Podcasts about nabokov

Matt Berninger from The National is my guest on this episode of That's How I Remember It. Matt checked in from a tour bus at the End of the Road festival in the UK and we talked about his great solo record Get Sunk, lyric monitors, Rizzo from Grease, roller skating, hotel bars, reading novels to plot your future, memory as fantasy and collage, writing about childhood, early 2000s NYC, and Nabokov cocktails. He also shared a traumatic Valentine's Day story. So happy to have Matt on the show, it was a really fun conversation. Listen and subscribe!

Samlandets besatthet vittnar om en drift där möjlighet och omöjlighet möts. Karin Brygger funderar i ljuset av Vladimir Nabokovs fjärilslätta slutord. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Halvvägs mellan min lågstadieskola och vår lägenhet stod ett gammalt vattentorn. I samband med att det skulle byggas nytt intill vattentornet tömdes en enorm hög med sten från havets botten där. Strax efter det började jag komma för sent till skolan. Min fröken ringde mamma och frågade varför. Hade något hänt?Något hade verkligen hänt. Jag hade hittat en skatt. Lika mycket som denna skatt av sten skärpte mitt sinne och väckte en slags känsla av oändlighet, höll den mig också borta från vardagens plikter: Jag försökte gå förbi berget av blanka, olikfärgade stenar men i stället sjönk jag ner på marken och började gräva efter de vackraste stenarna - och lägga dem i skolväskan. Tiden upphörde.”Jag erkänner att jag inte tror på tiden”, skriver författaren och entomologen Vladimir Nabokov i Tala, minne Den högsta glädjen över tidlösheten, menar han strax därpå, uppstår när han befinner sig bland sällsynta fjärilar: ”Det är en särskild sorts extas, och bakom den finns något annat som är svårt att förklara.”Samlandet slår an en ton i det inre hos den som drabbats av samlandets passion, menar psykoanalytikern Gunnel Jacobsson. Kanske är det denna ton som skymtar bakom Nabokovs extas, det oförklarliga som på en gång binder människan till det materiella och samtidigt skär av henne från det?Det är förstås skillnad på samlare och samlare, på varför man samlar och vad man gör med sina fynd. Vi kan notera genom historien såväl som i samtidens flöden allt från tvångsmässiga hoarders - vilka nu kan få hjälp av professionella städare om de förnedrar sig på TV - till antiksamlare, boksamlare och så vidare. I mitten av 1900-talet blev samlande av vardagliga ting plötslig konst, där framträdande namn är sådana som Joseph Cornell eller Louise Nevelson, den senare känd för sina stiliserade gatufynd. Ibland handlar det alltså om att skapa utifrån vad som finns tillgängligt, spränga normerna för en genre. Ibland är samlandet sjukdom och ibland är besattheten en slags fysisk översättning av en allomfattande tjusning. Besattheten viskar om en drift där möjlighet och omöjlighet möts, ungefär som i passionens längtan efter symbios. Transformationen från passionens hetsiga galenskap, som upplöser gränserna mellan jaget och den älskade, till djupare kärlek är i mellanmänskliga relationer både en nödvändighet och en förlust. Förlusten ligger i att inte längre leva där allt är uppskruvat, underbart och smärtsamt, där inget annat har betydelse än den enda andra människan. En samlare lämnar aldrig detta stadium.Det finns aldrig något giltigt skäl till att bli galen av kärlek. Det är slumpen. Det var också slumpen att ett berg av vackra stenar parkerades på min skolväg.Även Nabokov beskriver hur just slumpen förde honom till fjärilarna en morgon i hans ryska barndom. Plötsligt såg han en underbar, ljusgul varelse med svarta fläckar, blå flikar och en cinnoberfärgad ögonfläck. Den trängde in i en blomma och fladdrade hela tiden med vingarna. Begäret som uppstod i sjuåringen var det starkaste han någonsin känt. Den gula fjärilen förändrade allt och resten av sitt liv skulle Nabokov jaga efter fjärilar överallt där han levde, i alla de länder dit han tvingades i exil eller dit han reste för att bo. Om något mer än slumpen ska tillföras historien är det svår förlust: Nabokov drabbades efter den gula fjärilen av en lunginflammation. Matematikens gåva och identiteten som underbarn försvann med sjukdomen. Åter frisk drömde han inte längre om primtal, men fjärilarna fanns kvar. Han drömde fortfarande om nya arter. Och om att vara ensam.Men trots att Nabokov sent i livet kunde se tillbaka och säga att nästan ingenting kunnat överträffa tjusningen i entomologisk forskning så förknippas denna tjusning också med skam. Samlandets praktik kräver ensamhet. Kampen mellan social plikt och begär får honom en morgon att överge en barndomsvän som han själv bjudit på besök - för att ge sig ut allena på fjärilsjakt. Skammens tårar bränner bakom ögonlocken när han i full färd med att jaga efter fladdrande vingar tänker på sin väns ensamhet därhemma. Hur kunde jag?Kanske för att i besatthetens virvlar övertrumfar begäret alltid förnuftet. Men vore det inte så skulle heller inte tillräckligt många fjärilar samlas in, eller fågelarter räknas, eller andra vetenskapliga och konstnärliga storverk ha kommit till. Troligtvis skulle också nativitetstalen vara förfärligt låga.Jag inbillar mig att den ensamhet som måste skäras ut ur det sociala rum där vi förväntas leva – en ensamhet som omgivningen betalar för med sin övergivenhet - inte bara handlar om koncentration som inte får brytas: den ensamhet som krävs möter också en annan sorts ensamhet, en inre sådan. Och denna löses från sin plats bara i jakten på en eller annan skatt. Först där upphör all dissonans. Till priset av att ingen förstår. Ännu en ensamhet, alltså.Medan Nabokov blev bannad för att släpa runt på håvar överallt, jagad av bönder, hundar och till och med en häst, läser jag att idag behövs fler amatörentomologer. Nabokov var förvisso inte amatör, men han började som alla andra forskare sin bana just som amatör. Fjärilssamlandet generellt må alltid ha gått i vågor, med toppar efter andra världskriget och så sent som 2005 men för ett par år sedan slog forskare alltså fast att det är ett problem att amatörentomolygin minskat. Det är trots allt deras arbete som står bakom majoriteten av artinsamlandet. Jakten på de fladdrande skönheterna är nödvändig för att vi ska förstå den annalkande ekologiska apokalypsen. Det är heller ingen nyhet att världen alltid kommer behöva fjärilar. Däremot är det lika oroande att den värld fjärilarna behöver – en värld där man kan vakna och se en gul, fladdrande varelse och drabbas av en insikt utan namn som säger att detta är oerhört viktigt, verkar mer och mer fjärran. Törs människan inte, eller kan hon inte, längre vara ensam? Törs hon inte, eller kan hon inte längre, drabbas av intensiva begär - och stå ut med att ingen annan förstår dessa böjelser? Hur ska vi återuppliva det mod som krävs för att man ska stå med att vara olydig, lycklig, duktig och gräslig på samma gång?I slutet av sitt liv drömde Nabokov om att fånga fjärilar i Israel där han aldrig varit. Modet bestod alltså, men resan sköts upp gång på gång på grund av sjukdom. Inlagd, återigen för lunginflammation blir det till sist uppenbart att hans dröm ska gå om intet. Det är svårt att veta om de tårar som fyllde hans ögon när han insåg att nästa möte – hans sista med en okänd art – stod för dörren var sorgens eller rädslans tårar. Kanske längtans? Innan dödsögonblicket frågar hans son honom varför han gråter. Och han svarar: ”För att en viss fjäril redan flyger.”Karin Bryggerförfattare och skribentNabokovs sista ordVladimir Nabokovs sista ord citeras ofta som ”a certain butterfly is already on the wing”. Upprinnelsen till det är en anteckning i sonen Dmitris dagbok där det står:”A few days before he died there was a moment I remember with special clarity. During the penultimate farewell, after I had kissed his still-warm forehead—as I had for years when saying goodbye—tears suddenly welled in Father's eyes. I asked him why. He replied that certain butterfly was already on the wing; and his eyes told me he no longer hoped that he would live to pursue it again.”KällorNabokov, Vladimir. Låt höra av dig, minne. Övers: Lars Gustav Hellström. Forum, 1979.Nabokov, Vladimir. Blek låga. Översättning: Caj Lundgren, 2002. Modernista, 2020.https://thenabokovian.org/sites/default/files/2018-08/Nabokovian-37-1996-Fa-0.pdfhttps://www.newyorker.com/books/page-turner/nabokovs-blue-butterfliesErica E Fischer, Neil S Cobb, Akito Y Kawahara, Jennifer M Zaspel, Anthony I Cognato, Decline of Amateur Lepidoptera Collectors Threatens the Future of Specimen-Based Research, BioScience, Volume 71, Issue 4, April 2021, Pages 396–404, https://doi.org/10.1093/biosci/biaa152»Varför samlar människan på saker», Fredrik Hultgren, Svenska Dagbladet, 2005-09-28Vattentornet vid Vattugatan. Tornet byggdes 1893. Idag finns där bredvid en förskola.

