Podcast appearances and mentions of Jonathan Franzen

Escritora, jornalista e editora de não ficção. Que mulher interessante e doce. Preparem as notas, vêm aí mais leituras que valem a pena.Os livros que a Marta escolheu:Liberdade, Jonathan Franzen;Lucy à beira-mar, Elizabeth Strout;Pátria, Fernando Aramburu;Lisboa, Luanda, Paraíso, Djaimilia Pereira de Almeida.Os livros que escreveu:Madrinhas de Guerra;Cartas de Amor e de Dor;Retornados – E a vida nunca mais foi a mesma;África (para sempre) Minha.Outras referências:Os Interessantes, Meg WolitzerOutros da Elisabeth Strout:O meu nome é Lucy Barton; Tudo é Possível; Oh William.Caderno Proibido, Alba de Céspedes.Recomendei:Conta-me Tudo, Elisabeth Strout;Somos o Esquecimento que Seremos, Hector Abad Faciolince;Cicatrizes, Dino D'Santiago.O que ofereci:Mudar de Ideias, Aixa de la Cruz.Frase do Álvaro Laborinho Lúcio que a Marta leu:“Ninguém nasce de uma vez, nascemos aos poucos pelo tempo fora. Vamo-nos juntando à medida que nascemos, vamo-nos desconjuntando à medida que vivemos e nunca chegamos a estar inteiros.”Os livros aqui:www.wook.pt

Trees are a major cause of power outages. They're also a wildfire risk—when branches hit a conductor, a small spark can become a big blaze. Lynn Petesch of Overstory joins thinkenergy to talk trees, exploring how AI, satellite imagery, and vegetation intelligence help utilities prevent outages and reduce wildfire threats. Including Hydro Ottawa, who saw a 44% drop in tree-related outages since partnering with Overstory. Listen in for how we work together to keep the grid safe in an era of extreme weather.   Related links  Overstory: https://www.overstory.com/ Lynn Petesch on LinkedIn: https://www.linkedin.com/in/lynnpetesch/  Trevor Freeman on LinkedIn: https://www.linkedin.com/in/trevor-freeman-p-eng-8b612114  Hydro Ottawa: https://hydroottawa.com/en    To subscribe using Apple Podcasts:  https://podcasts.apple.com/us/podcast/thinkenergy/id1465129405   To subscribe using Spotify: https://open.spotify.com/show/7wFz7rdR8Gq3f2WOafjxpl   To subscribe on Libsyn: http://thinkenergy.libsyn.com/ --- Subscribe so you don't miss a video: https://www.youtube.com/user/hydroottawalimited Follow along on Instagram: https://www.instagram.com/hydroottawa Stay in the know on Facebook: https://www.facebook.com/HydroOttawa Keep up with the posts on X: https://twitter.com/thinkenergypod ----- Transcript: Welcome to thinkenergy, a podcast that dives into the fast, changing world of energy through conversations with industry leaders, innovators and people on the front lines of the energy transition. Join me, Trevor Freeman, as I explore the traditional, unconventional and up and coming facets of the energy industry. If you have any thoughts, feedback or ideas for topics we should cover, please reach out to us at thinkenergy@hydroottawa.com, Hi everyone. Welcome back. Today on thinkenergy, we're going to be talking about trees. Yes, you heard that correctly. Trees. I know this is a show about energy, but there's actually a very real connection between our electricity grid and those slow growing, majestic givers of shade, lumber, fruit and so many more benefits. Honestly, who doesn't love trees? But I'm not just kicking this episode off in my capacity as a tree hugger. Let's take a look at this through a utility lens, and I will use Hydro Ottawa as an example. Hydro Ottawa service territory includes some very rural and very forested areas. Even our urban territory has a fairly extensive tree canopy. As a result, Hydro Ottawa trims about 60,000 trees each year. Why? Because trees contracting power infrastructure is a big problem. Tree interference remains a leading cause of power outages for us. Strong winds force them onto our wires. Heavy snow or freezing rain builds up and weighs down branches, breaks limbs, and increases the risk that part of a tree may touch a line, and in some extreme cases, heavy storms can even send trees or branches crashing into our poles, damaging the poles. The struggle between power lines and trees, which, again, don't get me wrong, we all love trees, has been going on for years. There is a constant struggle between trimming enough and getting the right trees trimmed and maintaining as much tree coverage as we can. In 2022 we identified a disruptor in this dance, the solution came through a partnership with Overstory, a company that uses satellite imagery, infrared technology and artificial intelligence to help utilities manage vegetation and trim trees more efficiently. And the timing could not have been better. Just days after we started working with Overstory in the spring of 2022 the derecho hit Ottawa. Our Ottawa based listeners will remember this storm well. It was monumental in the history of our city, and indeed for us as utility, winds reached 190 kilometers an hour. For our non-metric listeners, that's nearly 120 miles per hour. The storm ripped through poles houses and cause considerable damage to our city's urban forests. Overstory played a crucial role during the cleanup and in helping us level up our vegetation management strategies moving forward, we realized that the insights we got from Overstory would help improve our proactive approach to tree encroachment and hazard identification, and this is essential in this era of extreme weather events. We know that climate change is causing more frequent and more extreme weather events. According to Climate Central, the number of weather related power outages in the United States increased by 78% between 2011 and 2021 and severe weather accounted for over 