Podcast appearances and mentions of Jonathan Franzen

A new week means new questions! Hope you have fun with these!Hinge, pivot, ball and socket are three types of what skeletal structure?In Canada, what province is the capital city located?Stanisław II August ruled from 1764 to 1795 and was the last king of which country, the fifth largest EU country?What element has the highest melting point?In 1926 Gertrude Ederle swam what in 14 1/2 hours, breaking the men's record by 2 hours, and the inspiration for the Daisy Ridley film "Young Woman and the Sea"?Which Aristophanes comedy shares its name with a 1963 natural horror film directed by Alfred Hitchcock?What was the first horror film to be nominated for Best Picture?The word "Alphabet" comes from the first two letters of what language?In operation since 1930, London's Great West Aerodrome later became the site of what?Traditionally, what color are the community chest cards in a game in Monopoly?In "The Office" what does Michael Scott eat at lunch to make him fall asleep?What is the best selling album of the 21st century thus far?In 2010, Jonathan Franzen was the first American novelist to appear on the cover of TIME since what legendary and prolific American writer?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

Check out Sublime at https://sublime.app/?ref=perell Jonathan Franzen is one of the most influential novelists alive today. He sees fiction as the most fundamental human art, and in this conversation he explains how he actually makes it: the discipline, the daily grind, and the psychological spelunking required to write characters who feel startlingly alive. Franzen has always had an outsider's eye. He questioned the hype of the Internet long before it was fashionable, and he's been ruthless in diagnosing the spiritual emptiness of modern consumer life. Practically, more than anything else, this episode is about how he develops rich characters. For Franzen, the people are the story. When they're real and true, fiction has a way of getting to the core of the human experience in a way that gives people a visceral experience, as if they've lived the story firsthand. About the host Hey! I'm David Perell and I'm a writer, teacher, and podcaster. I believe writing online is one of the biggest opportunities in the world today. For the first time in human history, everybody can freely share their ideas with a global audience. I seek to help as many people publish their writing online as possible. Follow me Apple: https://podcasts.apple.com/us/podcast/how-i-write/id1700171470 YouTube: https://www.youtube.com/@DavidPerellChannel Spotify: https://open.spotify.com/show/2DjMSboniFAeGA8v9NpoPv X: https://x.com/david_perell Learn more about your ad choices. Visit megaphone.fm/adchoices

David Conlin war als britischer Offizier und - fast ein halbes Jahrhundert später - als Vogelschützer an der Seite von Jonathan Franzen auf Zypern im Einsatz. Später arbeitete er im Alliiertengefängnis in Berlin und hatte dort Kontakt mit Rudolf Heß. Heute ist der 82Jährige Naturschützer und Poet.

Discover Pagebound, the social reading app by Lucy Zhao & Jennifer Dobak. Learn how to gamify your reading life from quests to forums in today's beginner chat.Ever wish Goodreads had a heart or deeply desired a buddy read for every book in your book stack? It exists. This week, we're stepping inside Pagebound, the new social reading app built by readers for readers, with co-founders Lucy Zhao and Jennifer Dobak.This week's "building block" podcast episode is designed to deepen your reading life and provide a behind-the-scenes look at tools you can use to enhance it. Discover how these two women built a no-AI, reader-first platform that's reimagining how we connect through stories online.In this enlightening conversation, we discuss:

Een ode aan vriendschap en de kracht van verandering. New York Timesbestseller en Oprah's Book Club Pick 2025. Een moderne Great American Novel voor de fans van Jonathan Franzen. Uitgegeven door Ambo|Anthos Spreker: Marijke Beversluis

Für die zweite Folge des "Wunderbar Together"-Summer-Specials haben Katalina & Felix die Autorin Nell Zink getroffen, die in rural Virginia aufwuchs, heute in rural Brandenburg lebt und unlängst mit Sister Europe einen der vielleicht besten Berlin-Romane aller Zeiten geschrieben hat.

Was it profound or was it pretentious? Is the author a genius or a misogynist? The only thing we know for sure is that a man made love to a couch. Mean Book Club returns for our 20th season with "The Corrections" by Jonathan Franzen. Big thanks to patron of the mean arts, George for generously forcing this behemoth onto us!Mean Book Club is four ladies (UCB, BuzzFeed, College Humor, Impractical Jokers) who read, discuss and whine about NYT bestselling books that have questionable literary merit. It's fun. It's cathartic. It's perfect for your commute. New podcast (almost) every Tuesday! Here's the Season 20 reading list:The Corrections by Jonathan FranzenPrep by Curtis SittenfeldWe Were Liars by E. LockhartThe Plot Against America by Philip RothWho Moved My Cheese by Spencer JonsonBeautiful Ugly byAlice FeeneyyWhere is Joe Merchant by Jimmy BuffetSkipping Christmas by John GrishhamSend any future book suggestions to meanbookclub@gmail.com! Follow us on the socials @meanbookclub! Rate, like, subscribe, and check out our Patreon page at patreon.com/meanbookclub to become a true patron of the mean arts. CREDITS: Hosted by Sarah Burton, Clara Morris, Johnna Scrabis, & Sabrina B. Jordan. This episode was produced and edited by Sarah Burton and Blake Opper. Special thanks to FSM Team for our theme song, "Parkour Introvert." You can get it here: https://www.free-stock-music.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/mean-book-club--3199521/support.