Stephen King är den mest filmade författaren med ett 80-tal tv- och filmproduktioner som bygger på hans verk, hur ser framgångsreceptet ut? Lyssna på alla avsnitt i Sveriges Radio Play. På fredag är det premiär för "Life of Chuck", en berättelse med en Stephen King-novell som förlaga, något den har gemensamt med många, många filmer och tv-serier som gjorts genom åren. I somras kom tv-serien "The Institute", om några veckor har går filmen "The long walk" upp på biograferna och "It: Welcome to Derry" har premiär i oktober. Stephen Kings filmkatalog innehåller klassiker som "Stand by me", "The Shining" och "Nyckeln till frihet". Vad är det med hans berättelser som gör sig så bra på film? Vilka är de bästa och vilka ska man undvika? Hör samtal med författaren Mats Strandberg och Jonas Strandberg från tidningen Café och Stephen King-podden. Och för den uppmärksamma lyssnaren – gästerna är inte släkt, utan delar bara sitt stora Stephen King-intresse!RACKSTADKOLONIN I FOKUS PÅ WALDEMARSUDDEFrån slutet av 1800-talet och några decennier framåt verkade en kreativ skara konstnärer och konsthantverkare vid sjön Racken i Värmland. Konstnärskolonin, som var inspirerad av Arts & craftsrörelsen, arbetade med måleri, konsthantverk, musik och design och bland konstnärerna fanns Gustaf och Maja Fjæstad, Bror Lindh, Björn Ahlgrensson och Hilma Persson-Hjelm. Höstens stora utställning på Prins Eugens Waldemarsudde har samlat nästan 200 verk av Rackstadkolonin och kulturedaktionens Mårten Arndtzén har sett utställningen "Rackstadkolonin – stämningsmåleri, konsthantverk & design", hur bra är den?"DEN SISTA FJÄRILEN" – UNIKT BOKPROJEKT MED DIKTER FRÅN GAZAFörfattaren Nima Hasan har levt hela sitt liv i Gaza, där hon är en välkänd litterär röst. När kriget bröt ut i oktober 2023, började hon - som många andra palestinska poeter - att publicera dikter i sociala medier, skrivna mitt kriget, mitt i flykten. Översättaren Jasim Mohamed läste dikterna och översatte dem från arabiska till svenska allt eftersom de lades upp. Tillsammans har han och poeten Nima Hasan valt de dikter som nu kommer ut för första gången i bokform.OBS RADIOESSÄ: OM DRÖMMAREN NABOKOVTänk om drömmarna inte berättar om det som har varit utan det som ska komma, att vi inte är uppmärksamma nog i vår verklighetsregistrering. Författaren Nabokov antecknade 64 drömmar 1964. Slog de in? Katarina Wikars har skrivit dagens OBS.Programledare Roger WilsonProducent Maria Götselius

