Podcasts about John Updike

#franksinatra #nancysinatra #booklunch #FranksinatramyfatherIn this "Book Lunch" we closely examine Nancy Sinatra's 1980s fantastic book , " Frank Sinatra, My Father" which we will use as a jumping off point to discuss physical art objects and reflect upon the power of archival photographs, memory and art in the 20th century. This "Book Lunch" will be less "about" either Frank or Nancy Sinatra but more a reflection book publishing itself and the power of a single era.***Quick correction from Mitch- during his stream he mentioned D.H. Lawrence when he meant to say John Updike and The Rabbit series. Thank you!

This week, I'm joined by John Flansburgh of They Might Be Giants to look at their incredible body of music video work (481 videos and counting on their YouTube page!), and get treated to so many incredible mind-bending stories directly from the source!We discuss TMBG's track and video they made for my Hedwig covers charity album, the fascination with death and aging in their lyrics, the moment when both Johns first realized they were connecting with an audience of strangers, borrowing expensive drum machines when they started, foolish life decisions, the East Village scene of the 80s, playing on the same bills as Butthole Surfers & Steve Buscemi, Jon Spencer Blues Explosion, long-distance collaborations, the multitudes of songs written for their Dial-A-Song answering machine service, the John Updike world the band came from, having architectural dads, the pros of being ultra-prolific, the different ways they would record their songs, microtones, the children's records era for TMBG, working with their first director Adam Bernstein, TMBG being accepted by early MTV, using left-over film from Jonathan Demme movies and windup 16mm cameras for their early videos, where they got the 6ft. head props used in their stage shows, John getting music video fatigue, the parameters the band set early in their career (no solos, not a lot of intros, no fadeouts), Spike Jonze, the epic tale of TMBG playing on The Tonight Show with Doc Severson, & more.THEY MIGHT BE GIANTS:theymightbegiants.comhttps://www.youtube.com/channel/UCTZ0pVJExw6z0XjqEzchX8gREVOLUTIONS PER MOVIE: Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film, or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes and series such as A Very Opinionated Look At Urgh! A Music War & What Makes The Midnight So Special?, physical goods such as a limited edition 7" Flexidisc, and other exclusive goods that I send out to you for supporting the show. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

In the new book “Selected Letters of John Updike” editor James Schiff offers readers a window into that private world drawing from decades of correspondence. Schiff presents a portrait of Updike is both craftsman and confidante, generous, witty, and endlessly reflective about writing and life.

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. 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 Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences 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 strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

Talk Art Season 27 continues with COLLIER SCHORR.Over four decades, Collier Schorr has used photography to scrutinise the conditions and realities of contemporary subjectivity and what it means to visually represent a body - and a self. Motivated, in part, by an underlying search for alternatives to the desirous heterosexual gaze; her work has remained focused on several key themes including beauty, desire, selfhood, and masculinity and its discontents. Schorr's early work was made in the 1980s and 1990s in New York and Germany, during the coalescence of postmodernism and identity politics. Her work from that period navigated the tension between documentary and fiction, and tested out the capacity of photography to unveil desire and repression, explore taboo identities, and highlight the contradictions inherent in subjectivity, especially in relation to gender norms. In more recent times, the artist has incorporated dance into her practice predominantly through adapting Chantal Ackerman's film, ‘Je Tu Il Elle' (1975), into a full-length filmed ballet performance featuring Schorr as Ackerman and a core group of professional dancers collaborating to create a multi-channel video installation.Schorr's new exhibition in Paris is now open. ‘Problems and other stories' brings together photographs, collages, notes, drawings and video produced over the past seven years that reconsider who an artwork is for, the multitude of places people belong and the way Schorr encounters different worlds. The title is drawn from John Updike's collection of short stories written over the 1970s. For Schorr, the ‘problem' opens out into a place of resistance and exploration, rather than a limitation or constraint. Runs until 4th April at Modern Art, Paris. Follow @CollierSchorrStudioVisit: https://www.modernart.net/en/exhibitions/collier-schorr-2026Special thanks to @StuartShaveModernArt & @303Gallery Listen to Talk Art podcast, stream now: Spotify, Apple Podcasts, or wherever you get your podcasts! Hosted on Acast. See acast.com/privacy for more information.

Here we are in mid-December, which means that along with all of the other year-end lists we produce and avidly consume at this time each year, The New York Times Book Review's staff critics are also looking back on everything they read in 2025, and toasting the books that have stayed with them.On this episode, host Gilbert Cruz talks with Dwight Garner, Alexandra Jacobs and Jennifer Szalai about their standout fiction and nonfiction of the past 12 months.Books mentioned:"What We Can Know," by Ian McEwan"Flesh," by David Szalay"The Loneliness of Sonia and Sunny," by Kiran Desai"Playworld," by Adam Ross"When the Going Was Good," by Graydon Carter"I Regret Almost Everything," by Keith McNally"When All the Men Wore Hats," by Susan Cheever"Notes to John," by Joan Didion"A Flower Traveled in My Blood," by Haley Cohen Gilliland"38 Londres Street," by Philippe Sands"Wild Thing," by Sue Prideaux"Crumb: A Cartoonist's Life," by Dan Nadel"Class Clown," by Dave Barry"Electric Spark: The Enigma of Dame Muriel," by Frances Wilson"Flagrant, Self-Destructive Gestures: A Biography of Denis Johnson," by Ted Geltner"Shadow Ticket," by Thomas Pynchon"Selected Letters of John Updike," edited by James Schiff"Troublemaker: The Fierce, Unruly Life of Jessica Mitford," by Carla Kaplan"More Everything Forever, AI Overlords, Space Empires, and Silicon Valley's Crusade to Control the Fate of Humanity," by Adam Becker Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Featuring Matt Anderson and Ben De Bono In this episode, we review “The Grapes of Wrath” by John Steinbeck, “Naked Lunch” by William S. Burroughs, “Rabbit, Run” by John Updike, and “Go Tell It on...

Featuring Matt Anderson and Ben De Bono In this episode, we review “The Grapes of Wrath” by John Steinbeck, “Naked Lunch” by William S. Burroughs, “Rabbit, Run” by John Updike, and “Go Tell It on...