This episode was originally released on December 31, 2024 as a Patreon exclusive, and we're unlocking it for you to make the most of the extra week in July. Become a patron today to support the show, keep us ad-free and unlock our backlog of over 50 bonus episodes and mediasodes at patreon.com/binchtopia. We're on tour!!!! Find tickets at (https://linktr.ee/binchtopia) BOOKS Rouge by Mona Awad Long Island Compromise by Taffy Brodesser-Akner The Searcher by Tana French The Hunter by Tana French Existential Kink by Carolyn Elliott Long Bright River by Liz Moore Freedom by Jonathan Franzen TV Say Nothing Monsters: The Lyle and Eric Menendez Story The Jinx Breaking Bad MOVIES Subservience Tangerine Sugarcane Hanna My Old Ass Sweethearts How to Survive a Plague ARTICLES The Invisible Man Bad Influence The Despair of the Young JULIA'S BEST OF THE YEAR Book - Rabbit Heart by Kristine S. Ervin Movie - When the Levees Broke TV - Baby Reindeer, Dallas Cowboys Cheerleaders Album - Charm by Clairo ELIZA'S BEST OF THE YEAR Book - The Door by Magda Szabo Movie - Problemista TV - Breaking Bad Album - Manning Fireworks by MJ Lenderman, Power by Illuminati Hotties

Before Becoming You was a methodology, a class, or a book — it was a question. A question that our host Suzy Welch grappled with for decades as she sought to make her way in the world, as a wife, journalist, mother, and professor. Is it ever really possible to write the story of our own lives, or are we fated to edit the script handed to us by our family, culture, and circumstances? In time, Suzy came to realize that her answer was…yes. And it wasn't just her answer, she believed, it was all of ours. In this intimate and thoughtful episode, Suzy sits down with her daughter Sophia to explore two of the books that helped her reach that conclusion, and thus shape the entire Becoming You Methodology. They are The Corrections by Jonathan Franzen and Peace Like a River by Leif Enger. What begins as a conversation about literature quickly turns inward — becoming a candid reflection on generational patterns, personal reinvention, and the question that sits at the center of Suzy's work and the Becoming You journey for all who take it. The Values Bridge digital assessment is available at thevaluesbridge.comPIE360 Feedback tool is available at pie360feedback.comWant more Becoming You? Pre-order the Becoming You book.Learn about the Becoming You Certification Program.You are always growing and evolving and so are we. Sign up for the Becoming You newsletter for fresh new content in one tidy package. You can follow and tag Suzy on:Instagram: @suzywelchLinkedin: @suzywelchTikTok: @suzywelchYouTube: @suzywelch_X: @SuzyWelch

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social 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

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social 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

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Figures of Freedom: Representations of Agency in a Time of Crisis takes on the idea and terminology of freedom, examining our understanding of this concept and our relationship to the word itself as well as what it means to society, culture, and politics. Randy Laist and Brian A. Dixon, two scholars who often explore popular culture to better understand the society and politics all around us, have brought their admirable skills to Figures of Freedom, where they have assembled a broad array of contributors exploring freedom in a host of different venues and artifacts. The thrust of the book is to examine representations of freedom in the early 21st century, and the authors look at this evolving nature of freedom in popular culture 21st century texts, where they trace this shifting discourse across time and geography. Broad questions are at the heart of Figures of Freedom: who gets to be free? What is freedom? How does freedom work or play out in different situations and settings? Is freedom itself an archaic idea in the face of rising dictatorships and authoritarian governments, where voices of freedom are being silenced? Freedom is often a concept and term that one understands from an individualistic perspective—my freedom is constrained by governmental actions or limited by societal norms or protected by the Bill of Rights. Liberty, which is often connected to freedom, especially in American discourse, is considered by these authors as more communal, and as part of a delicate balance within the U.S. constitutional system, but the advocacy for individual freedom has eclipsed liberty in the 21st century. Laist and Dixon frame their book by examining some of the facets of freedom, which may be ugly (Elizabeth Anker's conception in her 2022 book), or masculinized (Linda Zerilli's idea in her 2005 book), or colonial (Mimi Thi Nguyen thoughts in her 2012 book), or otherwise characterized by some quality constraining some dimensions of freedom. The contributing authors take up many of these concepts and use them to explore these ideas within a variety of narrative popular culture artifacts from the first part of the 21st century. These include, but are not limited to, Matthew Weiner's television series Mad Men, Don DeLillo's Zero K, Jonathan Franzen's Freedom, Ta-Nehisi Coate's Between the World and Me, Colson Whitehead's Underground Railroad, Pixar's Toy Story films, Sam Esmail's television series Mr. Robot, and many more. Figures of Freedom: Representations of Agency in a Time on Crisis wrestles with what it means to be free and how we, as citizens, consume this idea through many of our cultural artifacts. At times, we may feel free but are, in fact, limited by unseen or unknown political, cultural, or societal constraints. Laist and Dixon compel us to consider our own understanding of freedom, particular in context of the idea of liberty, and how these ideas are shaped and shifted by the world around us, especially in the ways we see freedom represented within film and literary narratives. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). Email her at lgoren@carrollu.edu or find her at Bluesky: @gorenlj.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

