through McPhee's vast published work, documenting much rarely seen or connected with McPhee, including remarkable early writing for Time magazine published without his name. In chronicling McPhee's career where he broke ground applying devices long associated with fiction to the literature of fact, Noel Rubinton gives insights into McPhee's techniques, choice of subjects, and research methods, shedding light on how McPhee turns complicated subjects like geology into compelling stories. Beyond detailing more than seventy years of McPhee's writing, Rubinton recounts McPhee's half century as a Princeton University writing professor, a little known part of his legacy. McPhee inspired generations of students who wrote hundreds of books of their own, also catalogued here. With an incisive foreword by New Yorker staff writer and former McPhee student Peter Hessler, Looking for a Story also includes extensive annotated listings of articles about McPhee, reviews of his books, and interviews, readings, and speeches. Whether you are already an admirer of McPhee or new to his writings, this book provides an invaluable road map to his rich body of work. Noel Rubinton is a journalist and strategic communications consultant whose writing has appeared in leading publications such as the New York Times and the Washington Post. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

John McPhee has been a staff writer for The New Yorker since 1965 and has written more than thirty acclaimed books that began on the magazine's pages. But few readers know or fully appreciate the true breadth of his writing. Looking for a Story: A Complete Guide to the Writings of John McPhee (Princeton University Press, 2025) leads readers through McPhee's vast published work, documenting much rarely seen or connected with McPhee, including remarkable early writing for Time magazine published without his name. In chronicling McPhee's career where he broke ground applying devices long associated with fiction to the literature of fact, Noel Rubinton gives insights into McPhee's techniques, choice of subjects, and research methods, shedding light on how McPhee turns complicated subjects like geology into compelling stories. Beyond detailing more than seventy years of McPhee's writing, Rubinton recounts McPhee's half century as a Princeton University writing professor, a little known part of his legacy. McPhee inspired generations of students who wrote hundreds of books of their own, also catalogued here. With an incisive foreword by New Yorker staff writer and former McPhee student Peter Hessler, Looking for a Story also includes extensive annotated listings of articles about McPhee, reviews of his books, and interviews, readings, and speeches. Whether you are already an admirer of McPhee or new to his writings, this book provides an invaluable road map to his rich body of work. Noel Rubinton is a journalist and strategic communications consultant whose writing has appeared in leading publications such as the New York Times and the Washington Post. Caleb Zakarin is editor at the New Books Network.

John McPhee has been a staff writer for The New Yorker since 1965 and has written more than thirty acclaimed books that began on the magazine's pages. But few readers know or fully appreciate the true breadth of his writing. Looking for a Story: A Complete Guide to the Writings of John McPhee (Princeton University Press, 2025) leads readers through McPhee's vast published work, documenting much rarely seen or connected with McPhee, including remarkable early writing for Time magazine published without his name. In chronicling McPhee's career where he broke ground applying devices long associated with fiction to the literature of fact, Noel Rubinton gives insights into McPhee's techniques, choice of subjects, and research methods, shedding light on how McPhee turns complicated subjects like geology into compelling stories. Beyond detailing more than seventy years of McPhee's writing, Rubinton recounts McPhee's half century as a Princeton University writing professor, a little known part of his legacy. McPhee inspired generations of students who wrote hundreds of books of their own, also catalogued here. With an incisive foreword by New Yorker staff writer and former McPhee student Peter Hessler, Looking for a Story also includes extensive annotated listings of articles about McPhee, reviews of his books, and interviews, readings, and speeches. Whether you are already an admirer of McPhee or new to his writings, this book provides an invaluable road map to his rich body of work. Noel Rubinton is a journalist and strategic communications consultant whose writing has appeared in leading publications such as the New York Times and the Washington Post. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

