Podcasts about late americans

Listen to the rest of this premium episode by subscribing at patreon.com/knowyourenemy.With the papal conclave convening in Rome to pick Pope Francis's successor, Matt and Sam are joined by novelist Brandon Taylor to discuss the 2024 film Conclave, directed by Edward Berger and starring Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini. The film, as you might guess, depicts the shabby and conspiratorial inner-workings of a (fictional) College of Cardinals as they go about picking a new pope. Fun movie! Great chat!Furthering Reading:Brandon Taylor, Real Life, (2020)— Filthy Animals, (2021)— The Late Americans, (2023)— "Is it even good? Two Years with Zola," LRB, April 4, 2024.Ben Munster, "Cardinals are watching ‘Conclave' the movie for guidance on the actual conclave," Politico, May 6, 2025.Dan Walden, "Gender, Sex, and other Nonsense," Commonweal, March 1, 2021.

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Brandon Taylor practices moral worldbuilding in his fiction—that means an essential piece of these worlds is the “real possibility that someone could get punched in the face.” Brandon, author of the novels Real Life and The Late Americans, joins Stephanie Insley Hershinow for a wide-ranging, engrossing, and often hilarious conversation about the stakes of the novel today. They discuss Brandon's “Hot Freud Summer,” during which he read all of Sigmund Freud's essential works, as an example of an intellectual journey that engages with what Brandon calls the PDFs of criticism: the histories of ideas that he wishes to track back to their origins. Along the way, Brandon reveals what he has taken away from the Romance genre (“everything”), his conviction that The House of Mirth is the prototypical social media novel, and how he tries to avoid writing characters that are just “three spritzes of a personality standing in a room.” Brandon, Stephanie, and Chris close things out with their answers to the signature question about the first books they loved, and the answers are…revealing. Mentioned in this episode By Brandon Taylor: Real Life Filthy Animals The Late Americans Also mentioned: The House of Mirth The Liberal Imagination Georg Lukács Frederick Jameson Germinal Debbie Macomber Julianne MacLean Johanna Lindsey Liz Carlyle, Beauty Like the Night Beverly Jenkins A is for Apple, W is for Witch Guinness Book of World Records Gremlins: The Novelization of the Film 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

Brandon Taylor practices moral worldbuilding in his fiction—that means an essential piece of these worlds is the “real possibility that someone could get punched in the face.” Brandon, author of the novels Real Life and The Late Americans, joins Stephanie Insley Hershinow for a wide-ranging, engrossing, and often hilarious conversation about the stakes of the novel today. They discuss Brandon's “Hot Freud Summer,” during which he read all of Sigmund Freud's essential works, as an example of an intellectual journey that engages with what Brandon calls the PDFs of criticism: the histories of ideas that he wishes to track back to their origins. Along the way, Brandon reveals what he has taken away from the Romance genre (“everything”), his conviction that The House of Mirth is the prototypical social media novel, and how he tries to avoid writing characters that are just “three spritzes of a personality standing in a room.” Brandon, Stephanie, and Chris close things out with their answers to the signature question about the first books they loved, and the answers are…revealing. Mentioned in this episode By Brandon Taylor: Real Life Filthy Animals The Late Americans Also mentioned: The House of Mirth The Liberal Imagination Georg Lukács Frederick Jameson Germinal Debbie Macomber Julianne MacLean Johanna Lindsey Liz Carlyle, Beauty Like the Night Beverly Jenkins A is for Apple, W is for Witch Guinness Book of World Records Gremlins: The Novelization of the Film Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Brandon Taylor is the author of The Late Americans.

In this episode of the Granta Podcast, we speak to the novelist Brandon Taylor, author of Real Life (2020) and The Late Americans (2023), about naturalism, the future of fiction, and the connection between Émile Zola and The Sims.We also discuss Taylor's short story ‘Stalin, Lenin, Robespierre', which appeared in Granta 166: Generations.You can read ‘Stalin, Lenin, Robespierre' here.Follow these links to subscribe to the podcast on Spotify and Apple Podcasts.