Taking recent spectacular progress in AI fully into account, Mark Seligman's AI and Ada: Artificial Translation and Creation of Literature (Anthem Press, 2025) explores prospects for artificial literary translation and composition, with frequent reference to the hyperconscious literary art of Vladimir Nabokov. The exploration balances reader-friendly explanation (“What are transformers?”) and original insights (“What is intelligence? What is language?”) with personal and playful notes, and culminates in an assortment of striking demos The book's Preface places the current AI explosion in the context of other technological cataclysms and recounts the author's personal (and not always deadly serious) AI journey. Chapter One (“Extracting the Essence”) assesses the potential of machine translation of literature, exploiting Nabokov's hyperconscious literary art as a reference point. Chapter Two (“Toward an Artificial Nabokov”) goes on to speculate on possibilities for actual artificial creation of literature. Chapter Three (“Large Literary Models? Intelligence and Language in the LLM Era”) explains recent spectacular progress in Generative Artificial Intelligence (GenAI), as exemplified by Large Language Models like ChatGPT. On the way, the chapter ventures to tackle perennial questions (“What is intelligence?” “What is language?”) and culminates in an assortment of striking demos. In this episode, Ibrahim Fawzy sat with Mark Seligman to talk about how the current AI revolution fits into the long arc of cultural and technological shifts, Seligman's framing of the “Great Transition” between Humanity 1.0 and 2.0, Nabokov's style as a lens for thinking about artificial creativity, the possibilities and limits of machine translation and literary artistry, and the philosophical stakes of whether AI-generated works can ever truly be considered art.Ibrahim Fawzy is an Egyptian literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. 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

Taking recent spectacular progress in AI fully into account, Mark Seligman's AI and Ada: Artificial Translation and Creation of Literature (Anthem Press, 2025) explores prospects for artificial literary translation and composition, with frequent reference to the hyperconscious literary art of Vladimir Nabokov. The exploration balances reader-friendly explanation (“What are transformers?”) and original insights (“What is intelligence? What is language?”) with personal and playful notes, and culminates in an assortment of striking demos The book's Preface places the current AI explosion in the context of other technological cataclysms and recounts the author's personal (and not always deadly serious) AI journey. Chapter One (“Extracting the Essence”) assesses the potential of machine translation of literature, exploiting Nabokov's hyperconscious literary art as a reference point. Chapter Two (“Toward an Artificial Nabokov”) goes on to speculate on possibilities for actual artificial creation of literature. Chapter Three (“Large Literary Models? Intelligence and Language in the LLM Era”) explains recent spectacular progress in Generative Artificial Intelligence (GenAI), as exemplified by Large Language Models like ChatGPT. On the way, the chapter ventures to tackle perennial questions (“What is intelligence?” “What is language?”) and culminates in an assortment of striking demos. In this episode, Ibrahim Fawzy sat with Mark Seligman to talk about how the current AI revolution fits into the long arc of cultural and technological shifts, Seligman's framing of the “Great Transition” between Humanity 1.0 and 2.0, Nabokov's style as a lens for thinking about artificial creativity, the possibilities and limits of machine translation and literary artistry, and the philosophical stakes of whether AI-generated works can ever truly be considered art.Ibrahim Fawzy is an Egyptian literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Taking recent spectacular progress in AI fully into account, Mark Seligman's AI and Ada: Artificial Translation and Creation of Literature (Anthem Press, 2025) explores prospects for artificial literary translation and composition, with frequent reference to the hyperconscious literary art of Vladimir Nabokov. The exploration balances reader-friendly explanation (“What are transformers?”) and original insights (“What is intelligence? What is language?”) with personal and playful notes, and culminates in an assortment of striking demos The book's Preface places the current AI explosion in the context of other technological cataclysms and recounts the author's personal (and not always deadly serious) AI journey. Chapter One (“Extracting the Essence”) assesses the potential of machine translation of literature, exploiting Nabokov's hyperconscious literary art as a reference point. Chapter Two (“Toward an Artificial Nabokov”) goes on to speculate on possibilities for actual artificial creation of literature. Chapter Three (“Large Literary Models? Intelligence and Language in the LLM Era”) explains recent spectacular progress in Generative Artificial Intelligence (GenAI), as exemplified by Large Language Models like ChatGPT. On the way, the chapter ventures to tackle perennial questions (“What is intelligence?” “What is language?”) and culminates in an assortment of striking demos. In this episode, Ibrahim Fawzy sat with Mark Seligman to talk about how the current AI revolution fits into the long arc of cultural and technological shifts, Seligman's framing of the “Great Transition” between Humanity 1.0 and 2.0, Nabokov's style as a lens for thinking about artificial creativity, the possibilities and limits of machine translation and literary artistry, and the philosophical stakes of whether AI-generated works can ever truly be considered art.Ibrahim Fawzy is an Egyptian literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Taking recent spectacular progress in AI fully into account, Mark Seligman's AI and Ada: Artificial Translation and Creation of Literature (Anthem Press, 2025) explores prospects for artificial literary translation and composition, with frequent reference to the hyperconscious literary art of Vladimir Nabokov. The exploration balances reader-friendly explanation (“What are transformers?”) and original insights (“What is intelligence? What is language?”) with personal and playful notes, and culminates in an assortment of striking demos The book's Preface places the current AI explosion in the context of other technological cataclysms and recounts the author's personal (and not always deadly serious) AI journey. Chapter One (“Extracting the Essence”) assesses the potential of machine translation of literature, exploiting Nabokov's hyperconscious literary art as a reference point. Chapter Two (“Toward an Artificial Nabokov”) goes on to speculate on possibilities for actual artificial creation of literature. Chapter Three (“Large Literary Models? Intelligence and Language in the LLM Era”) explains recent spectacular progress in Generative Artificial Intelligence (GenAI), as exemplified by Large Language Models like ChatGPT. On the way, the chapter ventures to tackle perennial questions (“What is intelligence?” “What is language?”) and culminates in an assortment of striking demos. In this episode, Ibrahim Fawzy sat with Mark Seligman to talk about how the current AI revolution fits into the long arc of cultural and technological shifts, Seligman's framing of the “Great Transition” between Humanity 1.0 and 2.0, Nabokov's style as a lens for thinking about artificial creativity, the possibilities and limits of machine translation and literary artistry, and the philosophical stakes of whether AI-generated works can ever truly be considered art.Ibrahim Fawzy is an Egyptian literary translator and writer based in Boston. His interests include translation studies, Arabic literature, ecocriticism, disability studies, and migration literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