John McPhee has been a staff writer for The New Yorker since 1965 and has written more than thirty acclaimed books that began on the magazine's pages. But few readers know or fully appreciate the true breadth of his writing. Looking for a Story: A Complete Guide to the Writings of John McPhee (Princeton University Press, 2025) leads readers through McPhee's vast published work, documenting much rarely seen or connected with McPhee, including remarkable early writing for Time magazine published without his name. In chronicling McPhee's career where he broke ground applying devices long associated with fiction to the literature of fact, Noel Rubinton gives insights into McPhee's techniques, choice of subjects, and research methods, shedding light on how McPhee turns complicated subjects like geology into compelling stories. Beyond detailing more than seventy years of McPhee's writing, Rubinton recounts McPhee's half century as a Princeton University writing professor, a little known part of his legacy. McPhee inspired generations of students who wrote hundreds of books of their own, also catalogued here. With an incisive foreword by New Yorker staff writer and former McPhee student Peter Hessler, Looking for a Story also includes extensive annotated listings of articles about McPhee, reviews of his books, and interviews, readings, and speeches. Whether you are already an admirer of McPhee or new to his writings, this book provides an invaluable road map to his rich body of work. Noel Rubinton is a journalist and strategic communications consultant whose writing has appeared in leading publications such as the New York Times and the Washington Post. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

This week on Chasin' The Racin' podcast, Dom Herbertson & Josh Corner are joined by Scottish professional motorcycle racer best known for his determination & success in Moto3. On the pod today, the lads talked through McPhee's journey through the ranks from the early days, the British 125 Championship to Moto3, World Supersport and now, excitingly, moving to British Superbikes in 2025 with Hawk Racing. John comes to the trailer equipped with a list of funny and challenging stories he's experienced during his career, from challenges brought through Covid to the struggles that came with a long haul budget airline flight!

Serving in Special Forces isn't supposed to be easy. In fact, becoming a Green Beret is rewarding because it's supposed to be hard. If it was easy, anyone could do it; but not everyone can, or should, be considered elite. Retired Sergeant Major John McPhee is one of America's most distinguished and experienced Special Operators. For decades he led America's most lethal units in the Army's elite Delta Force. The self proclaimed Sheriff of Baghdad, John tells it like it is and leaves nothing up to interpretation.The Jedburgh Podcast, the Jedburgh Media Channel and the Green Beret Foundation are proud to announce our partnership with the University of Health and Performance outside of Bentonville, Arkansas. UHP is dedicated to building the world's most elite fitness and nutrition entrepreneurs out of our Veterans. To kick off our partnership, John and Host Fran Racioppi climbed into the back of an armored Humvee to reminisce about the impact of the wars in Iraq and Afghanistan, what America did right, what we did wrong, and why the counter-terrorism battle is far from over. John also shares his thoughts on the Army today, how to fix recruiting, the Israeli pager war, and why we must never forget that a Special Operator's job is to close with and destroy the enemy.Watch, listen or read our conversation from a vehicle many of us spent too much time in. Don't miss our full Veterans Day coverage from UHP. Follow the Jedburgh Podcast and the Green Beret Foundation on social media. Listen on your favorite podcast platform, read on our website, and watch the full video version on YouTube as we show why America must continue to lead from the front, no matter the challenge.HIGHLIGHTS0:00 Introduction1:50 Welcome to UHP2:39 Rangers to Green Beret4:00 Special Forces in the 90s5:57 How 9/11 changed Special Forces10:16 Legacy of Afghanistan13:12 Sheriff of Baghdad15:35 Disbanding the Iraqi government18:20 The difference in Syria19:42 Israel-Iran Pager War25:30 Army Recruiting Challenges27:05 Is the Army woke?29:55 Next generation of NCOs32:35 The PTSD debate37:18 Wear yourself out everydayQUOTESWe had no bullets. No money to go train. The Army didn't have a budget. The 90s Special Forces sucked.”“This is where nations go to die. What did we think was going to happen?”“You can't do that. You can't just get rid of the whole army like that.”“We had enough money to buy where Saddam was without ever firing a shot.”“Syria can never be tamed and it will always be a problem for us.”“War is only a failure of politicians and politics.”“We didn't have an Army before WWII. We fielded 6 million men quick. When America gets pissed off, you're done.”“The Army needs to do two things only. Kill the bad guys and break their shit.” “I would tell anybody to try to be the smartest guy in the room because generally the smartest guy in the room is going to be the best Commando.”“I personally don't believe in PTSD. You get stuck in the same chapter of your book.”“Every human being should be taking an hour to two hours a day on themselves.”The Jedburgh Podcast and the Jedburgh Media Channel are an official program of The Green Beret Foundation.The opinions presented on the The Jedburgh Podcast and the Jedburgh Media Channel are the opinions of my guests and myself. They do not necessarily reflect the opinions of the Green Beret Foundation and the Green Beret Foundation assumes no liability for their accuracy, nor does Green Beret Foundation endorse any political candidate or any political party.