In the new book “Selected Letters of John Updike” editor James Schiff offers readers a window into that private world drawing from decades of correspondence. Schiff presents a portrait of Updike is both craftsman and confidante, generous, witty, and endlessly reflective about writing and life.

Trust Me is the name of a brilliant short story written some decades ago by John Updike.  In a dozen or so pages, he weaves together several stories about Harold, who explores the mysteries of trust.  We meet 4 year old Harold at the edge of the swimming pool with his father's arms outstretched; we follow […]

We’re rediscovering John Updike in the afterlife of a great writer. The Selected Letters of John Updike, just published, come to 800 pages of unguarded messages to his wives and lovers, to his mother and ... The post John Updike’s Vocation appeared first on Open Source with Christopher Lydon.

Spit out that cherry pit and get ready to meet a horny little devil because we're discussing George Miller's 1987 adaptation of John Updike's satirical feminist(?) novel The Witches of Eastwick!Join us as we go all in on the production troubles this film had. From the studio putting the pressure on Miller to some casting snafus with Susan Sarandon and Cher, it's a wonder this thing turned out as well as it did! Plus: Jack Nicholson's scene-stealing performance, gagging over cherry pit-laden vomit, debating sequel ideas, and wondering why Michelle Pfeiffer has nothing to do in this movie?Questions? Comments? Snark? Connect with the boys on BlueSky, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group or the Horror Queers Discord to get in touch with other listeners.> Trace: @tracedthurman (BlueSky)/ @tracedthurman (Instagram)> Joe: @joelipsett (BlueSky) / @bstolemyremote (Instagram) Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

John Updike zählt zu den wichtigsten US-amerikanischen Schriftstellern des 20. Jahrhunderts. Den Literaturnobelpreis erhielt er nie, aber die Literaturkritik in Amerika wie auch in Deutschland liebte diesen Autor, der wie kaum ein anderer die amerikanische Mittelklasse mit den Mitteln eines Realismus beschrieb, der auf Genauigkeit und originelle Vergleiche setzt. Mit „Hasenherz“ („Rabbit, Run“) von 1960 beginnt eine Romanreihe, die Updike fast ein halbes Jahrhundert lang fortsetzte: Im Mittelpunkt steht der Protagonist Harry „Rabbit“ Angstrom, der an der Schule einst ein gefeierter Basketballspieler war, jetzt aber im Leben als Angestellter – er verkauft inzwischen Küchengeräte – und verheirateter Mann mit seiner Situation so sehr hadert, dass er irgendwann von zu Hause fortläuft. Seine Frau und seinen Sohn lässt er zurück, weit kommt er jedoch nicht. Er trifft seinen ehemaligen Trainer und bald darauf auch eine junge Frau, die nicht Teil der bürgerlichen Gesellschaft ist. Dicht auf den Fersen bleibt ihm ein Pastor, der Rabbit zur Familie und wohl auch zu Gott zurückführen möchte. Updike zeigt mit Rabbit ein modernes Subjekt, das gelangweilter Konsument und transzendental obdachloser Angestellter ist. Es ist ein Jedermann, der aber immerhin noch schnell laufen kann. Mehr dazu von Ole Nymoen und Wolfgang M. Schmitt in der neuen Folge von „Wohlstand für Alle“-Literatur!Literatur:John Updike: Hasenherz. Übersetzt von Maria Carlsson. Rowohlt.Unsere Zusatzinhalte könnt ihr bei Apple Podcasts, Steady und Patreon hören. Vielen Dank!Apple Podcasts: https://podcasts.apple.com/de/podcast/wohlstand-f%C3%BCr-alle/id1476402723Patreon: https://www.patreon.com/oleundwolfgangSteady: https://steadyhq.com/de/oleundwolfgang/about

That's right, folks. This is the last episode of "John Updike's Ghost"! But not to worry! We'll be launching a new podcast very soon! What's the name? What will it be about? When will it launch? We're not telling you yet! Until that amazing day comes, you'll just have to listen to us talk about the books we've read recently, such as: - "Sisters in the Wind," by Angeline Boulley, which is in the same universe as "Firekeeper's Daughter" and "Warrior Girl Unearthed," and it is just as good. Angeline just keeps cranking them out.  - "The Guide," by Peter Heller, which is the follow-on to "The River," and features much of the same brilliant nature writing, if maybe a little less "realistic." It's not as good as "The River," but that's not saying it's not great.  - "The Frozen People," by Elly Griffiths, which starts a brand-new series and has time travel, but not the sci-fi sort of time travel, just the plot-device kind of time travel. If you like Elly's mysteries, you'll love this. - "So Far Gone," by Jess Walter, which is very much a novel of our moment, exploring what happens when your daughter marries a hardcore Christian nationalist. But it's also really funny and not too politically heavy.  - "Help Wanted," by Adelle Waldman, which is a working-class novel about employees in a box-store warehouse and the pecking order that becomes clear when the boss announces he's leaving. Hannah liked it.  And then we thank everyone and say goodbye. We'll be back, but ta-ta for now. 