1000 outages across Nova Scotia just in the year of 2024 we want to keep you connected during these heavy storms, and that's why we're looking to organizations like Overstory. So what does Overstory do to help us keep the lights on? Well, without giving away too much, because we're going to get into the details shortly, Overstory through a detailed analysis of the scans they do of our entire grid, identifies high risk areas, which we can then prioritize and better focus our resources when it comes to vegetation management, this level of monitoring and focus reduces the risk of trees from coming into contact with our poles and disrupting Your connection to the grid, the results speak for themselves. Since partnering with Overstory, we've reduced vegetation related outages by 44% and that's only part of the story, as we'll discuss further, Overstory also plays a crucial role in helping utilities prevent wildfires in high risk areas across North America, similar to extreme weather, wildfire frequency and intensity is also increasing, in part due to climate change expanding cities and many other factors. And when wildfires do happen, these stories are heartbreaking. What many people don't realize is that lots of wildfires are sparked by trees making contact with power lines, and that is why Overstory plays a key role in tagging areas where those fires are most likely to ignite and spread, making it easier for utilities to prioritize trimming work and vegetation management in those areas. To dive more into how Overstory is helping us here at Hydro Ottawa and. And other utilities helping us identify and act to mitigate risk associated with vegetation. I'm really excited to have Lynn Petesch on the show today. Lynn is Overstory's, Head of Customer Success, and has spent the past 10 years building customer facing teams with a specific focus on technologies that tackle the climate crisis. She began her career working for the United Nations and the diplomatic service of her home country, Luxembourg, before moving into the tech sector to really work in environments where she could drive impact more quickly and at greater scale. Lynn Petesch, welcome to the show.   Lynn Petesch  05:34 Thank you. Thanks for having me.   Trevor Freeman  05:36 Okay, so let's start at the very top with a high level look at what Overstory does and how the organization came to be.   Lynn Petesch  05:45 Yeah, let me tell you about Overstory. I mean, we are a vegetation intelligence platform. We use remote sensing and AI to give electric utilities, including Hydro Ottawa and others, a clear, system wide view of their risk. They always do it because they want to address three things, or sometimes more, but kind of, there's always a few goal posts, and it's either improving reliability, reducing wildfire risk, if that is if they're in an area where there is a concern, and or improving operational efficiencies. So Overstory very much becomes a decision-making tool for their programs were used mostly by the vegetation management people, operations people, wildfire mitigation teams, and they each time they want to either use a program that exists, prioritize it, reshape their work. They might be preparing for storm. They might be working on a wildfire mitigation risk so the company, more broadly, was founded in 2018 by Anniek Schouten and Indra den Bakker. This was back in the Netherlands, and they were leveraging, or getting really interested in satellite imagery, and were very initially using it for deforestation purposes. So, the climate resilience DNA has always been with us. But like any startup, we were looking at that kind of target audience that was most interested in what we had to offer. And pretty quickly, we landed on the electric utilities. They had the most pressing need to use remote sensing at scale to solve very big problems, honestly. And so we pivoted into that space of electric utilities, and then in 2020 Fiona Spruill, who's our CEO right now, she joined us. She shaped the company into what it is today, and that is really around building safer and more reliable operations.   Trevor Freeman  07:33 That's great, and I want to dive into some of the details. Our listeners will know that we talk a lot about grid modernization here and talk a lot about better intelligence of what's happening on the grid in all aspects, and something we haven't really talked about, and I'm excited to talk to you about today is the sort of vegetation management side of it. So really excited to get into the details. But before we do that, I'm always really curious to understand, you know, the people behind the conversations. How did you get into this area of, you know, high tech vegetation management? I touched a little bit on your bio in the intro, but give us a sense of, you know, how did Lynn come to be in the space that you're in right now?   