In this episode we share notes from a Texas snowstorm, journals from the olden days spark creative, a dream journaling update, a new segment, and discuss the new work from John McPhee in the New Yorker. We also announce the new book we'll read together and discuss. Please enjoy!Stationerdy notebook from Dapper NotesOhto sharp pencilTabula Rasa Volume Five by John McPheeTake Note book club, The Notebook: A History of Thinking on Paper

In this episode we share notes from a Texas snowstorm, journals from the olden days spark creative, a dream journaling update, a new segment, and discuss the new work from John McPhee in the New Yorker. We also announce the new book we'll read together and discuss. Please enjoy!Stationerdy notebook from Dapper NotesOhto sharp pencilTabula Rasa Volume Five by John McPheeTake Note book club, The Notebook: A History of Thinking on Paper

Steven Rinella talks with Randy Brown, Ryan Callaghan, Janis Putelis, Brody Henderson, Seth Morris, Phil Taylor, and Corinne Schneider. Topics discussed: When polite texts are potentially hunter harassment; eating deer meat shot with lead; when John McPhee offers you the river water you've been drinking for years; when you're sorta in "Coming Back To The Country"; a different Mike Potts; rendering moose fat; state vs. federal ownership lines for Alaska; when Smeagol takes all of your stuff; always looking at tracks; skin on bone and starved out; making a concerted effort to find a win over a woman; being born and raised by wolves in the Alaska wilderness; and more. Outro song "See You Next Season" by Brandon Gardner Connect with Steve and The MeatEater Podcast Network Steve on Instagram and Twitter MeatEater on Instagram, Facebook, Twitter, and YoutubeSee omnystudio.com/listener for privacy information.

Ojai Talk of the Town welcomes Tom Morris, a titan of the classical music world, for a deep dive into his extraordinary memoir, Always the Music: How a Lifelong Passion Framed a Future for Orchestras." With decades of leadership at the Boston Symphony Orchestra and the Cleveland Orchestra, Tom shaped the future of two of America's most revered symphonies. As artistic director of the Ojai Music Festival for 16 years, he brought bold programming and visionary collaborations to the forefront of contemporary music. In Always the Music, Tom shares behind-the-scenes stories of his friendships with legends like Pierre Boulez, Arthur Fiedler, and John Williams and Michael Tilson Thomas on iconic tours, his memoir brims with insights into the artistry, genius, and grit behind world-class symphonies and public arts organizations. Much more than a memoir, Tom's book contains insights and action plans for orchestras and arts organizations to refocus on providing transcendent experiences, to build audiences and connect communities through the transformative power of art. Join us as Tom reflects on his transformative career, the enduring power of live performance, and the lessons he's learned about music's role in connecting us all. Don't miss this candid and inspiring conversation with a master of his craft! We did not talk about John McPhee's meditation on shad runs in the Delaware River, Josh Allen's chances of winning an MVP or the opening of the El Roblar Hotel. Check out more about Tom at https://www.ojaifestival.org/about/leadership/thomas-w-morris-artistic-director/

John McPhee, widely known as “The Sheriff of Baghdad” or “SHREK,” is a retired U.S. Army Special Operations Sergeant Major with over 20 years of distinguished service. He is the owner of SOB Tactical, a supplier of specialized training and tactical gear to civilians, military, and law enforcement.  www.sobtactical.com  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this week's episode, host Margaret Walls talks with Matt Chambers, a researcher at the Institute for Resilient Infrastructure Systems at the University of Georgia, about managing floods with nature-based solutions. Chambers discusses the history of levee systems in the United States, the challenges that the widespread use of levees have presented, and approaches to floodplain management that help restore ecosystems while improving community resilience to flooding. He also discusses the economic analysis that informs floodplain management and the evolution of the US Army Corps of Engineers as a key decisionmaker in the management of US rivers. References and recommendations: “Nature-based solutions for leveed river corridors” by Matthew L. Chambers, Charles B. van Rees, Brian P. Bledsoe, David Crane, Susana Ferreira, Damon M. Hall, Rod W. Lammers, Craig E. Landry, Donald R. Nelson, Matt Shudtz, and Burton C. Suedel; https://www.sciencedirect.com/science/article/pii/S2213305423000504 “Engineering with Nature” podcast; https://ewn.erdc.dren.mil/podcasts/ “The Control of Nature” by John McPhee; https://us.macmillan.com/books/9780374522599/thecontrolofnature “An Indigenous Peoples' History of the United States” by Roxanne Dunbar-Ortiz; https://www.beacon.org/An-Indigenous-Peoples-History-of-the-United-States-P1164.aspx “The Gift of Good Land” by Wendell Berry; https://www.counterpointpress.com/books/the-gift-of-good-land/ “The Swamp: The Everglades, Florida, and the Politics of Paradise” by Michael Grunwald; https://www.simonandschuster.com/books/The-Swamp/Michael-Grunwald/9780743251075