For 40 years, the Whiting Awards have been discovering up-and-coming literary talent, and awarding them with substantial grants. Past recipients include Michael Cunningham, Jonathan Franzen, Hernan Diaz, Ocean Vuong, Michael R. Jackson, Mary Karr, and more. This week, the 40th Annual Whiting Awards handed out grants to a new class of writers. Courtney Hodell, director of literary programs with the Whiting Foundation, discusses her role overseeing the awards, and how the Foundation has become so adept at identifying emerging literary talent.

Hunter sits down (virtually!) with Lorrie Tom, and they discuss her background in literature and writing, what she's doing this year for Lent, and things they both like (The Smiths) and things they have differing opinions about (The Corrections by Jonathan Franzen). Lorrie's post on her Substack is mentioned frequently, so we recommend reading it before you listen. You can find it here!

The managing editor of Te Herenga Waka University Press joins Emile Donovan to brave the challenge of rereading a significant book from her past: The Corrections by Jonathan Franzen.

Christine Benz is the Director of Personal Finance and Retirement Planning at Morningstar, where she has spent over three decades helping investors navigate the complexities of financial planning. She is also the author of "How to Retire: 20 Lessons for a Happy, Successful, and Wealthy Retirement" and serves as the president of the John C. Bogle Center for Financial Literacy. Before focusing on retirement planning, Christine worked as a fund analyst, bringing a unique perspective that combines deep investment knowledge with practical financial wisdom. Christine joins the show to discuss why retirement isn't just about hitting your "magic number," how to overcome the psychological barriers to retirement spending, why keeping your inner circle vibrant is crucial for long-term happiness, the surprising power of lifetime giving, and MUCH more. I hope you enjoy this conversation as much as I did. For the full transcript, episode takeaways, and bucketloads of other goodies designed to make you go, "Hmm, that's interesting!", check out our Substack. Important Links: Website Twitter LinkedIn Show Notes: Retirement Focus: Finances or Lifestyle? Bring Your Kids In The Loop Embrace the Challenges of Social Health A Day in The Life of a Retiree Defaulting People Into Saving Genesis of the FIRE Movement Horsemen of The Investment Apocalypse The Delicate Balance of Investment Buckets Dodging A Single Point of Failure How to Sniff Out Fishy Financial Advice The Saver vs the Investor Personality Type Keeping Up With Mr. Market Annuities: The Low-Risk Underdog Christine as World Emperor Books / Authors Mentioned: How to Retire: 20 Lessons for a Happy, Successful, and Wealthy Retirement; by Christine Benz The works of Jonathan Franzen

Happy Solstice!   As we do every December solstice it's time for our 7th Annual "Best Of" episode of 3 Books.   3 Books is our 22-year-long conversation to uncover and discuss the 1000 most formative books in the world.   This year we sat with ​academics at Oxford​ to ​bus drivers in St. Louis​, with ​Jonathan Franzen​ in Santa Cruz to ​Oliver Burkeman​ in the North York Moors, with the ​world's largest bookseller​ and ​Amazon union organizers​, with ​Oscar nominees​ to a ​guy who dresses up all day as as a duck​.   This year I've changed tack and made the "Best Of" highly concentrated—under 50 minutes long!—with little snippets from our diverse guests to provide reflection, provoke your thinking, and help to set intentions for 2025 and beyond.   Thank you for being a 3 Booker and spending time with this incredible community of book lovers spread across the world.   Let's stop to reflect and then keep enjoying the ride....