Lynn Petesch  08:12 Yeah, I wouldn't say I grew up thinking I was going to work in this space, but I love working in it now. So actually, right out of college, I went to work for the United Nations, but then in the last 15 years, I started working at high growth tech companies, startups, and I've always been focused on leading and building CS operations, which is basically the customer success teams. They're the ones that are in front of the customers, implementing these software programs, kind of working very closely with customer solving problems. And about four years ago, I decided that I did want to focus the rest of my career on solving the climate crisis more broadly. And I remember very clearly that I came across Overstory. And there was two things that really resonated with me. One was hearing that utility caused wildfires could be as thing of the past, like they are preventable. And the other thing was learning about this world where vegetation is the biggest cause of outages, which is, you know, I did not know before. And so I think, you know, having these very clear goals is very compelling to kind of work on something where it's so easy to understand what the big problems are. So I joined Overstory, and for the last couple of years, I've been building a team that gets really deeply embedded in these utilities, specifically with the vegetation management and the WiFi mitigation teams. And we work on their programs. We understand their programs, we help them reshape their programs. We roll out, obviously, the software element that is Overstory. It's been very fun and rewarding work   Trevor Freeman  09:40 That's great. And I really love, you know, talking to people from a variety of areas that they touch on climate change and the climate crisis. And I think there's a bunch of us who share that passion of wanting to do something. I spoke with a group of you know, recent grads about what is a green. In career. What is it? What does a career in climate change look like? And really it looks like whatever you want it to look like. There are so many aspects that touch on this. So kind of neat to hear how that was your passion, and then you figured out where it made sense for you to enter into the climate sphere. So that's great.   Lynn Petesch  10:15 Yeah, I guess when I was young, I thought you had to be a scientist to work on time, yeah. And I think now anyone can find an angle on how to contribute to it. And I think it needs everyone to help contribute.   Trevor Freeman  10:24 Yeah, any job can be a green job if you care about it and if you make it that okay. So let's get back to Overstory. Tell us a little bit about the evolution of the company. You talked about it kind of founding about seven years ago. Tell us how it's evolved and progressed over those seven years.   Lynn Petesch  10:41 Yeah, so when we started working with utilities, I think at that point, everyone was kind of assessing whether satellites could be kind of good use case for analyzing vegetation. We're now talking about 30 centimeter imagery. So the resolution of satellites has become incredible. You can really see branches. You can detect species of trees. You can see if they're healthy or not. So initially, that was kind of our m-o we really were the leading provider to find out, where are the trees, how close are they, in terms of proximity to your network, so to the conductor, which is the risk. You know, we're looking at the terrain. If you're looking in the mountains and in Colorado, you have very different terrain than maybe in Ottawa. So detecting tree species has been really interesting, detecting the health of trees, how that decline is furthering. A lot of utilities are experiencing a lot of tree decline die off right now. So that was how we started. And then we started working with the really big utilities. And you had to think about this problem at scale. Now, we might be scanning with satellites, hundreds, 10s of 1000s of miles at a time, and some of these utilities, they might have 1000s, if not 10s of 1000s, of trees that could pose a risk to their network. They might have had a really big, large weather event, a storm that knocked over some of their system. So at that point, it all becomes about that decisioning tool. Everything starts becoming a prioritization, and I think that's now where we're really leaning into is making not just surfacing the data, but making it very actionable. Utilities have a lot to deal with. They deal with very tight budgets, they deal with crew constraints. They might have an aging workforce, their regulatory pressure, they're really vulnerable to storms. Increasingly, there's a lot of wildfire exposure. So everything becomes a decision of, where should I focus my intention? Where can I get the biggest bang for my buck? What should I do? What should I not focus on? And that decisioning is where we really want to be a key player in.   Trevor Freeman  12:44 Absolutely. And looking forward, I know I'm kind of we're jumping the gun here. We haven't gotten into the details of what you do. But looking forward, what is your vision for, kind of the future of this space and how it's going to continue to evolve? Are you mature as a company yet, or as a sector, or is it still a lot of growth to happen?   Lynn Petesch  13:01 Yeah, I think vast majority utilities are now leveraging remote sensing. It could be lighter, it could be drones, it could be satellites. So that has become a pretty established tooling within the sector. I think what our vision really is, is providing utilities that shared resilience, first picture of risk. So you know, we imagine a world where you can, kind of like, see the emerging risks, and you can start becoming proactive. Being proactive in the space of vegetation management has been really challenging. You never know where the next tree is going to fall. And over the last couple of years, customers suddenly have access to this risk across their territory so that they can start being proactive about it. As a matter of fact, that was a key use case, also with the team at Hydro Ottawa, is to start launching these proactive programs. And I think when we think about it, we get very excited about the world in which anyone from the field crews to the vegetation managers to the operation folks to the execs, to the regulators, the community partners who think about the safety of their communities, the regulators all have that kind of shared view of risk. Just imagine, they all understand the same risk. They operate off the same sheet, and they make the same data driven decisions that could solve a lot of problems, because now the data is often scrambled across different people. Certain people have access to it and certain people don't.   