Sam Anderson is a master of the essay form whose work spans a huge range of human experience and culture.  As a staff writer for The New York Times Magazine, Sam has interviewed and written about Weird Al Yankovic, writer John McPhee, NBA point guard Russell Westbrook, travel guru Rick Steves, Japanese novelist Haruki Murakami and the people trying to rescue Michaelanelo's David sculpture from ruin. He has spent time with the last two white rhinos on Earth and visited the bat volcano in Calakmul, Mexico. And he wrote a book, Boom Town, about Oklahoma City which is both a profile of one Midwestern municipality and a meditation on the dueling forces of rapacious development and “place making” that are at war in every American city, including Beacon.  In each of his projects, Sam brings a trademark personal touch, situating himself in relation to his subjects with a disarming vulnerability. He weaves in his anxiety, depression, his body image, feelings of loss and fear of death through introspective asides that illuminate rather than upstage his subjects.  In our interview, Sam talks about his early ambition to be a writer, his creative process, animals, aging, drawing, strategies for overcoming depression and much more.  

Cody and Jonathan are back to review some of the news of October; introduce a new Reviewing the News segment (Rate My Take); discuss the expansion of the Natural Selection Tour; offer some mountain town relationship advice; share what we're reading & watching; and more.RELATED LINKS:Opensnow.com/buy - use code: blister50Park City Ski Boot:Email: pcputah@gmail.comCall: 435-776-7883BLISTER+ Get Yourself CoveredGet Our Winter Buyer's GuideTOPICS & TIMES:OpenSnow Deal for The 100! (1:27)Blister Rec Shop: Park City Ski Boot (2:12)Catching Up + JE's Therapy Session (5:00)Cody's new FIFTY+ movie (9:44)Natural Selection Tour adds More Comps (17:05)FKT & Private Equity Talk Revisited (25:50)Rate My Take (42:15)Blevins Corner: Cost of SkiingThe Most American News (1:00:42)- Video: Jonathan after the “Fail Mary”- Meteorologists Threatened after HurricanesMtn Town Advice (1:05:03)Mtn Town Relationship Advice (1:09:22)What We're Reading & Watching (1:16:08)- John McPhee, Coming into the Country- Matthew Halteman, Hungry Beautiful Animals- Auden Schendler, Terrible BeautyCHECK OUT OUR OTHER PODCASTSBlister CinematicCRAFTEDBikes & Big IdeasGEAR:30 Hosted on Acast. See acast.com/privacy for more information.

We dive deep into the art of breathing and resilience with today's guest, John McPhee, also known as the "Sheriff of Baghdad." With a rich background as a Delta Force and Green Beret operator, John brings a wealth of knowledge on overcoming challenges and mastering high-stress situations. Tune in as John and Chris challenge the grind culture, advocate for smarter training methods, and reflect on personal journeys of avoiding burnout, leading with honesty, and maintaining a child-like curiosity for learning. Whether you're looking to improve your physical performance or seeking inspiration to overcome life's hurdles, this episode is packed with actionable insights to help you build strength in mind, body, and soul. Don't miss their engaging discussion, sprinkled with humor and practical advice, for leading a resilient and fulfilling life.