Wenzel, Tobias www.deutschlandfunkkultur.de, Lesart

Wenzel, Tobias www.deutschlandfunkkultur.de, Lesart

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic.This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends.If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Hosted on Acast. See acast.com/privacy for more information.

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm. The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again. Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic. This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today.  Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

La traduttrice Silvia Pareschi ha dato una voce italiana a scrittori come Jonathan Franzen, Cormac McCarthy ed Ernest Hemingway. Nel suo ultimo libro raccoglie riflessioni e retroscena sul suo lavoro. All we imagine as light - Amore a Mumbai è un film che racconta la complessità della società indiana di oggi attraverso la voce di tre donne. A Roma va in scena Roberto Zucco, un'opera teatrale diretta da Giorgina Pi ispirato a un sanguinoso fatto di cronaca della fine degli anni ottanta. Corpi sapienti è un manuale illustrato di filosofia per bambine e bambini che riflette sul rapporto tra noi e il mondo partendo dal corpo. CONSilvia Pareschi, traduttrice Marina Forti, giornalistaGiorgina Pi, regista e drammaturga Ilaria Rodella, filosofa e cofondatrice di LudosoficiSe ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità . Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.Fra le righe: https://www.youtube.com/watch?v=lA5R68o9wTIAll we imagine as light: https://www.youtube.com/watch?v=pBKNifpTSFkRoberto Zucco: https://www.youtube.com/watch?v=lHCL7VbZCKoCorpi sapienti: https://www.youtube.com/watch?v=WyofKBRpRqU

We can show (as opposed to tell) about a character's personality by describing the character's face and body, so that our physical description does double duty.  Jonathan Franzen's ten rules of writing.  And techniques to add atmosphere to our scenes.Support the show

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm. The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again. Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic. This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today.  Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic.This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends.If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Hosted on Acast. See acast.com/privacy for more information.

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic.This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends.If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Hosted on Acast. See acast.com/privacy for more information.

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm. The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again. Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic. This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today.  Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm. The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again. Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic. This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today.  Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic.This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends.If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Hosted on Acast. See acast.com/privacy for more information.

Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea's last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm. The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again. Some of the voices you'll hear in this episode include screenwriter Helen Childress; writer and musician Franz Nicolay; New York Times critic Wesley Morris, Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America's Most Celebrated Publishing House, Farrar, Straus, and Giroux; Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music; and Laura Miller, Slate's book critic. This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to slate.com/decoderplus to join Slate Plus today.  Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Colson Whitehead is one of the rare authors to win the Pulitzer Prize twice. The first time was for his novel "The Underground Railroad" in 2017, loved by Barack Obama and Oprah Winfrey and made into a TV series by Oscar-winning director Barry Jenkins. It led to him being on the cover of Time Magazine, the first author in nearly a decade to grace the front page since Jonathan Franzen. Colson Whitehead was honoured again for "The Nickel Boys" in 2020 – adapted into a film due out in the autumn. He is in Paris at the Festival America and for the French release of his novel "Crook Manifesto". The multi-award-winning American author speaks to Eve Jackson about his crime trilogy set in Harlem.

Episode 136I spoke with Clive Thompson about:* How he writes* Writing about the climate and biking across the US* Technology culture and persistent debates in AI* PoetryEnjoy—and let me know what you think!Clive is a journalist who writes about science and technology. He is a contributing writer forWired magazine, and is currently writing his next book about micromobility and cycling across the US.Find me on Twitter for updates on new episodes, and reach me at editor@thegradient.pub for feedback, ideas, guest suggestions. Subscribe to The Gradient Podcast:  Apple Podcasts  | Spotify | Pocket Casts | RSSFollow The Gradient on TwitterOutline:* (00:00) Intro* (01:07) Clive's life as a Tarantino movie* (03:07) Boring life and interesting art, life as material for art* (10:25) Cycling across the US — Clive's new book on mobility and decarbonization* (15:07) Turning inward in writing* (27:21) Including personal experience in writing* (31:53) Personal and less personal writing* (36:08) Conveying uncertainty and the “voice from nowhere” in traditional journalism* (41:10) Finding the natural end of a piece* (1:02:10) Writing routine* (1:05:08) Theories of change in Clive's writing* (1:12:33) How Clive saw things before the rest of us* (1:27:00) Automation in software engineering* (1:31:40) The anthropology of coders, poetry as a framework* (1:43:50) Proust discourse* (1:45:00) Technology culture in NYC + interaction between the tech world and other worlds* (1:50:30) Technological developments Clive wants to see happen (free ideas)* (2:01:11) Clive's argument for memorizing poetry* (2:09:24) How Clive finds poetry* (2:18:03) Clive's pursuit of freelance writing and making compromises* (2:27:25) OutroLinks:* Clive's Twitter and website* Selected writing* The Attack of the Incredible Grading Machine (Lingua Franca, 1999)* The Know-It-All Machine (Lingua Franca, 2001)* How to teach AI some common sense (Wired, 2018)* Blogs to Riches (NY Mag, 2006)* Clive vs. Jonathan Franzen on whether the internet is good for writing (The Chronicle of Higher Education, 2013)* The Minecraft Generation (New York Times, 2016)* What AI College Exam Proctors are Really Teaching Our Kids (Wired, 2020)* Companies Don't Need to Be Creepy to Make Money (Wired, 2021)* Is Sucking Carbon Out of the Air the Solution to Our Climate Crisis? (Mother Jones, 2021)* AI Shouldn't Compete with Workers—It Should Supercharge Them (Wired, 2022)* Back to BASIC—the Most Consequential Programming Language in the History of Computing Wired, 2024) Get full access to The Gradient at thegradientpub.substack.com/subscribe