Trevor Freeman  14:25 Great. Okay, so let's get into the specifics here. I want to actually talk about specifically what you what Overstory does. How do you find we've kind of talked about vegetation management, obviously, you're supportingHydro Ottawa and other utilities in our vegetation management programs. How do you find and tag high risk vegetation? What is high risk like? What do you actually do on a day to day basis?   Lynn Petesch  14:47 Yeah, that's the part that I deal with the most often. So excited to get into specifics. Implementing with Overstory is actually pretty easy. I mean, when we start working with a customer, we need to know where is your grid. So we need to understand where your power lines are. Planning. We need to understand the main configurations of them. How tall are the poles, etc, so we can really compute that whole focus of where the trees in relation to your power lines, to your conductors. That's all ultimately that we're focusing on. Increasingly, we're all seeing focusing on the ground. I'll be talking about that as well. We then task these satellites over your territory. We do that during the leaf on season, so that will be the summer, essentially. And then we run all these models. So we are first needing to understand, where are the trees, what is their height, what is their health? An unhealthy tree is much more likely to fall and cause damage to your power lines. We're looking at the fuels on the ground. We can help you determine what type of equipment you might need to attack certain types of vegetation. And we always compute it to that risk to the conductor. And we look at your right of ways. Now, I think the interesting part about your question is the what is high risk? And that is, can be very different across different utilities, and I think that's the maybe the unique part with Overstory is that we can configure it to your standards. So every utility has very unique components. If you're on the West Coast and you're concerned about wildfires, your tolerance to risk will be very different. And if you're on the East Coast, where you're mostly concerned about not causing too many outages, including that you might have specific trimming specifications. The crews running around with chainsaws, they know exactly how far out they need to trim, how much they can trim, and there's a bit of a risk tolerance thing. So we built very configurable risk frameworks for all of our utility partners, so high means one thing to hydro Ottawa means something different to a customer in California that is facing a very different type of risk.   Trevor Freeman  16:49 So you're out there assessing, essentially, just for the context of our listeners, you know, we've got power lines that run overhead. They run through residential neighborhoods, commercial areas, but also forested areas, treed areas where there's lots of vegetation near our equipment, your company really gets an understanding of the the interaction between the vegetation and our lines, and says, these ones are too close, or this is a tree that's, you know, not healthy, and could come in contact with your lines based on your analysis. So help us, like, let's paint that picture a little bit more detailed. How do utility companies take the information that you are coming up with, that your analysis is coming up with, and use that to run a vegetation management program more effectively? What does the utility do with that information?   Lynn Petesch  17:37 Yeah, so we always center it around four main use cases. One is optimizing a program that already exists. It's creating a targeted program for you. It's quantifying your work and risk reporting. And I'll dive into each and every one of them a little bit to illustrate a bit more what that could mean. So when we think about program optimization, a lot of utilities, they have existing vegetation management cycle. They might have a regulatory obligation to visit their territory every four years, for example. Now, a lot of times they've been doing their program the same way for the last 10 maybe 20 years, but the conditions in their territory are different, right? I mean, the things we're seeing, the storms are heavier. There's more tree decline that we're seeing right now. So they know they need to adapt and they need to adjust it. But it's big programs with lots of budgets attached to it, a lot of crews running around. So starting to think about how you can start pulling a socket that you're meant to trim forward, or starting to tackle an area where you say, is more residential, there's fewer trees, focusing on your high risk areas. First re managing these programs is one key component that we work with a lot of companies on. And thinking about Oklahoma, Gas and Electric, for example, that they have a budget, and they can only do that much with the budget, and it was really about reinventing where they can get the biggest impact. The other one, the second use case, is this targeted program creation, and I'll use the Hydro Ottawa use case for that. You know, they had suddenly a view about where are all of