För Vladimir Nabokov handlade Lolita om att erövra det engelska språket. Maria Edström läser en författare som aldrig längtade hem. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången 2025.Som tonåring blev jag helt tagen av Vladimir Nabokovs roman ”Han som spelade schack med livet”. Schackgeniet Luzjins totala oförmåga att leva ett normalt liv utanför spelandet, hans sociala klumpighet och totala hjälplöshet i tillvaron utanför brädet och dess figurer – kändes på något förvånande vis bekant. Då den yttre världen framstår som helt obegriplig för Luzjin vill han desperat hitta ett språk att kunna vistas och navigera i. Själva schackspelet blir hans i stort sett enda språk, som levde han i ett land där detta var modersmålet. Precis som man kan känna när man är mycket ung och är på väg att bli en annan. Eller som när man måste lämna sitt land och sitt språk.Romanen ”Luzjins försvar” som enligt Nabokovs såväl ryska som engelska titel vore riktigare även på svenska, väckte direkt uppmärksamhet. I förordet till romanens svenska utgåva 1936 ansåg Anders Österling att V. Sirin – som Nabokov kallade sig då för att inte förväxlas med sin far – var ett namn att lägga på minnet, och att han ”tillhör den emigrantgeneration, vars känsloliv hunnit frigöra sig från de äldres hjälplösa hemlängtan till ett Ryssland, som blott existerar i deras minnen.” Författaren Maxim Grigoriev skriver insiktsfullt i sitt förord till samlingen ”Ryska romaner”, med flera av de verk som Nabokov skrev på ryska och senare översatte till engelska, att det centrala temat i Nabokovs författarskap är vad som händer när en människa ser världen på ett helt annat sätt än omgivningen. Grigorjev verkar också hålla med Österling, även om hans uttryck är mer drastiskt; Nabokov ägnar sig inte åt ”lökkupolsmasturbation” utan var redan från början var en sofistikerad, modern och kosmopolitisk författare. Men Nabokovs verk skildrar också migrantlivet mer handfast. I ”Han som spelade schack med livet” sitter Ljuzjins svärföräldrar ensamma, isolerade i en utkyld lägenhet i Berlin, fylld av rysk kitsch; samovarer och tavlor av bondkvinnor – i en av migrationens alla distinkta bilder. I ”Masjenka” handlar det om rysk diaspora på ett pensionat i samma stad; ”Pensionatet var både ryskt och otrevligt” som det heter. Huvudpersonen Ganin, som lever ett tröstlöst exil-liv inser plötsligt på väg till tågstationen där han äntligen ska möta sin forna ryska kärlek att hon, Masjenka, bara är en bild ur minnet. ”Det finns ingen Masjenka utom denna bild, kunde inte finnas.” Och Ganin förstår att det inte finns någon väg tillbaka. Och på den vägen är det hos Nabokov - riktningen är inte bakåt, hemåt, utan framåt, bort.Författaren Aris Fioretos som gjort en bragd-insats som översättare av Nabokovs romaner, förvisso från engelska men de låter ryska, skriver i sin elaborerade essä ”Nabokovs ryggrad” mycket om hans stil, zoomar in och ut på detaljer och korrespondenser. Tar fasta på Nabokovs påstående att det måste ”kännas i ryggraden” om något är stor litteratur. Och visst, men är inte detta uttalandet ett typiskt avfärdande från en författare som hatade allt som luktade tolkningar, psykoanalys, politiska budskap eller falsk själfullhet. Fioretos skriver att Nabokov ville skapa ett mönster, en väv av text, av språk som kunde mäta sig med själva skapelsen. En författare som inte speglar utan uppfinner sin egen värld medan han beskriver den – om det så gäller Berlin, Frankrike eller en småstad i USA.För när kriget, som jagat Nabokov och hans hustru runt i hela Europa, till slut tvingar dem över Atlanten så skriver han de två, som jag lite tillspetsat vill påstå, stora migrantromanerna: ”Lolita” och ”Pnin”. ”Lolita” med sin skandalösa pedofil-gestalt Humbert Humbert – en ”sjabbig émigré” trots sina snygga kostymer och europeiska bildning. ”Pnin” är motsatsen – en rörande och ömsint liten rysk professor som omfamnar allt amerikanskt men inte har en susning om hur han ska hävda sig i detta nya. Den onde och den gode migranten. Och en oöverträffad skildring av Amerika fylld av hån och kärlek. Nabokov blev sårad över att ”Lolita” beskylldes för att vara antiamerikansk – blott ett av allt den anklagades för – för honom handlade den om att erövra det engelska språket. Likt en förälskad och vedervärdig våldtäktsman vill han erövra sin ”Lolita” – det engelska/amerikanska språket som gäckar honom i sin barnsliga och vulgära lockelse. Men som han lyckas erövra och inlemma i sin egen språkliga praktik. ”Bilarna stod parkerade som grisar runt ett tråg” som han beskriver parkeringen utanför det hotell där det första övergreppet på Dolores äger rum. Men i memoaren ”Tala minne” utvecklar Nabokov sin fruktan att förlora det enda han räddat med sig från Ryssland – ryskan. Trots att han som barn haft en engelsk guvernant skulle han alltid vara rädd att han aldrig skulle bli i stånd att få sin engelska prosa att komma ens i närheten av den på ryska. Och han skulle fortsätta att översätta från ryska till engelska och från engelska till ryska i hopp om att vara herre över sitt språk. ”Lolita” utkom 1955 och skrevs direkt på engelska, men när Nabokov tio år senare översatte boken till ryska insåg han att det ”underbara ryska modersmålet” – som han inbillade sig ännu väntade på honom någonstans – var en chimär. Fioretos beskriver hur engelskan, övertrumfar modersmålet. Det nya har segrat över det gamla, det språkliga återvändandet blir en bitter återvändsgränd. För Nabokov har inte främst migrerat från en plats, utan från ett språk. Det är inte en lokal hemlöshet utan en existentiell tomhet som bara kan lindras av språkets, stilens, spelets inre räddande karta. Är det för att han är en migrant som vägrar spela den förväntade rollen i att sörja folket, kulturen, jorden eller nationen som hans stil så ofta beskrivs som kylig och ironisk, ja rentav trolös? Men ser inte underströmmarna av ömhet och förtvivlan. I Maxim Grigorievs roman ”Europa” åker huvudpersonen, som på ett gåtfullt vis rymt eller ”hoppat av” från Sovjetunionen under en skolresa i Paris, i nutid som vuxen tillbaka på ett impulsivt besök till barndomsstaden Moskva. Han söker upp sitt gamla hem i ett stort hyreshus där ingen öppnar, bara en sur granne undrar vad fan han gör där. ”Nånting drogs ihop och slöt sig inom mig, som när man knyter ihop en sopsäck”. Precis så skulle Nabokov kunnat formulera det och här, tycker jag, gör Grigoriev ”en Nabokov” – gestaltar det exilens tomrum runt vilket ett helt författarskap kan hovra. Själv slutade Nabokov, som aldrig haft ett riktigt hem någonstans, sitt liv på ett lyxhotell i Schweiz – Europa men ändå inte riktigt Europa, ett flerspråkligt neutralt isolat, en priviligierad tillflykt, en den oheroiska migrantens asyl. Maria Edström kritikerLitteratur:Vladimir Nabokov ”Han som spelade schack med livet” i svensk översättning av Ellen Rydelius med förord av Anders Österling. Albert Bonniers förlag 1936.Vladimir Nabokov ”Ryska romaner”, samlingsutgåva med förord av Maxim Grigoriev. Modernista 2024.Vladimir Nabokov ”Masjenka” i svensk översättning av Aris Fioretos. Norstedts 2001.Aris Fioretos ”Nabokovs ryggrad”, essä. Norstedts 2024..Vladimir Nabokov ”Lolita” i svensk översättning av Aris Fioretos. Albert Bonniers pocket 2007.Vladimir Nabokov ”Pnin” i svensk översättning av Aris Fioretos. Norstedts 2000.Vladimir Nabokov ”Tala, minne” i svensk översättning av Lars Gustav Hellström Albert Bonniers 2012.Maxim Grigoriev ”Europa” Albert Bonniers 2021