Our guest this week is Brandon Taylor, whose new book The Late Americans is a stark retooling of the campus novel for the 21st century. Taking a university town in Iowa as his canvas, Taylor depicts the lives of a loose group of friends and associates: Seamus, Fyodor, Ivan, Noah and Fatima—students of writing and dance—as time barrels them towards the end of their studies and the harsh realities of the so-called “real” world beyond. The novel lives in Taylor's delicate and perceptive handling of the complicated interplay of money, class, race, art and sex—the bonds each of these can form between us and the divides they create. It is a book rich in ideas and reflections about contemporary life, contemporary America in particular, but these would all be for nothing without the meticulously wrought human comedy—in all its beauty and ugliness—at its core.Buy The Late Americans: https://www.shakespeareandcompany.com/books/the-late-americansBrandon Taylor is the author of the novels The Late Americans and Real Life, which was shortlisted for the Booker Prize and the National Book Critics Circle John Leonard Prize, and named a New York Times Book Review Editors' Choice and a Science + Literature Selected Title by the National Book Foundation. His collection Filthy Animals, a national bestseller, was awarded The Story Prize and shortlisted for the Dylan Thomas Prize. He was the 2022-2023 Mary Ellen von der Heyden Fellow at the Dorothy and Lewis B. Cullman Center for Scholars and Writers.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

A booker prize nominated author has told FRANCE 24 that he wakes up every day grateful that he's able to reflect on his own life in his work. Brandon Taylor was born into a small, Baptist, conservative community in Alabama, where he felt he never fitted in as a gay person. His books, semi-autobiographical, are full of identity politics. His advice to others is to live their lives on their own terms. Taylor's latest book – “The Late Americans” – which is already out in English with the French translation currently being published explores themes of gender identity, love and friendship.

In this episode of Books, Baby! Bev, Ian and Alo are dishing out their thoughts and feelings about 'The Late Americans,' the latest novel of one of their favourite authors, Brandon Taylor. Prepare for a thought-provoking discussion and heartfelt reflections on the themes, characters, and the brilliance of Taylor's writing. Connect with us via email (booksbabypod@gmail.com) and on Instagram! Books, Baby! - ⁠⁠@booksbabypod⁠⁠ Hosts: Ian - ⁠⁠@bookish_ian⁠⁠ Bev - ⁠⁠@booksgonewilde⁠⁠ Alo - ⁠⁠@books.swallows.universe

This week on Rational Security, Quinta and Scott bade a temporary farewell to Alan and spent one last afternoon (for a few months, anyway) digging into the week's big national security news stories, including:“Ceasefire or Misfire?” We are now one month into Israel's military campaign in the Gaza Strip. As civilian casualties continue to mount and Israel's ground operations get underway, there are growing calls for a ceasefire—calls that the Biden administration may now be taking up, in more limited and temporary fashion. Where are we in this conflict? Is there any end in sight?“Freedom of Screech.” Former President Trump's speech—and the right to it—is increasingly becoming an issue in his various criminal and civil trials, both legal and otherwise (as evidenced by a recent bout of angry shouting he pursued on the stand in his New York civil case). How have courts been balancing the equities? Is there something they can do better?“No, no—THAT's what the Insurrection Act is for.” In an effort spearheaded by co-conspirator number four himself Jeffrey Clark, President Trump and his allies are reportedly planning for a revenge campaign if he returns to the White House, beginning with a complete takeover of the Justice Department. How realistic are these plans? What can be done to stop them?For object lessons, Alan recommended Sandra Newman's “Julia,” a retelling of the classic “1984” from a new perspective. Quinta gave a similar bump to Brandon Taylor's new novel, “The Late Americans.” And Scott rolled logs for his latest piece for Lawfare, a retrospective on the legacy of the War Powers Resolution fifty years after its enactment.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Quinta and Scott bade a temporary farewell to Alan and spent one last afternoon (for a few months, anyway) digging into the week's big national security news stories, including:“Ceasefire or Misfire?” We are now one month into Israel's military campaign in the Gaza Strip. As civilian casualties continue to mount and Israel's ground operations get underway, there are growing calls for a ceasefire—calls that the Biden administration may now be taking up, in more limited and temporary fashion. Where are we in this conflict? Is there any end in sight?“Freedom of Screech.” Former President Trump's speech—and the right to it—is increasingly becoming an issue in his various criminal and civil trials, both legal and otherwise (as evidenced by a recent bout of angry shouting he pursued on the stand in his New York civil case). How have courts been balancing the equities? Is there something they can do better?“No, no—THAT's what the Insurrection Act is for.” In an effort spearheaded by co-conspirator number four himself Jeffrey Clark, President Trump and his allies are reportedly planning for a revenge campaign if he returns to the White House, beginning with a complete takeover of the Justice Department. How realistic are these plans? What can be done to stop them?For object lessons, Alan recommended Sandra Newman's “Julia,” a retelling of the classic “1984” from a new perspective. Quinta gave a similar bump to Brandon Taylor's new novel, “The Late Americans.” And Scott rolled logs for his latest piece for Lawfare, a retrospective on the legacy of the War Powers Resolution fifty years after its enactment. Hosted on Acast. See acast.com/privacy for more information.