their hazard trees? Hazard trees are these trees that are declining, they're dying, or they're dead, and they could have an impact on your system. Now, suddenly you know where they are, so you can start building a targeted program about dedicating some time and budget and crews to actually going and addressing those trees that has a big impact on your reliability and on reducing tree cost outages. And there's many others, sort of like hotspotting, is a very common term about starting to become proactive and doing something for a specific program. And the third one is work quantification. And I think there, when you think about it again, there's large contractors that are running around, managing your territory. And now we utilities, for the first time, often have that data to actually assess how much work there is. So that's really helpful in terms of negotiating your contracts, getting better bids. Some utilities say it's really hard to find contractors that want to work on their system, because it's very hard to estimate how much work there is, or they might have a budget to mow certain vegetation along a transmission corridor. Just knowing how much vegetation there is is a really helpful tool to address it and prioritize it in the right way. And then the fourth use case is the risk reporting, and that is about getting that baseline view about your risk and tracking it year over year. And this is really where we want utilities to have that data to report it out to their boards, insurers, regulators, and often it's used to defend your budgets, secure your budgets, or really have some data to kind of back you up on what the problems are that you're facing.   Trevor Freeman  21:05 Great. So you talk about data, and you know, each of those use cases that you mentioned, or strategies that you mentioned really are about getting the right information in the hands of the right people to make decisions and sort of more efficiently and effectively make decisions, but it's a lot of data. And so Hydro Ottawa has over 6000 kilometers of lines. You know, this, of course, as our partner, we have a big territory, and we have a fairly treed territory. That's a lot of data points. You're collecting a lot of data from your satellites. You're doing analysis on that. How are you doing that analysis? Is it, you know, AI is kind of a buzzword, and every sector right now, and the utility sector is no different. Are you using some form of AI or machine learning analytics? What are you doing in terms of, you know, crunching the numbers and coming up with the right actions?   Lynn Petesch  21:59 Totally, yeah, AI is a buzzword, but it's also very exciting. I think utilities have really embraced it already. They're using it for demand forecasting. They're using it for customer service. They're using it for asset planning. I mean, at the core, Overstory has been using AI to turn remote sensing data into operationally useful intelligent about their vegetation. So when you say yes, Hydro Ottawa has that many 1000s of kilometers of overhead lines, we need to a rank it to them. This is your worst circuit. This is your worst area. This is the area where you have the most hazard trees, for example. So we can really rank order on a span level, from the worst to the best, right? So that could be one thing, it's still an overwhelming amount of data. So where we started by using AI to kind of predict that whereas the trees How tall are, they were and they were relation to the conductors. Now what we're really excited about, or kind of leaning into, with AI, is how to intelligently, kind of assess and prioritize risk. So not every hazard tree has the same impact. If a hazard tree falls on a line where more houses are dependent on you will knock out the power of more people. So it's always a prioritization exercise, and leveraging AI for that is what is most exciting to us right now. And I think it's important to note that we also don't just want it to be a black box. All of the models we've built, they're always validated by certified arborists and kind of our utility partners. And I think at this stage, this is very important, because every tree that we find exists in the real world, and so validating this, AI in the with ground truthing, has been really important for us to also build that trust in the technology.   Trevor Freeman  23:42 That's great. And I do think it's helpful for our listeners to kind of understand the context before this, this work is sort of done, you know, in the absence of a tool like yours, it's, it's sort of done. You know, there's a degree of manual effort here. There's a degree of patrolling the lines. There's a cycle of vegetation management. So if you've done a line this year in three years or four years or five years, you want to be looking at it again. This takes a little bit of that, I don't want to call it guesswork, but it takes a little bit of that manual effort out of the equation, and really focuses efforts in the right way. And it's only with the tools that you know you folks are using that you're able to do that volume of analysis and get that pinpoint accuracy. So that's fantastic. Let's, let's get into kind of the success of it at all, like the big picture. We've obviously talked a couple times here that you're our partner here at Hydro Ottawa, so I know that the success that we're having with you, but you know, tell us some of the great success stories with other utility partners. Are you, you know, are you actually reducing weather related outages? Are you seeing the impact of using the overstory tools and methodology to support utility partners?   