Este episódio de podcast fala sobre a arte feita por inteligência artificial e sobre o futuro da criatividade humana. Em 2018, a exclusividade humana no campo da arte foi posta à prova. A casa de leilão Christie's vendeu, pela primeira vez, uma obra de arte feita por IA. O item, arrematado por 432 mil dólares, era a impressão de uma gravura gerada por um um programa de inteligência artificial que "estudou" pinturas históricas. As artes plásticas não são o único campo invadido pela IA. Nichos literários como o dos romances eróticos têm abundância de títulos escritos com ajuda de robôs. Isso sem falar em áreas não artísticas da escrita, como e-mails, relatórios, petições e memorandos, estas tomadas por aplicações de inteligência artificial. Ao mesmo tempo, atividades como as artes plásticas e a literatura são profundamente subjetivas. Isso impede que robôs, ao menos no estágio atual, criem coisas genuínas e inovadoras. Assim, abre-se uma encruzilhada. Será que o universo das artes vai se tornar um feudo onde só humanos entram? Ou será que a inteligência artificial vai reinar aí também?Episódios relacionados90: Era uma vez um Google bonzinho133: Inteligência artificial artificialMergulhe mais fundo⁠Escrever é humano: Como dar vida à sua escrita em tempo de robôs (link para compra)⁠Little Martians, de Vanessa Rosa (link para o site)Entrevistados do episódioSérgio RodriguesJornalista, escritor e colunista da Folha de S. Paulo. Criador do blog Todoprosa. Autor de livros como "O Drible", "A vida futura", e o recém lançado "Escrever É Humano: Como dar vida à sua escrita em tempo de robôs".Vanessa Rosa⁠Artista visual brasileira radicada nos Estados Unidos. Criadora do universo Little Martians.Ficha técnicaProdução e edição: Matheus MarcolinoLocução adicional: Priscila PastreMixagem de som: Vitor CoroaTrilha sonora tema: Paulo GamaDesign das capas dos aplicativos e do site: Cláudia FurnariDireção, roteiro e sonorização: Tomás Chiaverini