Reading List:* “Why the Culture of the So-Called Great Books is Hostile to Trans People,” by Naomi Kanakia* “Brandon Taylor's online writing is vibrant, funny, and true. Why is his fiction trying so hard to be something else?” by Laura Miller* “A Review of ‘The Late Americans' is Sending Book Twitter Into A Tailspin,” by Katherine Esters* “The New, Weirdly Racist Guide to Writing Fiction,” by Naomi Kanakia* “How to start your para-intellectual career,” by Naomi KanakiaMy guest on the podcast is Naomi Kanakia, author of 3 extant books as well as roughly 18 forthcoming books in seven different genres. We're going to talk about two big things. One is Naomi herself, her writing and what I would characterize as her unusually meta- approach to thinking and writing about the work of being a writer, her fascination with the subterranean motives and status moves that lie just underneath the wholesome public narratives that writers provide to the world and why and how they do what they do.  Before we get to that, though, we're going to spend some time on novelist and substacker Brandon Taylor. Taylor is a 34-year old black gay writer, primarily of fiction, now based in New York but born and raised in a small town outside of Montgomery, Alabama in a conservative Christian family. He spent a number of years in a graduate biochemistry program at University of Wisconsin Madison before leaving, without finishing the PhD, to focus on fiction, soon after earning his MFA from the Iowa Writers Workshop. Taylor has since published three works of fiction, the 2020 novel Real Life, which was short listed for a Booker Prize, the 2021 collection Filthy Animals, and most recently this year's Late Americans, which is maybe a collection masquerading as a novel. He's written book reviews and review essays for fancy places like the New York Times and the New Yorker, and he has a very popular substack, , to which Naomi and I are both subscribers.If I had to briefly characterize why I think we find Taylor interesting for the purposes of this podcast, it's less because of his fiction, which is solid but not super distinctive, than because of the ways he deals, as a queer writer of color, with a few different conflicting tendencies within him. He loves the books he loves, irrespective of the race or era of their author. He has a somewhat agonized relationship to woke politics, seems to feel allergic to it in a lot of the particulars but can't shake a kind of global allegiance to it. He has a strong desire to connect with his readers, and he also has a somewhat thin skin. Naomi Kanakia is the author of three books, the YA novels Enter Title Here and We Are Totally Normal, and the nonfiction semi-self-help tract the Cynical Guide to Publishing. She also has three, count 'em three, forthcoming books: the YA novel Just Happy to Be Here, the adult novel The Default World, and the nonfictional What's So Great About The Great Books? And she has a great substack as well, , which you should subscribe to. She got her undergraduate degree at Stanford, and then an MFA at Johns Hopkins. I don't usually list my guest's academic credentials, but I think in this case it will prove relevant to our discussion.Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