This month marks 50 years of Terry Gross as the host of Fresh Air. What began in 1975 as a local experiment at WHYY in Philadelphia has since grown into a national institution—one that not only transformed public radio, but laid the groundwork for the world of podcasting.To commemorate a half-century on the air, Terry Gross joins us for a rare appearance in the interview seat. At the top, we discuss her Brooklyn upbringing (11:39), early memories of writing (14:13), and her improbable road to public radio (30:51). Then, Terry walks us through the formative years of Fresh Air (34:50) and its seminal conversations with Kurt Vonnegut (41:34), John Updike (47:43), Monica Lewinsky (50:43), Joan Didion (1:02:08), and more.On the back-half, Gross reflects on forty-seven years of partnership with her late husband, jazz writer Francis Davis (1:04:37), their shared affinity for reading and music (1:07:10), the future of public media (1:20:29), and why she continues to have faith in (and love for) the long-form interview (1:32:48).Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This month marks 50 years of Terry Gross as the host of Fresh Air. What began in 1975 as a local experiment at WHYY in Philadelphia has since grown into a national institution—one that not only transformed public radio, but laid the groundwork for the world of podcasting.To commemorate a half-century on the air, Terry Gross joins us for a rare appearance in the interview seat. At the top, we discuss her Brooklyn upbringing (11:39), early memories of writing (14:13), and her improbable road to public radio (30:51). Then, Terry walks us through the formative years of Fresh Air (34:50) and its seminal conversations with Kurt Vonnegut (41:34), John Updike (47:43), Monica Lewinsky (50:43), Joan Didion (1:02:08), and more.On the back-half, Gross reflects on forty-seven years of partnership with her late husband, jazz writer Francis Davis (1:04:37), their shared affinity for reading and music (1:07:10), the future of public media (1:20:29), and why she continues to have faith in (and love for) the long-form interview (1:32:48).Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Werden Sie JETZT Abonnent der Weltwoche. Digital nur CHF 9.- im ersten Monat. https://weltwoche.ch/abonnemente/Aktuelle Ausgabe der Weltwoche: https://weltwoche.ch/aktuelle-ausgabe/KOSTENLOS:Täglicher Newsletter https://weltwoche.ch/newsletter/App Weltwoche Schweiz https://tosto.re/weltwocheDie Weltwoche: Das ist die andere Sicht! Unabhängig, kritisch, gut gelaunt.Frühfranzösisch: Köppel im Shitstorm, aber ich halte dagegen! Ist China unser Feind? Dummes Zeug! Alien Earth und John Updike. Rösti bremst «Tempo 30». Frankreich wankt. Rimoldi blitzt bei FDP abDie Weltwoche auf Social Media:Instagram: https://www.instagram.com/weltwoche/Twitter: https://twitter.com/WeltwocheTikTok: https://www.tiktok.com/@weltwocheTelegram: https://t.me/Die_WeltwocheFacebook: https://www.facebook.com/DIE.WELTWOCHE Hosted on Acast. See acast.com/privacy for more information.

That's right, folks. This is the second-to-last episode of "John Updike's Ghost," which will end with Episode 100. But not to worry! We'll be launching a new podcast not long afterward, with a new name and a little bit of a new focus. In the meantime, though, we've got a cracker-jack episode for you this week, with a bunch of books we really like. Here's the deal:  - "Flashlight" by Susan Choi, which is one of those books you tell other people about. The history of Korea-Japan-China conflict is at its heart.  - "The Wall," by Marlen Haushofer (translated by Shaun Whiteside), which is a classic of post-apocalyptic Feminist literature, and completely delivers, with a story of self-sufficiency that speaks to the essence of humanity's relationship with nature.  - "A Month in the Country," by J.L. Carr, which a classic of pastoral literature, a treatise on hard work well done and the value of rural community. - "Fonseca," by Jessica Francis Kane, which is the made-up story of author Penelope Fitzgerald's apocryphal trip to Mexico (look up who Penelope is; she's dope).  - "Heartbreaker," by Mike Campbell and Ari Surdoval, which is among the best musician memoirs ever produced, the story of the creation of Tom Petty and the Heartbreakers, but so much more than that. 

In this episode of Guy Shrink, host Bill Roman discusses retirement's challenges with guest Joe Gerhardinger, a retired math and astronomy teacher from an all-girls Catholic school in Toledo, Ohio. After 25+ fulfilling years, including teaching his own daughters, Joe chose to "graduate" alongside his youngest child, recognizing he'd peaked and sought new adventures. He faces the "double whammy" of retiring amid becoming an empty nester, which leads to sleepless nights filled with questions about purpose, potential, and whether he's squandering opportunities. Joe tried handyman work, school scheduling gigs, and subbing—but realized teaching was behind him, emphasizing self-reflection and avoiding job-defined identity. Drawing from astronomy's "averted vision," Joe advises patience in seeking meaning without chasing "passion" or constant rapture; instead, aim for rapport with the world and a sense of responsibility. References to Viktor Frankl, Stephen Covey, and John Updike enrich the talk on redefining fulfillment. Perfect for those navigating career shifts or empty nests—listen for wisdom on embracing the journey. Connect with the Guy Shrink Podcast across all platforms here: https://linktr.ee/guyshrink 

About This Episode For over 100 years, teens from throughout the country have participated in a storied American tradition – the Scholastic Art & Writing Awards. Originally conceived in 1923 as a way to celebrate student artists at a time when most awards focused on athletic achievements, the Awards have gone on to become the nation's longest-running scholarship and recognition program for creative teens and have served as the launching pad for some of the most well-known and respected artists and writers of the last century, including the likes of Robert Redford, Sylvia Plath, Richard Avedon, Andy Warhol, Joyce Carol Oates, John Updike, Zac Posen and Amanda Gorman. In today's episode, host Billy DiMichele is joined by Chris Wisniewski, Executive Director of the Alliance for Young Artists & Writers, Karlotta Frier and Anyango Mpinga, two professional artists and national jurors for the 2025 Scholastic Awards, and Nia Cao, a teen writer and recipient of the 2025 New York Life Award, a sponsored Scholastic Award that recognizes outstanding works dealing with grief. Each of these interviews will explore a particular component of the Scholastic Art & Writing Award—from a work first being submitted through to a national winner taking a bow on the incomparable stage of Carnegie Hall. Listen to hear more about what makes a program like the Scholastic Art & Writing Awards so special, so enduring, and so necessary. Resources About the Scholastic Art & Writing Awards: https://www.artandwriting.org/ About the Alliance for Young Artists & Writers: https://www.artandwriting.org/the-alliance/ About the New York Life Award: https://www.artandwriting.org/scholarships/new-york-life-award Gallery of teen work recognized in the 2025 Scholastic Art & Writing Awards: https://www.artandwriting.org/gallery/ More listening: Scholastic Reads! Celebrating 100 Years of the Scholastic Art & Writing Awards Highlights Chris Wisniewski, Executive Director of the Alliance for Young Artists & Writers “More than anything else, when we talk to teenagers and ask why did you enter the program? It was really about the opportunity to share their work, to have their work celebrated, particularly in their home communities, or even on the stage of Carnegie Hall. That's a really extraordinary thing for a young person who's at a crucial moment in their creative development and really thinking about what's next for them. So that recognition is really important.” “We also see the Scholastic Awards as being almost like a big national tailgate party for art and culture. What we're doing is bringing communities together all around the country to celebrate these young people who are doing extraordinary things in their art and writing.” “When you think about the fact that one out of every four high schools in the country has a young person who enters this program, we can rightfully say that we are conducting a celebration of creative teens on a truly national scale. And when we award 2-3,000 national medals, that really is a recognition of some of the very finest creative work that has happened anywhere in this country over the past year by teenagers.” “With 103 years of Scholastic Awards under our belt, that makes us a unique repository of teen creativity. We can tell a story about what young people were thinking about, and what was on their minds when they were making art and writing over the course of these past 100 years, and that's something that's unique to this program.” “The work that I find tends to resonate most powerfully with our jurors is the work that expresses a unique point of view. So young people who have the courage to really put themselves out there and to go beyond a classroom assignment or a sense of the expected, that's always the best path, not just to winning a Scholastic Award, but to really developing as a creative. To remember to always be true to yourself first.” Karlotta Frier, professional artist and 2025 national juror [On what intrigued her about participating as a juror] “I got invited and didn't know it was going to be so much fun and feel so important to me…Winning an award was really important to my path…and that experience of being seen by someone else other than my mom who always believed in me this whole time, but somebody else, in New York [meant] maybe I can do this.” Anyango Mpinga, professional artist and 2025 national juror [On the message she would want Scholastic Awards participants to hear] “I just want them to know that their voice is valid and to not change for anyone…If you're really connected to who you are, and this is your creativity, the best thing you can do for yourself is cultivate that creativity and become even better than you were yesterday, and stick to it, and make that your voice…you have to stick to your guns, and you have to fight for yourself.” _Nia Cao, teen poet and recipient of the 2025 New York Life Award _ “[My poem] was a really important work to me, and it was the first time that I processed [my uncle's] death. Applying for the New York Life Award, it wasn't something that I hesitated about. This is something that really resonates with my poem and with my work, and I think it was something that really tied into his legacy.” “It's validating to be acknowledged and know that my poem resonated with someone, and it feels as if the judges are saying to me, ‘I see you, I hear you.'” Special Thanks Producers: Allyson Barkan and Anne Sparkman Sound engineer: S. Shin Music composer: Lucas Elliot Eberl