Roz Dineen's Briefly Very Beautiful is a spellbinding dystopian novel about the lengths one will go to for their children in a world teetering on the edge of apocalypse. In a land destabilized by unsafe air, wildfires, floods, viruses, supply shortages, and homegrown terror, Cass is raising three small children by herself in the city. Her husband, Nathaniel, has gone all too willingly to serve as a medic in an overseas war.His absence, and Cass's isolation, has brought her into an exhausted but harmonious rhythm with the children; while it's a frightening time, there is also a surprising, quiet tenderness in living on the edge of societal collapse. When things start to feel more dangerous in the city, Cass evacuates with the children to her mother-in-law's house deep in the countryside. Initially, it's a place of safety, but her mother-in-law's erratic behavior and increasing grip over the children worries Cass, and so they flee again to a commune on the coast. It's an idyllic place, but Cass comes to suspect this seemingly harmonious community has a dark underbelly. Briefly Very Beautiful is a magnetic novel about love and resilience. Against a wider backdrop of a world imploding, it is an exploration of hope and fear, beauty and joy, as well as seismic betrayal.Roz Dineen's lush prose combines with epic and precise world-building to create a society that feels at once unrecognizable but deeply, chillingly familiar. The result is a compelling portrait of what it is to parent through apocalypse.Roz Dineen was an editor at the Times Literary Supplement for 12 years, serving as fiction editor and later features editor. She has also written extensively for the Times Literary Supplement, where her essays and reviews have covered a range of topics from addiction to motherhood, from Jonathan Franzen to J. G. Ballard and Sally Rooney. She studied English literature at Trinity College, Dublin, received a master's degree in international studies and diplomacy from SOAS, London.Buy the book from Wellington Square Bookshop - ​https://www.wellingtonsquarebooks.com/book/9781419767951

  I remember getting the knife.     It was near Christmas about 10 years ago and Leslie and I were zipping up a tiny suitcase before a beach trip with her grandparents and extended family. We weren't married and I was making a desperate last-second plea to stuff a 576-page novel called ‘The Corrections' by Jonathan Franzen into our bag. “It just won't fit,” Leslie said. “You have … 100 pages left? Want to leave it and read it when we're back?”     I did *not* want to do that.     The book was slipping under my skin—serrating my soul.     So I remember getting that knife.     The deep blasphemous pain I felt slicing the paperback spine and carving the last 100-ish pages off the book was far outweighed by the exquisite suite of pleasures I had slowly savoring it on the beach all week.     I had never read anything like ‘The Corrections'—with a clarity of character, wildly spinning plot, and unique three-dimensional *realness* that, page by page, twist by twist, left pits in my stomach, lumps in my throat, and tears in my eyes.     The book single-handedly elevated what I thought books could do.     I read ‘Freedom' (2010), ‘Purity' (2014), and Crossroads (2021) the same way—equal parts admiration, fascination, and with a psychologically-transporting feeling of living outside of myself.     Jonathan Franzen is one of the most successful, accomplished, and decorated writers in the world. He is a Fulbright Scholar, National Book Award Winner, Pulitzer Prize Finalist, PEN/Faulkner Finalist, 2x Oprah's Book Club Pick, voted to TIME's ‘100 Most Influential' list as well as gracing their cover as "Great American Novelist," and much, much more.     The NYT calls his books "masterpieces of American fiction," NYMag calls his books "works of total genius," and Chuck Klosterman writing in GQ says "Franzen is the most important fiction writer in America, and—if viewed from a distance—perhaps the only important one.”     Tall praise! But there is just nothing like a Jonathan Franzen novel and it was sheer delight going deep with the master of the deep to discuss writing advice, the magic of the written word, what heroes look like today, competing with David Foster Wallace, the best thing we can do for the climate, Jon's 3 most formative books, and much, much more…     Let's turn the page to Chapter 137 now…