In Serendipity (Reaktion) Carol Mavor uses Anne Frank's journal, discovered in the Secret Annex after the Second World War, Emily Dickinson's poems, scribbled on salvaged envelopes hidden in a drawer, Lolita, rescued from incineration by Nabokov's wife Véra and her own memory of eating a frozen hot chocolate in New York's Serendipity 3, a dessert café favoured by Andy Warhol, to muse upon the serendipitous afterlives of objects. Mavor, Professor of Art History and Visual Culture at the University of Manchester and prolific author of books and articles about art and culture, was in conversation about fragments, remnants and what remains with novelist, essayist and translator Lauren Elkin.

In "Step 88: Rorty's Solidarity," the concluding episode of our three-part series on Richard Rorty's Contingency, Irony, and Solidarity (1989), host Ryder Richards explores Part III, Chapters 7–9, where Rorty tackles cruelty and solidarity. Rorty argues that solidarity isn't a universal human essence but a contingent creation, forged through imaginative identification with others' pain via narratives like novels. We delve into vivid examples: Nabokov's Lolita and its “tingles” of aesthetic bliss, which reveal cruelty through inattention and inspire moral empathy; Orwell's 1984, where O'Brien's intelligent cruelty underscores the fragility of liberal hope; and Sellars' “we-intentions,” showing how solidarity expands “us” through shared stories, not abstract truths.Rorty's appeal lies in his witty, pragmatic blend of literary insight and moral hope, empowering us to craft kinder worlds without metaphysical crutches. Yet, Ryder remains skeptical, critiquing how Rorty's vision has materialized but been subverted in 2025. While his liberal ironist thrives in self-creation and anti-cruelty movements, mimetic identities—adopting others' vocabularies for social gain—and weaponized solidarity, where anti-cruelty fuels division, distort his utopia. This episode traces Rorty's narrative-driven philosophy from language and selfhood to community, urging listeners to question vocabularies while imagining a broader “we.” Join us for a compelling finale to this philosophical journey, available on LetUsThinkAboutIt. 0:00 Intro 2:23 Noticing Cruelty through Narrative: Nabokov 7:18 Fragility of Liberal Hope: Orwell 11:50 Creating Solidarity: Sellars 15:48 Rorty's Legacy: subversion and capture 20:28 Outro

Trigger Warning: This episode contains detailed discussions of child sexual abuse, rape, trauma, and the failures of the justice system.In this powerful and deeply affecting conversation, Neige Sinno speaks with Adam Biles about her landmark book Sad Tiger, recently published in English in a luminous translation by Natasha Lehrer. A searing literary interrogation of the years of abuse Sinno suffered at the hands of her stepfather, Sad Tiger explores the limits of testimony, the insufficiencies of language, and the deep societal denial that silences victims. Sinno reflects on the ethics and formal challenges of writing about trauma, the intellectual and emotional paradoxes of bearing witness, and how literary form can both expose and protect. The conversation touches on Nabokov's Lolita, the myth of the “monster,” and how society colludes in refusing to see evil when it wears a familiar face. Courageous, lucid, and unflinching, Sinno's presence and insights make this an unforgettable episode.Buy Sad Tiger: https://www.shakespeareandcompany.com/books/sad-tigerNeige Sinno is a French writer who has studied American literature in the United States and Mexico, and worked as a translator and literature professor. She is the author of two previous books, Le Camion and La Vie des rats. Born in France, she has lived in Mexico for the past 20 years. Her 2023 book, Triste tigre, won several of France's top literary prizes and became the publishing sensation of the year. It will be published in English as Sad Tiger by Seven Stories, in a translation by Natasha Lehrer.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

Poetry from NonBinary Review Issue #40: Epiphany

durée : 00:19:16 - Lectures du soir - 5ème et dernière émission d'une série de 5 consacrée à l'écrivain russe Vladimir Nabokov : aujourd'hui, Diane Kolnikoff reçoit l'éditeur et traducteur Michel Parfenov, qui parle d'un des derniers romans de Vladimir Nabokov Ada ou l'ardeur.