A local law firm recently sued Google to have a nasty one-star review removed from their profile, according to BusinessDen. It sounds like a pretty terrible situation, but it reminded us just how powerful the humble user review can be! So today we're going inside the minds of the people leaving negative reviews for local faves with another round of our famous one-star review game. Quizmaster slash producer Paul Karolyi puts returning champion slash host Bree Davies to the test against a new challenger — comedian Kate McLachlan of Dyketopia — to see once and for all: Who knows Denver's haters best? If you are craving more of our one-star review game, check out the first time we played and the haunted edition we did for Halloween. Kate talked about the short story “A&P” by John Updike.  Have you ever left a local business a one-star review? What happened? Did the owner clap back? We want to hear about it! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418 For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Support City Cast Denver by becoming a member: membership.citycast.fm Learn more about the sponsors of this June 23rd episode: RAQC City & County Denver Tech Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Mark Sarvas is the award-winning author of the novels @UGMAN (ITNA Press), MEMENTO PARK (FSG, Picador) and HARRY, REVISED (Bloomsbury). MEMENTO PARK is the winner of a 2019 American Book Award (Before Columbus Foundation), and the 2019 American Jewish Library Association Fiction Award. It was a finalist for the Sami Rohr Prize for Jewish Literature, and was shortlisted for the JQ Wingate Literary Prize and longlisted for the Sophie Brody Medal. His debut novel, HARRY, REVISED, was published in more than a dozen countries around the world, earning raves from Le Monde to The Australian. A finalist for the Southern California Independent Booksellers Association's 2008 Fiction Award and a Denver Post 2008 Good Read, HARRY, REVISED has been called "A remarkable debut" by Booker Prize winner John Banville, and was compared to John Updike and Philip Roth by the Chicago Tribune. He was awarded a 2018 Santa Monica Arts Fellowship and is a 2021 Guild Hall Artist in Residence. Want to be a guest on Book 101 Review? Send Daniel Lucas a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/17372807971394464fea5bae3 Hosted on Acast. See acast.com/privacy for more information.

In honor of The New Yorker's centennial this year, the magazine's staff writers are pulling out some classics from the long history of the publication. Louisa Thomas, The New Yorker's sports correspondent, naturally gravitated to a story about baseball with a title only comprehensible to baseball aficionados: “Hub Fans Bid Kid Adieu.” The essay was by no less a writer than the author John Updike, and the “Kid” of the title was Ted Williams, the Hall of Fame hitter who spent nineteen years on the Boston Red Sox. By happenstance, Updike joined the crowd at Fenway Park for Williams's last game before his retirement, in 1960. Thomas, looking at subtle word changes that Updike made as he was working on the piece, reflects on the writer's craft and the ballplayer's. “Marginal differences really matter,” she says. “And it's those marginal differences that are the difference between a pop-up, a long fly, and a home run. Updike really understood that, and so did Williams.”Plus, a visit with one of the great modern practitioners of the earworm, Charles Strouse, who wrote music for “Bye Bye Birdie” and “Annie,” and the theme to “All in the Family.” Strouse died this month at ninety-six. In one of his last interviews he gave, in 2023, he spoke with the Radio Hour's Jeffrey Masters about his rivalry with Stephen Sondheim. “Stephen and I were friendly enemies. He didn't like me much. I didn't like him less.” 

#JohnUpdike #RabbitNovels #BookLunch #BookTube #education #literature #books #amwriting #MitchHampton #aesthetics #podcastsOn this, the last episode of our series on John Updike and his Rabbit novels, I discuss the last in the Rabbit series, what Updike calls a sequel, "Rabbit Remembered" from 2000, as well as Updike's life and career more generally and the world in which he and his work played a part.

"We do survive every moment, after all, except the last one." - John Updike

Selected Shorts celebrates this important collection each year, and this show, presented by host Meg Wolitzer, reprises works from the 2022 Best American edition selected by guest editor Andrew Sean Greer. Included are “The Little Widow from the Capital,” by Yohanca Delgado, performed by Krystina Alabado, and a second story selected by John Updike for the volume Best American Stories of the Century.  It's Grace Stone Coates' “Wild Plums,” performed by Mia Dillon.