For a few hundred years, the New World of the Americas was thought to be genuinely new. But in the course of the nineteenth century, Americans became increasingly uncertain about the ground beneath their feet. Canal building uncovered strange creatures like enormous crabs; seams of coal were determined to be fossilized forests. And while no living mammoths or mastodons were discovered in the lands west of the Mississippi, their bones were; and so were the bones of still stranger creatures, some of them just a few miles from Independence Hall in Philadelphia.  These and many other discoveries led to a still greater discovery, not simply of dinosaurs, or geological ages, or even of evolutionary biology, but a concept that lies beneath all of them, what the writer John McPhee has called “Deep Time.” In her new book How the New World Became Old: The Deep Time Revolution, Caroline Winterer roams about the continent, from Haddonfield, New Jersey, to Yosemite, uncovering how Americans began to realize that their continent and world was very, very old indeed.  Caroline Winterer is William Robertson Coe Professor of History and American Studies at Stanford University, and Professor by courtesy of Classics. She specializes in American history before 1900, especially the history of ideas, political thought, and the history of science. Her previous books include American Enlightenments: Pursuing Happiness in the Age of Reason.    For Further Investigation I note with pleasure that How the New World Became Old has blurbs from past HT guests Marcia Bjornerud, Suzanne L. Marchand, and Adrienne Mayor Stephen Kern, The Culture of Time and Space, 1880-1918 (1983; repr. 2003). Martin Rudwick, Scenes from Deep Time: Early Pictorial Representations of the Prehistoric World (1992). Stephanie Moser, Ancestral Images: The Iconography of Human Origins (1998). Paolo Rossi, The Dark Abyss of Time: The History of the Earth and the History of Nations from Hooke to Vico (1987)

Happily, another of John McPhee's classics has been brought to life with this finely narrated audiobook. Host Jo Reed and AudioFile's Alan Minskoff discuss how Golden Voice narrator Edoardo Ballerini performs the work with care for the author's eloquent descriptions of Deerfield, Massachusetts, as it evolves over the twentieth century—as does its legendary headmaster, Frank L. Boyden, who took over the school in 1902 and stayed in charge for 66 years. McPhee called this work a portrait, and he paints the picture of an elite prep school with an unusually empathetic leader. It's the story of a man, a school, and a community. Read the full review of the audiobook on AudioFile's website. Published by Macmillan Audio. Discover thousands of audiobook reviews and more at AudioFile's website. Support for AudioFile's Behind the Mic comes from HarperCollins Focus and HarperCollins Christian Publishing, publishers of some of your favorite audiobooks and authors, including Reba McEntire, Zachary Levi, Kathie Lee Gifford, Max Lucado, Willie Nelson, and so many more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Originally Posted on March 3rd, 2023 Back in 2008 when I first began this podcast I had two dreams—that I would have my two literary heros, John McPhee and Thomas McGuane as guests (they are both passionate fly fishers). I was lucky enough to record a podcast with John in August of 2021 and this week's podcast is with Tom McGuane [44:36], author of 20 highly regarded novels, screenplays, collections of short stories, and what is in my opinion the finest book of fly-fishing essays ever written, The Longest Silence. Most people who interview Tom want to talk about his crazy days in Key West in the 1970s, , fishing for tarpon with Jim Harrison, Guy de la Valdene, Jimmy Buffet, and other notable characters. However, in the podcast we talk about what he is doing now—his fascination with small-stream trout fishing, why he would rather wade than fish from a boat, his opinion on guides who yell at their clients, and how to grow old gracefully and still continue to fish with a fly rod. It was a real honor to chat with him and I know you'll enjoy this very special podcast. In the Fly Box this week, we have some wonderful and thought-provoking questions and tips form listeners, including: What is that white rod that Pete Kutzer uses in your casting videos? Is there a written history of Orvis? What is the best reel lubricant, and how should I maintain my cork drag surface? Can dumbbell eyes damage fly rods? If so, what should I do to keep flies tied with them from hitting my rod? Do trout eat those little black and brown stoneflies that hatch during the winter and early spring?  Can you explain when I would use weighted flies vs. split shot vs. poly leaders when fishing nymphs? Can you compare the relative advantages of the 10 1/2-foot 3-weight and the 11-foot 3-weight Blackout rod? I saw people catching fish on nymphs. I tried exactly the same patterns and didn't catch anything. Why? I have a reel that takes a 9-weight line. Can I get an extra spool and put it on my 7-weight rod?