In "Multifaceted Discourse" John discusses various topics and gives shout-outs. Here's a summary of the episode: The humorous and diverse "Multifaceted Discourse" delves into a smorgasbord of subjects, with the usual touch of self-deprecating charm. Being a jazz vocalist is a real thing We saw Kurt Elling & Charlie Hunter at Yoshi's, where they always have a great accessible seating setup It was cool to see a jazz vocalist headliner; they scat on every song Bow Down John dishes out shout-outs, paying homage to a variety of individuals, and even reflects on reaching a milestone 201st episode. Shout out to slartibartfast who loves the production Shout out to Jersey girl, who ideated the blind musicians kfjc special Shout out to Nathan Mary tibby & butters who wrote in to Let me know, this is my 201st episode Shout out to the sandman who said "it's good and reassuring that AI cannot describe your show. Your show is about a specific human experience. I am glad that AI does not understand that yet, it means we still have time" Onus Removed? This could be a moment to rethink the A.D.A.'s framework. The Justice Department could take a larger role in enforcing the law, and Congress could amend the statute to give businesses a window to correct violations. Evelyn Clark We nearly take a thought-provoking turn reading The New York Times' article, "It's Time to Rethink the Americans With Disabilities Act," shedding light on disability-related discussions. Always Protect Yourself A viewing of the film "Million Dollar Baby"; delving into thoughts on body limitations and the pursuit of perfection. As Lennard Davis himself has written, "what is universal in life, if there are universals, is the experience of the limitations of the body". Yet in films like Million Dollar Baby, and seemingly in every other ideological corner, we confront what Davis calls a "fantasy…of the perfection of the body and its activities". We cannot step into this ring alone. Jay Dolmage &William DeGenaro, Ph.D. Submission The episode then takes a poetic turn, inspired by Joe Imwalle. I've submitted my poetry around to some places and that's a lot of fun and disheartening, but I'm more having fun with it. Still need a lift Wheelchair lift issues are ongoing. Book Rundown Book reviews include "2021 Best Sports Writing" anthology, Brandon Taylor's "The Late Americans" and "Biography of a Phantom" by Mack McCormick. Letting AI sum up "Multifaceted Discourse" is a delightful blend of humor, insight, and intrigue.

We've said it before huns, this is the year of the chaotic celebrity divorce, but the Joe Jonas vs Sophie Turner divorce drama has left us REELING. From Joe's PR team playing what appears to many as a misogynistic smear-campaign against Sophie — who he married in 2019, when she was just 23 — to wild rumours involving partying and ‘ring cameras', this might be the messiest celeb divorce we've witnessed since Brad and Angelina. We discuss everything from Sophie's public battle with mental health and when Ellie interviewed Joe in 2018, to  the very revealing Taylor Swift song thought to be about ‘smug' ex Joe. Plus, Kathleen tells us why she's had enough of reading about heartbroken middle-class women, and we reveal our honest thoughts about new It couple Kylie and Timothée. Do they have more in common than we think? Let us know what you think of the episode by sending us a DM @straightuppod ! Recommendation discussed: Really Good, Actually by Monica Heisy  Acts of Desperation by Megan Nolan  Real life by Brandon Taylor  Mona Hotel Athens Birdman Athens  Listener reccos: The Late Americans by Brandon Taylor Middlesex by Jeffrey Eugenides Demon Copperhead by Barbara Kingsolver I'm Sorry You Feel That Way by Rebecca Wait Maame by Jessica George

For our first Into It Book Club pick, Sam talks to Brandon Taylor about his latest novel The Late Americans. Set in Iowa City, the book follows a group of lovers and friends who are navigating the world of art, love, sex... and graduate school. We also ask about the broader discourse around books today: In the age of #BookTok and Goodreads, what should readers expect from writers? And —for Brandon, in particular — what's the line between reviewing an author's published work and the author himself? ICYMI, Sam is guest hosting on Vox's daily news show Today, Explained this week. Listen at https://bit.ly/texwsam. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome back to Razzlefrat! This week we break down our August book club pick, The Late Americans by Brandon Taylor. Taylor gives us a ton to talk about in less than 300 pages, including art, identity, monogamy, queerness, class, and more. Also, lots of relatable existential crises. Like, a lot. We love to see (read) it. Be sure to follow us in between episodes on our booksta accounts @grapes_of_ash and @theresinkonmyhands and also our joint account @razzlefratpod! Until next time, we bid you farewell. xoxo, Razzlefrat Books mentioned this episode: Icebreaker by Hannah Grace House of Cotton by Monica Brashears The Late Americans by Brandon Taylor The Gunslinger by Stephen King Five Tuesdays In Winter by Lily King In The Time of the Butterflies by Julia Alvarez If this Book Exists, You're in the Wrong Universe by Jason Pargin  John Dies At The End Series by Jason Pargin This Bird Has Flown by Susannah Hoffs Boy Parts by Eliza Clark Nobody, Somebody, Anybody by Kelly McClorey Goodbye, Earl by Leesa Cross-Smith Real Life by Brandon Taylor --- Support this podcast: https://podcasters.spotify.com/pod/show/razzlefratpodcast/support