Author Lee Upton joined Leah to talk about her newest book Wrongful, available for pre-order now for May 1 delivery, and about how she became a bunny person. PSA: Bunnies are exotic pets and not responsible Easter presents. Stick to chocolate and toy bunnies today! Where was the podcast? Leah had emergency gall bladder surgery which meant hitting eject from her life for about a month. So happy to be back on the mic and to welcome back engineer-extraordinaire Rob Abrazado.   Keep up with Lee online Wrongful is available for pre-order now and releases May 1, 2025: https://www.saggingmeniscus.com/catalog/wrongful/ Lee's website: https://www.leeupton.com/ Show Notes Sagging Meniscus Press: https://www.saggingmeniscus.com/ Tabitha, Get Up: https://bookshop.org/p/books/tabitha-get-up-lee-upton/21257767 Kate Racculia: https://www.kateracculia.com/ Agatha Christie: https://www.agathachristie.com/ The Withers (coming in 2026 from Regal House Publishing): https://regalhousepublishing.com/forthcoming-publications/ Book & Puppet Co.: https://www.bookandpuppet.com/ Ghostlit: https://bookshop.org/p/books/ghostlit-poems/121f3a980b2b881e On the Rocks: https://www.theodoraziolkowski.com/books Asterism: https://asterismbooks.com/ I Am a Bunny: https://bookshop.org/p/books/i-am-a-bunny-ole-risom/8547916 Michael Sowa: https://michaelsowa-art.de/ Esterhazy: The Rabbit Prince: https://www.amazon.com/Esterhazy-Rabbit-Prince-Irene-Dische/dp/0152009213 Instant Relief Therapy: https://www.wikiart.org/en/michael-sowa/instant-relief-therapy Bunny by Mona Awad: https://bookshop.org/p/books/bunny-mona-awad/12087549 Alice in Wonderland: https://bookshop.org/p/books/alice-in-wonderland-illustrated-lewis-carroll/7841425 Rabbit, Run (the first book in John Updike's Rabbit series): https://bookshop.org/p/books/rabbit-run-john-updike/11076364 The Velveteen Rabbit: https://bookshop.org/p/books/the-velveteen-rabbit-margery-williams-bianco/19005883 Donnie Darko: https://www.imdb.com/title/tt0246578/ Harvey: https://www.imdb.com/title/tt0042546/ Bunnicula: A Rabbit-Tale of Mystery (the first book of the Bunnicula series): https://bookshop.org/p/books/bunnicula-a-rabbit-tale-of-mystery-deborah-howe/286233 Bunnicula (TV series): https://www.imdb.com/title/tt5444412/ Watership Down: https://bookshop.org/p/books/watership-down-richard-adams/286191 The House Rabbit Society: https://houserabbit.org/ POP Cats: https://popcats.co/   Finding Favorites is edited and mixed by Rob Abrazado. Follow Finding Favorites on Instagram at @FindingFavsPod and leave a 5 star rating on Apple Podcasts, GoodPods or Spotify. Got a question or want to suggest a guest? email Leah at FindingFavoritesPodcast@gmail.com Support Finding Favorites by shopping for books by guests or recommended by guests on Bookshop.

#JohnUpdike #Rabbit #Book Lunch #MitchHamptonFor the fifth episode of our John Updike "Rabbit" series we continue with an emphasis on the fourth novel, Rabbit At Rest, discussing Updike's prose style, the sociological world of the 1980s and being with a sneak preview of "Rabbit Remembered" and more!

Jesmyn Ward has been hailed as the standout writer of her generation, proving her “fearless and toughly lyrical” voice in novels, memoir, and nonfiction. She's been called “the new Toni Morrison.” Ward is a MacArthur “Genius Grant” recipient and in 2017, she became the first woman and the first person of color to win two National Book Awards for Fiction—joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike. Her books include "Let Us Descend," "Sing, Unburied, Sing," "Salvage the Bones," and "Navigate Your Stars." The professor of creative writing at Tulane University joins host Dean Nelson for this evocative conversation as part of the 30th anniversary of the Writer's Symposium by the Sea at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 40217]

Jesmyn Ward has been hailed as the standout writer of her generation, proving her “fearless and toughly lyrical” voice in novels, memoir, and nonfiction. She's been called “the new Toni Morrison.” Ward is a MacArthur “Genius Grant” recipient and in 2017, she became the first woman and the first person of color to win two National Book Awards for Fiction—joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike. Her books include "Let Us Descend," "Sing, Unburied, Sing," "Salvage the Bones," and "Navigate Your Stars." The professor of creative writing at Tulane University joins host Dean Nelson for this evocative conversation as part of the 30th anniversary of the Writer's Symposium by the Sea at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 40217]

Jesmyn Ward has been hailed as the standout writer of her generation, proving her “fearless and toughly lyrical” voice in novels, memoir, and nonfiction. She's been called “the new Toni Morrison.” Ward is a MacArthur “Genius Grant” recipient and in 2017, she became the first woman and the first person of color to win two National Book Awards for Fiction—joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike. Her books include "Let Us Descend," "Sing, Unburied, Sing," "Salvage the Bones," and "Navigate Your Stars." The professor of creative writing at Tulane University joins host Dean Nelson for this evocative conversation as part of the 30th anniversary of the Writer's Symposium by the Sea at Point Loma Nazarene University. Series: "Writer's Symposium By The Sea" [Humanities] [Show ID: 40217]

Hannah's been busy grinding out elementary school book fairs (drug-dealer mentality for the win), so the John Updike's Ghost podcast has put in a call to the bullpen, and out walks ... Cyndle Plaisted Rials! Cyndle is a writer and creative writing teacher who teamed with Sam on a book earlier this year, as well as the Beer & Weed project, so you know she's ready to go. She has not, however, read "To Kill a Mockingbird" or "Of Mice and Men," so weird stuff is on the way.  Here's what she and Sam had to chat about this week: - "All the Pretty Horses," by Cormac McCarthy — Sam has never read this, but it's awesome. If you've never read it, you should do it now. Just be prepared for very few commas.  - "Lady Macbeth," by Ava Reid — Cyndle finds this a little better than Shakespeare's historical works, anyway. It's a little bit of a "Wicked" situation and it might help to read the original; what is Lysander doing in this book? Decent audiobook.  - "Pickleballers," by Ilana Long — A racy book about people who play pickleball and like to bang. Sam laughed a few times, but didn't manage to finish this. Still, if you like romantic comedies, this is fine.  - "Rejection," by Tony Tulathimutte — You might have seen the story "The Feminist"? That's the lead story in this collection, which is a serious collection of bad dudes. And hyper-online.