In this episode, Matt interviews Don Hough. Don is the author of a collection of short stories titled The Funeral Girl, a collection of essays called The Exact Right Word, and a new correspondence collection called All the Best. They discuss how The Funeral Girl is influenced by David Foster Wallace's work, how Don discovered DFW, James Cameron's Titanic, Labute's In the Company of Men, Alexander Theroux, Jonathan Franzen, Taylor Swift, and much much more.   You can follow Don on Twitter here: https://twitter.com/DHSayer His blog is here: http://donhoughauthor.blogspot.com   And be sure to order his books: The Funeral Girl: https://www.amazon.com/Funeral-Girl-Don-Hough/dp/1541008553 All The Best: https://www.amazon.com/All-Best-Correspondence-Don-Hough/dp/B0D251Q6NK Contact Dave & Matt:  Email - concavityshow@gmail.com Twitter - https://twitter.com/ConcavityShow Instagram - https://www.instagram.com/concavityshow/ Patreon - https://www.patreon.com/concavityshow Threadless Merch Store - https://concavityshow.threadless.com/  

In this bonus episode, MSNBC's Ari Melber sits down with Novelist Jonathan Franzen at the 2024 Rancho Mirage Writers Festival.

About the HostsDavid Tipling is one of the World's most widely published wildlife photographers renowned for his artistic images of birds. His many accolades include a coveted European Nature Photographer of the Year Award (2002) for work on Emperor Penguins, and in North America, Nature's Best Indigenous Peoples Award (2009) for his pictures of Mongolian eagle hunters.He is the author or commissioned photographer for many books including the RSPB Guide to Digital Wildlife Photography (Bloomsbury) and Penguins –Close Encounters (New Holland). In 2013 after 6 years work visiting 39 countries on all seven continents the critically acclaimed Birds & People (Random House) was published. Recently published books include Seabirds of the World, A Parliament of Owls and an instant best seller with Princeton University Press, Britain's Birds. His book A Bird Photographer's Diary charts his 30 year career in pictures.In 2018 David's combined book sales topped 300,000 copies Worldwide. David writes regularly for various magazines including Amateur Photographer. TV and film work have seen appearances in front of the camera on Springwatch and The One Show, while David has worked behind the cameramaking short films and with author Jonathan Franzen on the documentary Emptying the Skies.David's pictures hang in various collections around the World and have been exhibited in New York's Times Square, the Nikon Gallery in Japan and recently the Mall Galleries in London. For 16 years David was a judge for the British Birds Bird Photographer of the Year and was a judge for Bird Photographer of the Year (BPOTY) for 6 years. He currently judges Wild Art Photographer of the Year (WPOTY).In January 2022 David was named an OM SYSTEM Ambassador the scheme honours the talents of photographers creating exceptional imagery with OM SYSTEM equipment.To find out more visit David's website - http://davidtipling.com/David's Instagram - https://www.instagram.com/david.tipling/Rob Read has spent many years as a photography competition organiser; firstly as a founding director of, and primary organiser for Bird Photographer of the Year for the first five years of the competition, and more recently as founder, owner, and organiser of WildArt Photographer of the Year. Josh Galicki has been entering competitions for many years and has had significant success in many, including Bird Photographer of the Year. He is now part of the judging team for WildArt Photographer of the Year.Find out more about your host's and view their work on their Instagram profiles:Rob - https://www.instagram.com/robreadphotos/Josh - https://www.instagram.com/galicki_photography/The WildArt Photographer of the Year competition website can be found here - https://www.wildartpoty.com/

This is a free preview of a paid episode. To hear more, visit smokeempodcast.substack.comThis is a hot one! Nancy and Sarah fundamentally disagree about Emily Gould's viral essay on the lure of divorce. Nancy compares the story to the rot in France before the formation of the Vichy regime. Sarah believes personal essays like this help people feel less alone. Can she change Nancy's mind, as Walter Kirn did on the most recent episode? (Fast-track to 33:08 for that

In the last episode we talked about major dialogue techniques.  Here are smaller ones--but still important techniques--that'll make our dialogue shine.  And: how does the best-selling novelist Jonathan Franzen work?  We'll find out.Support the show

On this week's all-new episode, Gwen tackles author and bird enthusiast Jonathan Franzen's latest broadside alleging that no-kill shelters are actually evil. Later in the episode, Gwen answers a reader question about her upcoming new books in 2024. Check it out MEOW! Hosted on Acast. See acast.com/privacy for more information.