Lynn Petesch  24:58 Yeah, I mean weather related outages can mean many things. You have trees knocking over, like the pole might crack, etc, you know, those there's a lot of things that can happen during a storm. And I've heard a lot of stories about side of some of the storms that Ottawa has experienced in the past years, where, you know, you could have had anything, and they're just heavier, and that the consequences are really strong, but what we can impact is the tree cost outages, right? And that we've proven with Hydro Ottawa, where, within a year, by focusing that targeted program on going to an area where you had a massive amounts of these trees that were dying off and they at any point, was just a little bit too heavy wind could be toppled over and fall on the line, we had a 44% reduction in tree cost outages. That's a real, tangible number. You can see, I'm thinking about utility as well. In the on the East Coast, a co op that runs through very rural areas. In those areas, you have a trees outside of the right of way that are toppling over on two lines. So tree cost outages are a huge issue for them, and it's really impacting their safety and safety those key, key KPIs that utilities are always tracking and by us just giving them a rank order of which has a tree they had so many of them, which has a tree to even go to first, because if that has a tree were to fall on a line, a ton more people are going to be out of power than if the other one were to fall the line, you will have, like one rural cabin that will not have power. And that led to a reduction of something around 90% of tree cause outages is to 70% it's still a long way to go, but it was a really tangible number that you can see, and it shows that if you then do that proactive work, you have real impact on your tree cost outages. And it's if I think about our customer in California, Pacific Gas and Electric, for example, it's a lot around helping them understand where they don't need to go. So it's kind of doing something of a visual inspection and actually skipping certain spans, that can be itself a really big use case. Because right now, if you don't have an understanding about where your risks are, you might be spending trucks to roll for hours around areas where there is not really any tangible work to be done. So redirecting them to the right areas is where we've seen a lot of success there, and that obviously leads to budget wins, right? You'll be saving a lot of money by doing that. And those are kind of the use cases that we chase and that we kind of help prove the cases on.   Trevor Freeman  27:29 Absolutely, yeah, there's, there's only so many resources you can you can throw at this, and making sure that we prioritize and focus those resources in the right spot is absolutely critical. You were just talking about the West Coast, and you mentioned this earlier. I know wildfires is is an area that is obviously of great interest for your organization. We're fortunate here at Hydro Ottawa, and that we haven't really had to deal with that much. But anybody who's you know following the news knows this is a major problem for us. So how, what is your role in helping those utilities prevent wildfires? Maybe give us, like, a very quick primer on why utilities are a factor when it comes to wildfires first, and then how your organization is supporting that.   Lynn Petesch  28:13 So unfortunately, utility cost wildfires tend to be the most catastrophic wildfires because they're critical infrastructure, and we've obviously seen that happen across the world, in in the US recently, again and again. But utility cost wildfires, as I said at the beginning, are also the actual wildfires that are preventable. So that's really where we're lying to lying into a lot of the forests right now. They've become Tinder boxes. That is obviously because of fire suppression policies? That's because of forest management techniques that have been leveraged in the last couple of 100 years that are slowly changing at different paces? Canada's had some, unfortunately, some really bad fire seasons recently as well. And so where overstory wanted to place itself as a net prevention space to even not add to the point where you have a spark, because there's a lot of tools out there that focus on mitigation and what is, what do you do when you see that first plume of smoke coming up? And so we've landed in kind of really focusing on the prevention side, so that utilities are hopefully in the future, not the ones that spark any of those catastrophic wildfires we've already always been looking at that the vegetation that could touch your conductor, right? That's I've been speaking about that a lot, but now we're really excited for the first time, and we recently announced that we launched a fuel detection model. So that's us looking at the ground fuel conditions, and those are actually usually the key contributors to the spark that spreads the fire. We're now providing that to utilities as a much higher resolution than ever before. For me, it's interesting because I've spent a lot of time looking at trees, and now I'm going into the field and I'm looking at the ground, and it's a new perspective. But yet again, we could just, you know, we don't want to overwhelm our customers. A lot of maps and showing the fuel conditions, necessarily, we can really help them identify those spans where a single failure would have the greatest consequence. So yet again, it's about how to make that data that, you know, there's a lot of wildfire risk map out there, but make it a very actionable list of spans that if they were to tackle those they are very proactively reducing the risk of igniting a fire. And as a result of the protecting their communities.   