#BookLunch #JohnUpdike #podcastThanks so much for joining us for Episode 4 of our ongoing "Book Lunch" series on the magnificent John Updike and his "Rabbit" series of books! We always love seeing you in the chat and your thoughtful comments on the replay!Please share it out with us - we are hoping to build to 400 subscribers this month and we continue to grow our "aesthete" community!#JohnUpdike #BookLunch #Podcast #MitchHampton

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

The third episode of our John Updike Rabbit Series will focus on Updike's chronicling of the transitions and transformations of American culture, as represented by his characters, of the 1970s through the 1980s. As always the focus will be on prose style and how style connects to larger values in the novels.#pennsylvania #1950s #1960s #1970s #1980s #1990s #2000s #worldwar2 #sexualpolitics #feminism #industrialrevolution #internetage #politics #linotype #books #bookstore #library #johncheever #newyorker #williamshawn #wallyshawn #tinabrowne #adambegley #adamgopnkik #christianity #episcopalianism #cartoon #madmagazine #disney #newengland #massachusetts #harvard #ruskinschoolofart  #unitedkingdom #democraticparty #oxforduniversity $poetry #fiction #novel #davidfosterwallace #saulbellow #ericajong #fearofflying #joycecaroloates #golf #judithjones #knopfdoubleday #algonquinhotel #newyorkcity #Boston #harpercollins #books&company #jeannettewatson #ibm #ianmeewan #annbeattie #francineprose #janetmalcom #toyota #car  #nationallampoon #playboy #esquire #vietnam #watergate #cocaine #recovery #disco #top40 #essay #prose #top10 #geraldford #jamesbuchanan #1700s #1800s #911 #ronaldreagan #georgewbush #herbertwalkerbush #billclinton #museum #talkofthetown #pulitzerprize #sovietunion #russia #jimmycarter #crisisofconfidence #malaise #suburbia #christopherlasch #narcissism #freud #psychoanalysis #grouptherapy #fashion #greece #germany #denmark #hippie #yuppie #revolution #culturewar #richardnixon #ipswich #philiproth #lyndonjohnson #rockmusic #folkmusic #salesman #watsonfoundation #hinduism #judaism #buddhism #islam #cult #davidremnick #popmusic #alfredaknopf

Our book is: The World She Edited: Katharine S. White at the New Yorker (Mariner Books, 2024) by Dr. Amy Reading, which is a lively and intimate biography of trailblazing and era-defining New Yorker editor Katharine S. White. White helped build the magazine's prestigious legacy and transform the 20th century literary landscape for women. In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse.  This exquisite biography brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker—Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor—through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White—and reveals how she transformed our understanding of literary culture and community. Our guest is: Dr. Amy Reading. Her book, The World She Edited: Katharine S. White at The New Yorker, is a finalist for the National Book Critics Circle Award for Biography. She is also the author of The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con. Her work has been supported by fellowships from the National Endowment of the Humanities and the New York Public Library, among others. She lives in upstate New York, where she serves on the board of her local independent bookstore, Buffalo Street Books. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. She uses her PhD in history to explore what stories we tell, and what happens to those we never tell. Listeners may enjoy this playlist: Claire Myers Owens and the Banned Book Dear Miss Perkins Leaving Academia The Misadventures of A Rare Bookseller We Take Our Cities With Us Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! 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

Our book is: The World She Edited: Katharine S. White at the New Yorker (Mariner Books, 2024) by Dr. Amy Reading, which is a lively and intimate biography of trailblazing and era-defining New Yorker editor Katharine S. White. White helped build the magazine's prestigious legacy and transform the 20th century literary landscape for women. In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse.  This exquisite biography brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker—Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor—through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White—and reveals how she transformed our understanding of literary culture and community. Our guest is: Dr. Amy Reading. Her book, The World She Edited: Katharine S. White at The New Yorker, is a finalist for the National Book Critics Circle Award for Biography. She is also the author of The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con. Her work has been supported by fellowships from the National Endowment of the Humanities and the New York Public Library, among others. She lives in upstate New York, where she serves on the board of her local independent bookstore, Buffalo Street Books. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. She uses her PhD in history to explore what stories we tell, and what happens to those we never tell. Listeners may enjoy this playlist: Claire Myers Owens and the Banned Book Dear Miss Perkins Leaving Academia The Misadventures of A Rare Bookseller We Take Our Cities With Us Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Our book is: The World She Edited: Katharine S. White at the New Yorker (Mariner Books, 2024) by Dr. Amy Reading, which is a lively and intimate biography of trailblazing and era-defining New Yorker editor Katharine S. White. White helped build the magazine's prestigious legacy and transform the 20th century literary landscape for women. In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse.  This exquisite biography brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker—Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor—through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White—and reveals how she transformed our understanding of literary culture and community. Our guest is: Dr. Amy Reading. Her book, The World She Edited: Katharine S. White at The New Yorker, is a finalist for the National Book Critics Circle Award for Biography. She is also the author of The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con. Her work has been supported by fellowships from the National Endowment of the Humanities and the New York Public Library, among others. She lives in upstate New York, where she serves on the board of her local independent bookstore, Buffalo Street Books. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. She uses her PhD in history to explore what stories we tell, and what happens to those we never tell. Listeners may enjoy this playlist: Claire Myers Owens and the Banned Book Dear Miss Perkins Leaving Academia The Misadventures of A Rare Bookseller We Take Our Cities With Us Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Our book is: The World She Edited: Katharine S. White at the New Yorker (Mariner Books, 2024) by Dr. Amy Reading, which is a lively and intimate biography of trailblazing and era-defining New Yorker editor Katharine S. White. White helped build the magazine's prestigious legacy and transform the 20th century literary landscape for women. In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse.  This exquisite biography brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker—Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor—through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White—and reveals how she transformed our understanding of literary culture and community. Our guest is: Dr. Amy Reading. Her book, The World She Edited: Katharine S. White at The New Yorker, is a finalist for the National Book Critics Circle Award for Biography. She is also the author of The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con. Her work has been supported by fellowships from the National Endowment of the Humanities and the New York Public Library, among others. She lives in upstate New York, where she serves on the board of her local independent bookstore, Buffalo Street Books. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. She uses her PhD in history to explore what stories we tell, and what happens to those we never tell. Listeners may enjoy this playlist: Claire Myers Owens and the Banned Book Dear Miss Perkins Leaving Academia The Misadventures of A Rare Bookseller We Take Our Cities With Us Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Our book is: The World She Edited: Katharine S. White at the New Yorker (Mariner Books, 2024) by Dr. Amy Reading, which is a lively and intimate biography of trailblazing and era-defining New Yorker editor Katharine S. White. White helped build the magazine's prestigious legacy and transform the 20th century literary landscape for women. In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse.  This exquisite biography brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker—Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor—through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White—and reveals how she transformed our understanding of literary culture and community. Our guest is: Dr. Amy Reading. Her book, The World She Edited: Katharine S. White at The New Yorker, is a finalist for the National Book Critics Circle Award for Biography. She is also the author of The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con. Her work has been supported by fellowships from the National Endowment of the Humanities and the New York Public Library, among others. She lives in upstate New York, where she serves on the board of her local independent bookstore, Buffalo Street Books. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. She uses her PhD in history to explore what stories we tell, and what happens to those we never tell. Listeners may enjoy this playlist: Claire Myers Owens and the Banned Book Dear Miss Perkins Leaving Academia The Misadventures of A Rare Bookseller We Take Our Cities With Us Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Our book is: The World She Edited: Katharine S. White at the New Yorker (Mariner Books, 2024) by Dr. Amy Reading, which is a lively and intimate biography of trailblazing and era-defining New Yorker editor Katharine S. White. White helped build the magazine's prestigious legacy and transform the 20th century literary landscape for women. In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse.  This exquisite biography brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker—Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor—through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White—and reveals how she transformed our understanding of literary culture and community. Our guest is: Dr. Amy Reading. Her book, The World She Edited: Katharine S. White at The New Yorker, is a finalist for the National Book Critics Circle Award for Biography. She is also the author of The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con. Her work has been supported by fellowships from the National Endowment of the Humanities and the New York Public Library, among others. She lives in upstate New York, where she serves on the board of her local independent bookstore, Buffalo Street Books. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. She uses her PhD in history to explore what stories we tell, and what happens to those we never tell. Listeners may enjoy this playlist: Claire Myers Owens and the Banned Book Dear Miss Perkins Leaving Academia The Misadventures of A Rare Bookseller We Take Our Cities With Us Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