Anna and Annie discuss the 2023 Booker Prize Longlist.   Our book of the week is The Late Americans by Brandon Taylor. A novel about friends and lovers set in Iowa City, it is both intimate and explores wider issues in contemporary life and art. Taylor was short-listed for the Booker Prize for Real Life and won the Story Prize for his collection Filthy Animals.  The Late Americans is an instant national bestseller and was a Most Anticipated Book of the year by Vogue, Elle, Oprah Daily, the Washington Post, Buzzfeed and Vulture.   Coming up: Chai Time in Cinnamon Gardens by Shankari Chandran. Follow us! Instagram: @abailliekaras and @mr_annie Email: booksonthegopodcast@gmail.com Facebook: Books On The Go Litsy: @abailliekaras   Credits Artwork: Sascha Wilkosz

Anna and Amanda discuss Elizabeth Gilbert pulling her novel The Snow Forest from publication because of its Russia theme. Our book of the week is This Other Eden by Paul Harding. Based on a true story, an island community of castaways and misfits is disrupted when a well-meaning but racist preacher enters their lives.  It has biblical feels yet resonates today.  Described as 'a harrowing tale of paradise lost' (New York Times) and 'sure to be a stand-out of 2023' (Los Angeles Times), since we recorded this episode it has been long-listed for the Booker Prize. Coming up: The Late Americans by Brandon Taylor. Follow us: Instagram: @abailliekaras and @vibrant_lives_podcast Email: Booksonthegopodcast@gmail.com Facebook: Books On The Go Litsy: @abailliekaras   Credits Artwork: Sascha Wilkosz

This week on the Penguin Podcast, Isy Suttie is joined by Booker shortlisted writer, Brandon Taylor. Brandon joins us to discuss his new novel, The Late Americans.The two also discuss the importance of material signifiers when writing characters, how reading contemporary fiction can influence the writing process, how learning expression through photography helped feed creativity, and what is the value of not writing during the act of writing. Don't forget to subscribe so you never miss an episode, and please do leave us a review – it really does help us. And finally, to find out more about the #PenguinPodcast, visit https://www.penguin.co.uk/podcasts. Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Razzlefrat! This week we embrace how easily we—okay, mostly Ashtin—are influenced by the BookTok machine and tell you whether some of the most popular books on the platform are worth the hype. BUT we also have some hidden gems up our sleeves. Next time we're discussing The Late Americans by Brandon Taylor and hope you'll join us for the “Sally Rooney but in Iowa” vibes. Be sure to follow us in between episodes on our booksta accounts @grapes_of_ash and @theresinkonmyhands and also our joint account @razzlefratpod! Until next time, we bid you farewell. xoxo, Razzlefrat Books mentioned this episode: Crescent City by Sarah J Maas A Certain Hunger by Chelsea G Summers Love & Other Words by Christina Lauren Fourth Wing by Rebecca Yarros The Late Americans by Brandon Taylor All the Gold Stars by Rainesford Stauffer A Life of One's Own by Joanna Biggs My Heart is a Chainsaw by Stephen Graham Jones Don't Fear the Reaper by Stephen Graham Jones The Only Good Indians by Stephen Graham Jones It Ends With Us by Colleen Hoover Verity by Colleen Hoover Untamed by Glennon Doyle Atomic Habits by James Clear Pendragon series by D. J. MacHale Eragon series by Christopher Paolini Harry Potter series by JK Rowling The Lord of the Rings trilogy by JRR Tolkien The Unhoneymooners by Christina Lauren A Court of Thorns and Roses by Sarah J Maas The Seven Husbands of Evelyn Hugo By Taylor Jenkins Reid Daisy Jones and the Six by Taylor Jenkins Reid Malibu Rising by Taylor Jenkins Reid Book Lovers by Emily Henry Beach Read by Emily Henry Before the Coffee Gets Cold by Toshikazu Kawaguchi A Darker Shade of Magic by VE Schwab All The Lovers In the Night by Mieko Kawakami Breast and Eggs by Mieko Kawakami How High We Go In the Dark by Sequoia Nagamatsu Icebreaker by Hannah Grace --- Support this podcast: https://podcasters.spotify.com/pod/show/razzlefratpodcast/support