A quote I love from writer Jonathan Franzen is at the heartbeat of today's episode. He says: “When you stay in your room in rage or sneer or shrug your shoulders as I did for many years. The world and its problems are impossibly daunting. But when you go out and put yourself in real relation to real people, or even just real animals, there's a very real danger that you might end up loving some of them and who knows what might happen to you then.”The world can sometimes feel overwhelming or daunting and we might need to occasionally draw back a bit to allow ourselves time away to recharge and reset. The key here though is that we don't stay shut away forever. Finding, creating and or being a part of a community of people, animals and experiences equally, is important for us to thrive.Today on The Karen Kenney Show, we're talking about suffering and connection, ‌and putting ourselves in real relation to real people and real animals… not just the ones in our minds and behind our screens. There is a magic that can bloom when we allow ourselves to be open and vulnerable and to go out into the world and connect, to share our lives, and maybe even fall in love with some other humans and animals. So this is my personal invitation and encouragement for you / me to get off of our devices and to come out of “our rooms”, and to be open to loving the people, loving the animals, loving the earth and also importantly - loving yourself inside and out! Take a chance and watch what might just happen when you do it!KK's Takeaways:• The Power Of Connection + Introspection (01:02)• Connection + Loneliness (5:05)• Service + Empathy (10:51)• Connection + Personal Growth (16:41)• Using Suffering As Motivation To Help Others (21:00)Karen Kenney is a certified Spiritual Mentor, Hypnotist, Writer, Integrative Change Worker and Life Coach. She's known for her dynamic storytelling, her sense of humor, her Boston accent and her no-bullshit approach to Spirituality and transformational work. She's been a yoga teacher for 22+ years, is a Certified Gateless Writing Instructor, and is also an author, speaker, retreat leader and the host of The Karen Kenney Show podcast. A curious human being, life-long learner and an entrepreneur for 20+ years, KK brings a down-to-earth perspective to applying spiritual principles, hypnosis and brain science that can create powerful shifts in your life and business. She works with people individually in her 1:1 program THE QUEST, and offers a collective learning experience via Group Coaching. She supports both the conscious and unconscious mind by combining practical Neuroscience, Subconscious Reprogramming, Integrative Hypnosis, and Spiritual Mentorship. These tools help clients regulate their nervous systems, remove blocks, rewrite stories, rewire beliefs, and reimagine what's possible!Karen wants her clients to have their own lived experience with spirituality and to not just “take her word for it”. She encourages people to deepen their personal connection to Self, Source and Spirit in tangible, relatable, and actionable ways without losing sight of the magic.Her process called: “Your Story To Your Glory” helps people to shift from an old thought system of fear to one of Love - using compassion, un-shaming, laughter and humor, her work is effective, efficient, and it's also wicked fun!KK's been a student of A Course in Miracles for close to 30 years, has been vegan for over 20 years, and believes that a little kindness can go a long way and make a miraculous difference.

When best-selling thriller writer Douglas Preston began playing around with OpenAI's new chatbot, ChatGPT, he was, at first, impressed. But then he realized how much in-depth knowledge GPT had of the books he had written. When prompted, it supplied detailed plot summaries and descriptions of even minor characters. He was convinced it could only pull that off if it had read his books.Large language models, the kind of artificial intelligence underlying programs like ChatGPT, do not come into the world fully formed. They first have to be trained on incredibly large amounts of text. Douglas Preston, and 16 other authors, including George R.R. Martin, Jodi Piccoult, and Jonathan Franzen, were convinced that their novels had been used to train GPT without their permission. So, in September, they sued OpenAI for copyright infringement.This sort of thing seems to be happening a lot lately–one giant tech company or another "moves fast and breaks things," exploring the edges of what might or might not be allowed without first asking permission. On today's show, we try to make sense of what OpenAI allegedly did by training its AI on massive amounts of copyrighted material. Was that good? Was it bad? Was it legal? Help support Planet Money and get bonus episodes by subscribing to Planet Money+ in Apple Podcasts or at plus.npr.org/planetmoney.