We compare different ways of looking back at our past creative work - from screenplays and videos to photographs and stories. While Matt vividly remembers the emotions and intentions behind each project even years later, Alex experiences complete disconnection from his past work, seeing it almost as if someone else created it. We explore whether emotional distance helps with objective evaluation of creative projects, referencing how artists like Michael Mann and John Updike revisit and refine their work over time.This discussion of creative reflection leads us to examine how we engage with media and art in the modern world, from our relationship with smartphones and social media to rediscovering physical formats like vinyl records and books. We debate the challenges of sharing creative work online while maintaining authenticity, and discuss practical ways to balance digital consumption with more meaningful engagement through reading and real-world experiences. -Ai  If you enjoyed this episode, please consider giving us a rating and/or a review. We read and appreciate all of them. Thanks for listening, and we'll see you in the next episode. Links To Everything: Video Version of The Podcast: https://geni.us/StudioSessionsYT Matt's YouTube Channel: https://geni.us/MatthewOBrienYT Matt's 2nd Channel: https://geni.us/PhotoVideosYT Alex's YouTube Channel: https://geni.us/AlexCarterYT Matt's Instagram: https://geni.us/MatthewIG Alex's Instagram: https://geni.us/AlexIG

It's another episode of "John Updike's Ghost After Dark," a wild and crazy recording that finds Sam with a blanket on his lap and Hannah reading books infused with the number three (and using the word "tome"). We move from Anne Tyler (don't worry, she's a little bit funny) to weird French YA and cover a lot of ground in between, including:  - "Three Days in June," by Anne Tyler (Sam thinks he read "The Accidental Tourist") - "Infinite Jest," by David Foster Wallace (just touching on it, really) - "Beta Vulgaris," by Margie Sarsfield (kinda like "Lazy City," except totally crazy with evil sugar beets, and a little bit like "Banal Nightmare," except scary instead of funny) - "The Three Lives of Cate Kay," by Kate Fagan ("it's all so ridiculous," romantic without being a romance, a book that makes grand statements; this Kate woman is crazy impressive) - "The Bookshop," by Evan Friss (Sam mispronounces his name, sorry; this one is a little close ot the quick; please remember that Sam considers "weirdos" a compliment) - "The Missing of Clairdelune," by Christelle Dabos (completely out-there French YA, so good) - "Water Moon," by Samantha Sotto Yambao (completely you-there Japanese YA, so good; "this book delivers" and is NOT cozy) Also, come to our 5th birthday party. You'll know when it is if you listen to the end. 

We're joined by New York Times book critic and author Dwight Garner. He presents food quips from his favorite writers, as well as John Updike's lunch routine and Hunter S. Thompson's party tricks. Plus, anthropologist Manvir Singh helps us digest the world of “meat-fluencers” and their all-meat diets; A Way with Words give credit to the Old Norse words lingering in our kitchens; and we prepare a Pakistani-Style Chicken Biryani. (Originally aired January 4th, 2024.)Get this week's recipe for Pakistani-Style Chicken Biryani here.We want to hear your culinary tips! Share your cooking hacks, secret ingredients or unexpected techniques with us for a chance to hear yourself on Milk Street Radio! Here's how: https://www.177milkstreet.com/radiotipsListen to Milk Street Radio on: Apple Podcasts | Spotify Hosted on Acast. See acast.com/privacy for more information.

Guest host Meg Wolitzer presents three stories in which games are featured.  Brian Agler's “The Rules of this Board Game Are Long, But Also Complicated” speaks for itself as the unnamed host of game night makes it clear there is no way to win this one.  Meg Wolitzer is the reader.  In John Updike's “Still of Some Use,” a family clears its attic of old games; memories and emotions surface, along with battered boards and random game pieces.The reader is James Naughton. In Susan Perabo's “Some Say the World,” a fragile young woman holds the world at bay with Parcheesi. The reader is Colby Minifie.