In 2020, Brandon Taylor burst onto the literary scene with Real Life, a novel about a gay black doctoral student and his predominantly white colleagues.  A finalist for the Booker Prize, Real Life offered a comedic take on themes like privilege and prejudice. Taylor followed that with another book about young creatives, the short story collection Filthy Animals. His highly anticipated new novel, The Late Americans, follows a circle of lovers and friends during a volatile year of self-discovery. On June 2, 2023, Brandon Taylor came to the Sydney Goldstein Theater in San Francisco for an on-stage conversation with Kate Schatz. Schatz is the bestselling author of the “Rad Women” book series, and Do the Work! An Antiracist Activity Book, co-written with W. Kamau Bell. 

When writer Brandon Taylor was growing up in Alabama in the early 2000s, he didn't quite fit in with the rest of his family or his classmates at school. And these days, he still prefers his own company. “I never feel more myself than when I am by myself feeling just like a little lonely,” he told Anna. “That is like my optimal state of being.” But Brandon found community online in chat rooms, roleplaying communities, and on message boards for the books and TV shows he loved as a teenager, like the anime show Dragon Ball Z, Pokémon, or the Harry Potter series. And as an adult, the Real Life and The Late Americans author is figuring out how to share his excitement of literature and popular culture on and offline, which doesn't always resonate with people in real life. In this episode, Brandon tells Anna about managing money on his own, what he likes about being single, and his evolving relationship with the Internet.

Author and Creative Writing Lecturer Ashley Hickson-Lovence, author of YOUR SHOW & THE 392.Ashley chats about:Being inspired by a great English teacherWriting with rhythm and how music and dancing influence his proseDrawing on people from real life to build charactersHow his own experiences of refereeing football led to his second novel and his PhdWriting in the second personHow Homes Under The Hammer is integral to his work!Guest Author: Ashley Hickson-Lovence Twitter: @AHicksonLovence IG: @ahicksonlovence Books: Your Show by Ashley Hickson-Lovence, The 392 by Ashley Hickson-LovenceHost: Kate Sawyer Twitter: @katesawyer IG: @mskatesawyer Books: The Stranding by Kate Sawyer & This Family Ashley's recommendations:A book for fans of Ashley's work: A Natural by Ross Raisin, Man Friday: The First Half by Stuart KaneA book Ashley has always loved: Lanny by Max PorterA book that's been published recently or is coming soon: The Late Americans by Brandon TaylorOther books discussed in this episode: NW by Zadie Smith, Prisoner to the Streets by Robyn Travis, Open Water by Caleb Azumah-Nelson, The Damned United by David PeaceIf you enjoyed this show please do rate, review and share with anyone you think will enjoy it: https://podcasts.apple.com/gb/podcast/novel-experience/id1615429783Novel Experience with Kate Sawyer is recorded and produced by Kate Sawyer - GET IN TOUCHTo receive transcripts and news from Kate to your inbox please SIGN UP FOR MY NEWSLETTER or visit https://www.mskatesawyer.com/novelexperiencepodcast for more information.Thanks for listening!Kate x

Suri reviews The Late Americans from Brandon Taylor on Loose Reads, a campus novel with a bucket load of intrigue. Whakarongo mai nei!

This is BIG guys! We had the incredible Booker-shortlisted author, literary icon Brandon Taylor on the pod to chat about his latest novel 'The Late Americans', which was our June Book Club pick. We loved this novel so so much and cannot rave about it enough, if you haven't read it yet, links are below to order your copy, please do join us in reading it!In this episode we discuss the body & autonomy, Class and the complexities that brings up for working class artists and Brandon gives us yet another reason to love Curtis Sittenfeld!If you enjoy this episode please don't forget to rate, review & subscribe and if you want to give us a follow you can do so @apairofbookendspod on Instagram and @apairofbookends on Twitter and Tik Tok.To buy Brandon's book: https://uk.bookshop.org/p/books/the-late-americans-brandon-taylor/7301654?ean=9781787334434To follow Brandon: https://www.instagram.com/brandonlgtaylor/?hl=enhttps://twitter.com/blgtylr?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorBooks & Recs mentioned in the episode: The Guest by Emma ClineWhen We Were Nearly Young by Mavis Gallant: https://www.newyorker.com/magazine/1960/10/15/when-we-were-nearly-youngRomantic Comedy by Curtis SittenfeldThanks so much for listening, please share with your bookish pals, your support means the world. Han & Lyd x