Trevor Freeman  30:29 Got you so it's not just about the overhead trees, branches, etc, contacting the line. It's, you know, if a switch goes, if an insulator pops, if, if something happens that will cause sparks. What's happening on the ground below that line, and how do we make sure it is able to withstand sparks? That might happen.   Lynn Petesch  30:49 Exactly if you have dry grasses, if you have sagebrush, if you have certain types of fuels, they're just much more likely to spark a fire and then spread, spread out without there even be any any trees you have these prairies along Texas that can blow up in a fire very quickly, and the fires can spread to tremendous sizes. And so understanding the fuels on the ground is really important.   Trevor Freeman  31:15 Super interesting and fascinating work to get involved in. As you mentioned, this is obviously an area of, I don't even know if I call it growing concern anymore, great concern for for the utility industry and all of us. Yeah. So with the technology that's, you know, we talked about AI a little bit ago, it's literally growing before our eyes. It's really evolving fast. Do you see your technology evolving along with it. What's what's kind of next for your organization? You talked about getting into sort of the ground vegetation management. What comes next? How do you see it evolving as AI and tools evolve?   Lynn Petesch  31:52 Yeah, I mean, if we see that the future is where we want to support a grid that is much safer and reliable, as I mentioned, we also want to make it sure it's resilient to the climate and the economic pressures that there are. So our initial focus and our continued focus, and where we have a lot of our expertise has been with vegetation. Now we're starting to look at the ground fuels, then that naturally evolves into looking at the asset vulnerabilities. So you know, the actual polls, and if there's any failures potentially on those as well as further weather exposures, right? It becomes, then about the soil moisture. It comes about the wind speed. It becomes around the rain, precipitation, etc. So there's a myriad of things that we can start looking at and that we want to start looking at in order to get that more holistic view of risk, and go beyond just vegetation right now, where we're investing most heavily in is that wildfire risk. There's also the resolution that we see with satellites right now is at 30 centimeter that may drop down to 15 or 10 centimeters, so the resolution will get higher. There's other sources that we're exploring already flying, sometimes aerial imagery that is at that five to 15 centimeters, then you would really start seeing soon, you can start seeing a leaf on a on a tree. It gets really impressive. There's lighter there's lots of other kind of remote sensing technologies that we're looking to leverage in the future. And then, as a company as well, we're starting to, obviously expand internationally. We started working with utilities in New Zealand that have very similar problems and various regulatory changes. They also have a problem with wildfire risks. So that is, that is another angle that at Overstorey We're chasing right now.   Trevor Freeman  33:35 Yeah, I'm glad you brought up that. You know, understanding of other assets beyond just vegetation, has kind of been running through my head of we talk about, and I think we've talked about it here on the show. If we haven't, I should do an episode on that, like a digital twin, a digital twin of our grid, and really having a good understanding of not just, you know, a line drawn on a map of, Hey, your circuits run this way, but really physically, what's happening out there, and being able to sort of model that interact with it in a digital way, to understand, if we do X, Y and Z, what happens. So the technology that you guys are using to really get good imagery and understanding of what's out there, well, I think what I'm hearing from you is could potentially be leveraged in that next level to understand, what pulls do we have? What health are they in? What you know, what's happening with that conductor? Is it sagging too much? Is it in good health? Like there's, there's all this opportunity that's really fascinating to hear.   Lynn Petesch  34:31 Yeah, already. Now, when we look at transmission corridors, we look at the sag of these lines, and the terrains are also really challenging, something to look at. So there's a lot of factors that need to be taken into account. And that can only expand as we want to look at risk more beyond just the vegetation element.   Trevor Freeman  34:48 Very cool. Well, Lynn, very interesting to hear this. I'm really glad you came on the episode or the show today to talk to us. Fascinating to hear what Overstory have to I know that we're super excited to be. Working with you here at Hydro Ottawa and excited for what comes next. We always end our interviews with a series of questions, so I'm going to dive into those and here we go. What is a book that you've read that you think everyone should read?   Lynn Petesch  35:13 I was thinking about an author more than a book. My favorite author is Jonathan Franzen. If I would recommend one book, it'd probably be Corrections, his most famous one, I believe. But they're like, these chunky, 800-900 page books where you kind of get immersed in these families and you feel like you know them at the end, and they kind of, I think about them for like, months afterwards. They're really good reading, at least for the winter when it's cold and you spend a lot of time inside. So probably Jonathan Franzen books, yeah.   