It can be tough to wind down after hosting The Late Show, so sometimes Stephen needs a bedtime story to help him fall asleep. We're thrilled to present this spoonful of sugar from the one and only Julie Andrews, who recited Stephen's favorite children's poem 'The King's Breakfast' by A. A. Milne; followed by two original works by authors Jonathan Franzen and George Saunders. Julie Andrews originally aired October 22nd, 2019; Jonathan Franzen originally aired October 28th, 2015; and George Saunders originally aired December 8th, 2015. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Dana is joined by Slate's books and culture columnist, Laura Miller, and senior editor Rebecca Onion (who are filling in for Julia and Stephen). The panel begins by unraveling Passages, the sexy but also, at times, repelling feature from director Ira Sachs about a complicated love triangle. The film received a controversial NC-17 rating from the Motion Picture Association. Then, they head to Detroit to discuss Justified: City Primeval, FX's revival of the Raylan Givens cult classic that ran for six seasons. Finally, the three consider Michael Oher's recent legal allegation that the Tuohy family (immortalized in the 2009 Oscar-winning movie The Blind Side) never really adopted him but instead, placed him in a conservatorship. It's a scandal at the fascinating convergence of exploitation, fame, race, and adoption.  In the exclusive Slate Plus segment, the panel examines nature writing and their relationship to the form, inspired by Jonathan Franzen's essay for The New Yorker, “The Problem with Nature Writing.”  Email us at culturefest@slate.com.  Endorsements: Laura: Her quest for a new detective series (that isn't stupid or cliché) is over: Laura endorses Deadloch, a Prime Video comedy set in Tasmania that's equal parts genuine mystery and delicious social satire.  Rebecca: Anya Liftig's memoir, Holler Rat, beautifully recounts her upbringing where she often felt caught between two worlds: the comfortable, upper-middle-class life in Connecticut where she lived, and the summers spent in Appalachia, her mother's home.  Dana: A behind-the-scenes video for, what could potentially be the song of the summer, “I'm Just Ken” has just been released. In it, we see Ryan Gosling rehearsing and cameos from Greta Gerwig, Simu Liu and co-writer Mark Ronson, and it's just super fun.  Outro music: “I Want a Change” by The Big Let Down.  Podcast production by Cameron Drews. Production assistance by Kat Hong.  This episode is sponsored by the podcast About the Journey. Learn more here: https://traveler.marriott.com/about-the-journey/ If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Dana is joined by Slate's books and culture columnist, Laura Miller, and senior editor Rebecca Onion (who are filling in for Julia and Stephen). The panel begins by unraveling Passages, the sexy but also, at times, repelling feature from director Ira Sachs about a complicated love triangle. The film received a controversial NC-17 rating from the Motion Picture Association. Then, they head to Detroit to discuss Justified: City Primeval, FX's revival of the Raylan Givens cult classic that ran for six seasons. Finally, the three consider Michael Oher's recent legal allegation that the Tuohy family (immortalized in the 2009 Oscar-winning movie The Blind Side) never really adopted him but instead, placed him in a conservatorship. It's a scandal at the fascinating convergence of exploitation, fame, race, and adoption.  In the exclusive Slate Plus segment, the panel examines nature writing and their relationship to the form, inspired by Jonathan Franzen's essay for The New Yorker, “The Problem with Nature Writing.”  Email us at culturefest@slate.com.  Endorsements: Laura: Her quest for a new detective series (that isn't stupid or cliché) is over: Laura endorses Deadloch, a Prime Video comedy set in Tasmania that's equal parts genuine mystery and delicious social satire.  Rebecca: Anya Liftig's memoir, Holler Rat, beautifully recounts her upbringing where she often felt caught between two worlds: the comfortable, upper-middle-class life in Connecticut where she lived, and the summers spent in Appalachia, her mother's home.  Dana: A behind-the-scenes video for, what could potentially be the song of the summer, “I'm Just Ken” has just been released. In it, we see Ryan Gosling rehearsing and cameos from Greta Gerwig, Simu Liu and co-writer Mark Ronson, and it's just super fun.  Outro music: “I Want a Change” by The Big Let Down.  Podcast production by Cameron Drews. Production assistance by Kat Hong.  This episode is sponsored by the podcast About the Journey. Learn more here: https://traveler.marriott.com/about-the-journey/ If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jennifer Egan is not only a novelist, she's also written short stories and award-winning magazine journalism. She's one of those writers who can both spin a fascinating yarn and load it up with insights into everything from human nature to the future of technology, all while pulling off bewitching turns of phrase; what the writer Jonathan Franzen has called “micro felicities.” Egan is as funny, fascinating, and open IRL as she is on the page although it's not clear she feels that way given she talks about how much smarter she feels in writing than in speaking!In this episode we talk about:Egan's writing process The power of writing by hand The shocking, relentless, ruthless discipline that she imposes on herself to never do the same thing twice as she's writingCuriosity, awe, and panic attacksHow she handles feedbackHer feelings of insubstantiality Our cultures fetishization of authenticityThe impact of success on her workAI and our possible technological futuresFull Shownotes: https://www.tenpercent.com/tph/podcast-episode/jennifer-eganSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.