Our critics Hanna Flint and Larushka Ivan-Zadeh watch Harrison Ford's last outing as the title character in Indiana Jones and the Dial of Destiny, also starring Phoebe Waller-Bridge. Is it a crowd-pleasing exit? Presenter Tom Sutcliffe talks to Brandon Taylor about his new novel, The Late Americans. Taylor's debut, Real Life, was Booker Prize nominated and his collection of short fiction, Filthy Animals, won the Story Prize. He discusses interweaving tales of sex and aspiration, played out amongst friends in a mid-western university town. Hanna and Larushka also review Young V&A, the new incarnation of the Museum of Childhood in London's Bethnal Green, which is reopening after a £13 million 3-year redevelopment. Presenter: Tom Sutcliffe Producer: Harry Parker

Gottlieb, who died last week at age 92, edited Joseph Heller, Toni Morrison, John le Carré and, for more than 50 years, Robert Caro. He went on to become editor of The New Yorker. We'll listen to our recent interview with Gottlieb, and we'll hear some of our interview recorded in 2000 with Gottlieb and musical theater expert Robert Kimball. They co-authored a book on some of the best lyricists of the last century.Book critic Maureen Corrigan reviews Brandon Taylor's, The Late Americans, and Andre Dubus III's novel, Such Kindness.

Gottlieb, who died last week at age 92, edited Joseph Heller, Toni Morrison, John le Carré and, for more than 50 years, Robert Caro. He went on to become editor of The New Yorker. We'll listen to our recent interview with Gottlieb, and we'll hear some of our interview recorded in 2000 with Gottlieb and musical theater expert Robert Kimball. They co-authored a book on some of the best lyricists of the last century.Book critic Maureen Corrigan reviews Brandon Taylor's, The Late Americans, and Andre Dubus III's novel, Such Kindness.

Kevin R. Free delivers a dazzling performance of Brandon Taylor's new novel. Host Jo Reed and AudioFile's Kendra Winchester discuss this story of contemporary artists living in Iowa City. Poets, writers, and musicians sit around at parties, in bars, and cafés, discussing what it means to be an artist. Their social lives are deliciously messy as they fall in and out of love. Free's narration moves between the viewpoints of the main characters with ease, creating a distinct voice for each one, and his performance is completely engrossing. Excellent listening from a new Golden Voice narrator. Read the full review of the audiobook on AudioFile's website. Published by Penguin Audio. Find more audiobook recommendations at audiofilemagazine.com Today's episode is sponsored by Dreamscape Publishing. Join Dreamscape Publishing as they celebrate Audiobook Month with mesmerizing tales, talented narrators, and endless inspiration for audiobook lovers everywhere! Join them online on social media or at their website, dreamscapepublishing.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Five writers go on five reflective, restorative and often playful journeys in search of the final resting places of their literary heroes. Today, Brandon Taylor travels uptown through a racially-charged Manhattan to Harlem, where Langston Hughes is buried in a library - literally underneath his prophetic words. Taylor is a New York-based novelist, essayist and short story writer originally from Alabama. His novel Real Life was shortlisted for the Booker Prize, and his latest The Late Americans will be published in June 2023. Producer: Ciaran Bermingham

Acclaimed writer Brandon Taylor is back with a new novel. In The Late Americans, a group of artists and friends in Iowa City head to a cabin to celebrate their last days all living in the same city... where a revelation might change their relationships forever. Taylor joins us to discuss the novel.