Trevor Freeman  35:41 Yeah, we're we're recording this just before the holidays, and I think we'll be releasing the episode after but winter is such a great time to curl up with a book, and it's awesome to have a good recommendation of a nice thing.   Lynn Petesch  35:53 It'll be called in January.   Trevor Freeman  35:56 Absolutely. So same question, but a movie or a show?   Lynn Petesch  36:00 Yeah, I'm not a big movie buff, but I recently rewatched What's Eating Gilbert Grape, seen it with Johnny Depp and Leonardo DiCaprio, and I always felt like Leonardo DiCaprio should have received an Oscar for that performance back when he was 14. But, yeah, it's a beautiful movie. awesome.   Trevor Freeman  36:20 Awesome yeah, that's a bit of a blast from the past, but you're right. That is a fantastic one. If someone offered you a free round trip flight anywhere in the world, where would go?   Lynn Petesch  36:27 French Polynesia, because it's so far I've never been a friend who went. I'm sure it's very expensive to go there, so it'd be great for someone too. Yeah, no, that's a place I'll go one day.   Trevor Freeman  36:41 So, yeah, fantastic. Who is someone that you admire?   Lynn Petesch  36:45 Yeah, that's a it's a tricky one, because I was thinking about, like, people, you know, in, I know, family, etc. But like, if I were to think about a, and it's a little left field, about a public persona, and also a bit of a blast from the past, I'll think about Tina Turner. She's been my icon since I'm a kid, I was always listening with my dad to Tina Turner. And I think the word that I've probably most used in today's episode was like resilience. And I always think about her as like possibly the most resilient woman in the world who reinvented herself and her career in her 40s and 50s, and is this complete power woman, you know, always done everything at her own terms. So get so much energy from not just her music. I've seen so many documentaries about her, and she's always been this kind of woman that I know, filthy with energy and kind of like drive. So I'm a big, big fan of Tina Turner.   Trevor Freeman  37:38 That's fantastic. I have to say, that's never come up on the show before, and now I need to go and dive down a rabbit hole of like, learning about Tina Turner listening to some music.   Lynn Petesch  37:47 Yeah, she's great woman.   Trevor Freeman  37:48 Yeah, good answer. Last question, what's something about the energy sector, or let's expand that to kind of the climate sector that you're really excited about?   Lynn Petesch  37:59 Yeah, I'm gonna take a very high level. But I think the thing I've always been following the most is, like, that broad topic of the energy transition, and I think the recent changes, or like, kind of the way we talk about it, has become a lot more interesting, because it used to be this kind of fluffy, big kind of vision, and now we're in that phase where it just has to be very practically implemented, and we're trudging along with it, no matter the political climate, etc, there is kind of a move forward. And I actually really liked the way that, I think, when I first started learning about it, or getting interested in it, it was always about renewables, and now it's around just sort of like needing to build a system that is both, like low carbon and climate resilient. And there's something in that, like way we talk about it now that I find really interesting. There's immense amounts of innovation in it. So yeah, I'm just enjoying following what's happening on that and how we are. We're moving that direction, no matter what's happening right now. So that's exciting.   Trevor Freeman  38:55 Yeah, okay, when I know my listeners are probably roll their eyes, because I say this all the time, but it's a very exciting time to be in this industry, and very exciting to kind of see the evolution of energy and how we're interacting with it, how it's impacting our society. And we really feels like we're at an inflection point. And very great to have you working on one aspect of it that people probably don't think about a lot. So thanks very much for what you're doing.   Lynn Petesch  39:19 Yeah, exactly. When you start working for Overstory, the one thing that happens is, wherever you go, you see trees and power lines. And I have very keen eye for, unfortunately, trees that are in poor health right now. So that's one of the professional things I've developed.   Trevor Freeman  39:35 Carry like a spool of red ribbon around you can, like, tie on the at risk trees and just so someone could come along. Lynn, thanks so much for coming on the show today. Really appreciate it. It's been great chatting with you.   Lynn Petesch  39:45 Thank you so much.   Trevor Freeman  39:46 Take care. Thanks for tuning in to another episode of the thinkenergy podcast. Don't forget to subscribe. Wherever you listen to podcasts, and it would be great if you could leave us a review. It really helps to spread the word. As always, we would love to hear. From you, whether it's feedback comments or an idea for a show or a guest, you can always reach us at thinkenergy@hydroottawa.com..

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.

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.

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.