Hawks sign Jalen Johnson, MNF, Buccaneers lose 2 receivers, Falcons news, Desmond Ridder sighting, Deebo has pneumonia, Jerry Jones can't stop talking about blowing Derrick Henry signing, Dak's new cologne, shooting victim back in uni before McCaffrey, Titans reach new low, Deshaun Watson tears Achilles, Baltimore Police arrest man who beat Commanders fans, SEC embarrasses itself by including Vince Young & Barry Switzer?! in their legends class, Quinn Ewers is not quitting Texas, UGA player gets revenge, Texas not back yet, Kirby Smart on huge win & bad fans & refs, Longhorns warned about bottle-throwing could cost them alcohol sales & a home playoff game, the Dr. Pepper Curse, Trae Young weighs in, Bevo loves Ben just not UGA, Cooper Manning's 20-gallon hat, my Conway Twitty meme goes near-viral, Carson Beck looks like Tom Petty, Emmanuel Acho cold tweet, Bama folks claim crowd noise pumped into Neyland Stadium, Miami Vice-themed unis, President Trump on Arnold Palmer's schlong, Braves awards, World Series tickets & starting pitchers, golf detente, WNBA a failure, Bud Daley, Tubby Smith makes too much sense about transfers, Rays ballparks, Hoosiers setting records, FSU sues again, Brady Cook a man, Hugh Freeze trouble, Bama freshman disses his own QB, Sun Devils looking for a kicker, showboating on the field, college coaches fired, Billy Napier's comeback? Pete Poll, Vandy odds, Big Fox sux, Dodgers-Yankees facts, Braves in Fall Classic, Black Sox, Mike Piazza, truck kills player, John Updike on Ted Williams, Gene Tenace, Bobby Bonds for Bobby Murcer, classic '75 Series, Ed Kranepool hangs 'em up, plus Pete's Tweets & and quote from the ever quotable Andy Van Slyke

Snap INTO it, girlarina! The queens re-cast Cher movies with poets.Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.SHOW NOTES:Read Patricia Smith's "Incendiary Art."Here's Cher's cover of “Shoop Shoop (It's in His Kiss)." And here's Merry Clayton's version.Cher starred in the movie Mask, which was released in 1985. Mask won the Academy Award for Best Makeup at the 58th ceremony, while Cher and Stoltz received Golden Globe Award nominations for their performances. Watch the scene where Rusty Dennis (Cher) barges into a high school to fight for her son. The director, when asked a question about the most difficult actor he'd worked with, replied it was Cher. If you haven't read Mary Oliver's "The Summer Day," go here.For more about the Future Library, read an article here. One of Jorie Graham's poems that make James cry is "At Luca Signorelli's Resurrection of the Body." Read Marie Ponsot's poem "Language Acquisition"You can read Jericho Brown's iconic poem "Track 5: Summertime" here. Or watch a video of him reading it here.Here's the trailer for The Witches of Eastwick, which is also a 1984 novel by John Updike.Read Sandra Beasley's blog here. Listen to Beasley read her poem "Peaches" (first published in Cherry Tree).Read more about Rigoberto González here. Cher was just inducted into the Rock and Roll Hall of Fame. Watch her induction speech and a live performance of "Believe" here. 

In the summer of 1925, Katharine Sergeant Angell White walked into The New Yorker's midtown office and left with a job as an editor. The magazine was only a few months old. Over the next thirty-six years, White would transform the publication into a literary powerhouse. The World She Edited: Katharine S. White at The New Yorker (Mariner Books, 2024) brings to life the remarkable relationships White fostered with her writers and how these relationships nurtured an astonishing array of literary talent. She edited a young John Updike, to whom she sent seventeen rejections before a single acceptance, as well as Vladimir Nabokov, with whom she fought incessantly, urging that he drop needlessly obscure, confusing words. White's biggest contribution, however, was her cultivation of women writers whose careers were made at The New Yorker--Janet Flanner, Mary McCarthy, Elizabeth Bishop, Jean Stafford, Nadine Gordimer, Elizabeth Taylor, Emily Hahn, Kay Boyle, and more. She cleared their mental and financial obstacles, introduced them to each other, and helped them create now classic stories and essays. She propelled these women to great literary heights and, in the process, reinvented the role of the editor, transforming the relationship to be not just a way to improve a writer's work but also their life. Based on years of scrupulous research, acclaimed author Amy Reading creates a rare and deeply intimate portrait of a prolific editor--through both her incredible tenure at The New Yorker, and her famous marriage to E.B. White--and reveals how she transformed our understanding of literary culture and community. Amy Reading is the recipient of fellowships from the National Endowment of the Humanities and the New York Public Library. She is the author of The Mark Inside: A Perfect Swindle, A Cunning Revenge, and A Small History of the Big Con. She lives in upstate New York, where she has served on the executive board of Buffalo Street Books, an indie cooperative bookstore, since 2018. Recommended Books: Catherine Lacey, Biography of X Clara Bingham, The Movement Maggie Dougherty, The Equivalents  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is forthcoming with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nicholas Delbanco returns to the show to celebrate his 32nd book and his first true foray into memoir (or ME-moir), STILL LIFE AT EIGHTY (Mandel Vilar Press)! We talk about how the rediscovery of the 40-page history of art he wrote at eleven years old (!) sparked this project, how he built the book as a mosaic, why he centers it around the homes, totem-objects, and writers in his life, and why he wanted his first memoir to be an act of gratitude rather than a list of complaints. We get into decision to part with some of his library and the books he regrets selling, his long-term interest in literary and artistic reputation and how its study helped him navigate the transition from "promising" to "distinguished" writer, his writing practice and process, and what he learned when recently revising a series of his early novels. We also discuss his embrace of compression and restraint in his later writing, why he'll write a fictional character's poetry but doesn't write poetry on his own, what his family's history and business taught him about the balance between the dutifulness and risks of art, his surprise at how quickly John Updike's reputation waned, what he's learned in his 80s, and a a lot more. More info at our site • Catch up on my 2017 and 2022 conversations with Nicholas • Support The Virtual Memories Show via Patreon or Paypal and via our e-newsletter

We’re on a hometown spree along the famous Fenway in the heart of Boston. Fenway Park is where the Red Sox play, John Updike's “lyric little bandbox of a ballpark.” Fenway Court, built around the ...