Kat and Phoebe share stories about mushrooms (not that kind), and mushrooms (yes, that kind.) Then: an allegedly scandalous review of Brandon Taylor's new novel, and the ensuing literary brouhaha.Links:The infamous review!https://slate.com/culture/2023/05/late-americans-brandon-taylor-twitter-novel-review.htmlBrandon Taylor in the NYT: https://www.nytimes.com/2023/05/25/books/review/brandon-taylor-interview.htmlMore on The Late Americans: https://www.penguinrandomhouse.com/books/671348/the-late-americans-by-brandon-taylor/Anger over the review:https://twitter.com/nameshiv/status/1661037581289803776https://twitter.com/BigMeanInternet/status/1661015873728159746https://twitter.com/shallowbrigade/status/1660684755828895744https://twitter.com/LCvonHessen/status/1661379868800548866https://twitter.com/SopanDeb/status/1661093017443287040Other commentary: https://twitter.com/SonnyBunch/status/1661020086344503298Brandon responds to the responses to the review:https://twitter.com/blgtylr/status/1661710305758519299 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit femchaospod.substack.com/subscribe

This week, host Brittany Luse chats with author and culture critic Brandon Taylor about his latest novel, The Late Americans. The book is set in Iowa City and follows several characters pursuing love, art and the promise of prosperity. They discuss what's so American about The Late Americans, and how it's a departure from what's currently seen as fashionable in fiction.You can follow us on Twitter @ItsBeenAMin or email us at ibam@npr.org.

“I am a firm believer in consequences.” Brandon Taylor's new novel, The Late Americans, finds a group of young people at a crossroads and follows as they face uncertainty and confront decisions that will affect the trajectory of their lives. Taylor joins us to discuss connections between his previous works, his love of revision and rewriting, starting a new career journey and more with Poured Over host Miwa Messer. We end this episode with TBR Topoff book recommendations from Marc and Jamie.  This episode of Poured Over was hosted by Executive Producer Miwa Messer and mixed by Harry Liang.        Follow us here for New episodes land Tuesdays and Thursdays (with occasional Saturdays).   Featured Books (Episode): The Late Americans by Brandon Taylor Filthy Animals by Brandon Taylor Real Life by Brandon Taylor The American by Henry James Romantic Comedy by Curtis Sittenfeld     Featured Books (TBR Topoff): Ohio by Stephen Markley All This Could Be Different by Sarah Thankam Mathews 

The Late Americans by Brandon Taylor by Poets & Writers

Depois de termos acertado em quase todas as expectativas para os lançamentos de 2022, está na hora de fazer apostas para 2023. Será que vai correr tão bem? Não percam o próximo ano porque nós também não. Livros mencionados neste episódio: - O livro da Rita (12:00) - The Villa, Rachel Hawkins (13:10) - Exes and Os, Amy Lea (15:06) - Hello Beautiful, Ann Napolitano (16:34) - Heartstopper Volume Five, Alice Oseman (18:30) - Happy Place, Emily Henry (19:11) - Secretly Yours, Tessa Bailey (21:36) - In the Lives of Puppets, T. J. Klune (22:20) - The Love Wager, Lynn Painter (23:29) - Warrior Girl Unearthed, Angeline Boulley (25:18) - Romantic Comedy, Curtis Sittenfeld (26:58) - Yellowface, R. F. Kuang (28:26) - Meet Me at the Lake, Carley Fortune (29:25) - The Late Americans, Brandon Taylor (30:07) - Gwen & Art Are Not in Love, Lex Croucher (32:19) - The Male Gazed, Manuel Betancourt (33:46) - Love, Theoretically, Ali Hazelwood (36:05) - Family Lore, Elizabeth Acevedo (36:52) - Business or Pleasure, Rachel Lynn Solomon (39:15) ________________ Enviem as vossas questões ou sugestões para livratepodcast@gmail.com. Juntem-se ao nosso Discord em: https://discord.gg/aRR7B2dfBT. Encontrem-nos nas redes sociais: www.instagram.com/julesdsilva www.instagram.com/ritadanova/ twitter.com/julesxdasilva twitter.com/RitaDaNova [a imagem do podcast é da autoria da maravilhosa, incrível e talentosa Mariana Cardoso, que podem encontrar em marianarfpcardoso@hotmail.com]

Laura and Martyn are back with their take on what's happening with The Eurovision Song Contest. There's lots of news from the various national selection shows, The American Song Contest has been delayed due to covid and we now know when the semi-final order is getting decided. There's also your correspondence and a Meat Loaf-themed Trivia Time.