The title of this episode should be preceded by a disapproving tut or a disdainful whistling of air through the teeth. Looking at the concept of something becoming outdate or inappropriate in a more modern context, Chris and Maurice consider Nabokov's Lolita, the book of Leviticus, the music of Grease and go on the hunt for a lost cord. All of this while enjoying a reminiscent round or two of the Generation game... didn't they do well?   First recorded on Thursday 22nd May 2025.

durée : 00:19:51 - Lectures du soir - 4ème émission d'une série de 5 consacrée à l'écrivain russe Vladimir Nabokov : aujourd'hui, Diane Kolnikoff reçoit l'écrivain Geneviève Brisac, qui parle des conférences et cours qu'a donnés Vladimir Nabokov aux Etats-Unis dans les années 50.

durée : 00:19:42 - Lectures du soir - 3ème émission d'une série de 5 consacrée à l'écrivain russe Vladimir Nabokov : aujourd'hui, Diane Kolnikoff reçoit Laure Troubetzkoy (maître de conférence de littérature russe), qui parle d'une nouvelle inédite de Nabokov, La pluie de Pâques.

durée : 00:19:59 - Lectures du soir - 2ème émission d'une série de 5 consacrée à l'écrivain russe Vladimir Nabokov : aujourd'hui, Diane Kolnikoff reçoit Anne Wiazemsky, qui parle essentiellement de son autobiographie Autres rivages.

durée : 00:19:32 - Lectures du soir - 1ère émission d'une série de 5 consacrée à l'écrivain russe Vladimir Nabokov aujourd'hui, Diane Kolnikoff reçoit Nata Minor, psychanalyste et traductrice du russe, qui parle des rapports entre Nabokov et Pouchkine.

durée : 00:24:49 - Les Nuits de France Culture - par : Albane Penaranda - Dans cet épisode de "Fassbinder Melodrama", Franck Venaille explore "Despair", film de 1978 adapté de Nabokov, où un industriel en crise identitaire traque son double sur fond de montée du nazisme. Un voyage mental entre un homme et sa propre souffrance, dédié à Antonin Artaud. - réalisation : Emily Vallat - invités : François Cuel

En la Setmana de la Llengua, consagrada aquest cop al binomi llengua i ensenyament, recordem professors i mestres de llengua i literatura a dins i fora dels llibres, amb noms que van de Matilda a Stoner i de Nabokov a Guillem Sala. En parlem amb Anna Ballbona, Paula Carreras, Adolf Beltran i tamb

Talking in-depth with author, publisher, and academic Udith Dematagoda, on his intellectual journey from post-punk bands to postwar literary writers, from international development contracts to pursing a PhD on Nabokov, from Scottish council estates to the specter of Marxist ghosts. A romantic, Udith shares his biography, the crossroads of class, diasporic experience, being driven not by ideology, but by aesthetic integrity. The son of a Sri Lankan political exile in Scotland, code-switching between posh-accented academia and the swear-punctuated slang of the personal, discovering reading as a lifeline from juvenile delinquency. On Agonist, his novel of post-internet disintegration, the imagination flooded by the digital hose. On the aesthetics of fascism, the dialectic between technology and masculinity, and the enduring value of Conrad. On the flattening tendencies of ideology and longing for transcendence. From literary engineering to integrity, on Neruda to Nabokov's politics. On cosmopolitism, hybridization, from Vienna to Tokyo and back to novel publishin. On transgression and techno-pessimism, the diabolic nature of AI….ExcerptsOn Artistic IntegrityI'm an extremely romantic and impractical person, right? Artistic integrity is probably the most important thing to me, I think, because, my, as I said, my ambitions are just very like, artistic, right?On Techo-Pessimism They just come from the depths of hell. The true face of this horrid, diabolical kind of thing….I'm a complete technological pessimist.I would describe myself as a sort of Luddite in the original sense, in the sense of I insist like the, just because one is you're able to do something. There's no sense. I think a lot of people. techno optimists are really motivated by hatred and raison du monde of human nature of creativity, of, everything that's human, right? And then this is a secret kind of motivation, but one that's really apparent to me…I think it's because the people that are driving these things really have a sort of fundamental  raison du monde towards something which they feel alienated by for whatever reason…On Agonist I was very frustrated about being on the internet and taking away from what I had to do.Artistically, intellectually, et cetera, wasting time on the internet…  And then I just decided I'm gonna write everything I see that's annoys me into this notebook. And I just filled that notebook up over a year. [Agnoist] is a fever dream of the internet, which tries to confront how people try to communicate and just are not able to, and what underlies this thing, this kind of collective text that we're all offering, whether we like it or not. And how diabolical it is.On Masculinity, Fascism, and Technology So this is the book I've been working on for six years now on masculinity, fascism, and technology. The general thesis of the book is that fascism is equally an aesthetic philosophy as it is in ideology. It's why it describes an ideological aesthetic.On International Development And this isn't a controversial position to say that, international development is just rear guard colonialism, that's all it is. It's just soft power for rear, for the type of colonialism, which no longer requires colonial administrators with boots on the ground.It just requires technical assistance and expertise and con consultants, et cetera. USAID in particular, when I worked within that world was absolutely known to be not even thinly disguised kind of front for the securities state, the projects that they funded, et cetera. That's not that was common knowledge. USAID was just front basically for the American State Department and also the CIA and NSA, et cetera.On Readership I'm happy that there's people that read my work and they enjoy it, and that's fine. I don't really need to have the validation of what, whatever it is. I don't know, like the sort of journalistic class or like the academic class or what, whatever it is, I don't really care.I'm not really that bothered by that. Honestly I would like that people read my work and that's fine, I think but attaining ambitions for me is setting it to accomplish something that I think is interesting artistically in getting as close to that as possible…AgonistHyperidean PressUdith Dematagoda Get full access to Leafbox at leafbox.substack.com/subscribe

This is the first episode of Eminent Americans where I've had the pleasure of talking to both the subject of a published profile and the profile writer at the same time. Kevin LaTorre, a return guest on the show, recently wrote “The 6,069 Fictions of Justin Smith-Ruiu,” a long piece about philosopher and metafictionist Justin Smith-Ruiu. Or maybe Justin wrote it himself, appropriating Kevin's name and likeness as another one of his authorial alter-egos. Maybe “Kevin” doesn't even exist. I mean, I think he does, since I've talked to him before on zoom, and perused his digital profile, but what if he's just a gifted improviser who was hired by Justin to play Kevin on my podcast? What if the plan all along was to create a real-seeming “Kevin LaTorre” persona, with a fully fleshed out online profile, in order to add yet another layer of semi-unreality to the many layers of the Hinternet, Justin's vast and sprawling endeavor.This seems unlikely, given that “Kevin” and I don't even talk about Justin in our first podcast interview, but who knows? If you're going to create a plausible “Kevin LaTorre” in the world, then you need to have him doing plausibly Kevin LaTorre-esque things, like coming on my podcast to discuss his “faith,” the essayist “Jia Tolentino,” and “climate change.”Anyhoo — such are the questions one begins to ask oneself after one has spent more than a certain amount of time in Justin's world. The conversation, which I really enjoyed, is primarily about Justin and his Hinternet project. We also talk about the challenges that Kevin faced in profiling Justin, Justin's disillusionment with academia, and Justin's scooter accident of a few years ago, which marked a profound break in his life and career. And much, much more.Hinternet posts we discuss include (descriptors and parentheticals from Kevin)* His re-version story* His past audio-mixing history* This metafiction: "The Storyteller"* His case against euthanasia (by far, the most technoskeptic take I've read from him)* His case for pacifism (by far the most dissident-left stance he has, I think -- antiwar in a pro-war Democratic party)* His reflection on his post-2020 developments (where he uses the "old-time religion" of love which sums up plenty about him lately)The show notes, according to ChatGPT:

Hilary Tiscione"Setole"Polidoro Editorewww.alessandropolidoroeditore.itDopo il successo di Liquefatto, Hilary Tiscione torna in libreria il 12 aprile nella collana Interzona con Setole, un romanzo dalla lingua fenomenica e vorticosa.Dentro una dimenticata villa con piscina, in un tempo e luogo sospesi come in un quadro di David Hockney, si muovono vite disastrose e illuminanti, quelle di Mira, Lena, Rocco e Cino.  Nel cuore tormentoso della grande casa, la quale pulsa di disastri e incontri, gli abitanti sembrano non appartenere a se stessi e al mondo fuori, appartengono solo alle loro stanze, ai tetti e al giardino, che a dispetto della loro immobilità, pullula di vita. In questo spazio mosse dall'aria e dal fato, galleggiano le esistenze di una ragazzina lolitiana mai stufa di vivere, una donna oppressa dalle pillole e dal peso delle indecisioni e di altri personaggi che gravitano intorno alla lussuosa villa. Poi, c'è un uomo lontano, eppure incastonato, come un emblema che si accartoccia su sé stesso mai perdendo la forza simbolica, nelle esistenze di tutti loro. Il suo nome è Al.Un romanzo che sembra richiamare il ritmo masticato, filosofico e acidamente lirico di Nabokov, di Ellis e di Manganelli. Setole vuole rinnovare la poetica cinematografica delle solitudini avanzata da un film cult come Il giardino delle vergini suicide di Sofia Coppola."Setole" proposto da Filippo Bologna al Premio Strega 2025 con la seguente motivazione:«Come nelle celebri tele di David Hockney o nell'indimenticabile film di Jacques Deray con Alain Delon, anche in questa storia c'è una piscina. Con l'acqua a volte limpida, a volte torbida, increspata di piccole onde. Proprio come i sentimenti di Lena, adolescente inquieta confinata in una villa su un'isola delle Hawaii, sospesa nel tempo immobile di un'estate senza fine. E attorno a questa piscina, sotto un sole stordente che si abbatte sul polveroso cantiere della dépendance e sul lussureggiante giardino, si muovono presenze sfuggenti, ombre riflesse sul fondale, indecise se tuffarsi o meno nella vasca senza fondo delle loro vite. Sono Lena, prigioniera dei turbamenti ormonali e del febbricitante languore estivo; Mira, madre depressa e femme fatale sfiorita che annega il suo malessere tra sonniferi e alcol; Cino, giardiniere tuttofare che regge sulle spalle l'eroismo silenzioso della sopportazione; e Rocco, giovane e atletico manovale che diventa il vertice di un conturbante triangolo del desiderio. Su questa Itaca dei Tropici aleggia l'assenza onnipresente di Al, musicista e compagno di Mira, padre di Lena, Ulisse smarrito, che ha dimenticato la rotta di casa e forse non farà mai ritorno alla sua reggia. Setole è un romanzo dall'atmosfera ipnotica, che avvolge da subito il lettore tra le sue spire narrative. Con una struttura compatta e incalzante, scandita in trentuno capitoli – tanti quanti i giorni di agosto – e una voce capace di captare ogni minima vibrazione dell'animo di un'adolescente, Hilary Tiscione dimostra una sensibilità di scrittura rara. Attraverso un uso del dialogo asciutto e percussivo, di chiara ispirazione cinematografica, e uno stile visivo e sensoriale, denso di immagini poetiche, l'autrice crea un efficacissimo montaggio, che alterna accelerazioni improvvise e dilatati ralenti. Tra campiture pittoriche fatte di esplosioni di luce e violenti tagli d'ombra, e una vibrante playlist che diventa colonna sonora dell'abbandono, della delusione e del tradimento, Setole si impone come un romanzo originalissimo e pop, capace di distinguersi per personalità e stile nel panorama della letteratura contemporanea.»Hilary Tiscione (1987) è nata a Genova e vive a Milano. Si è laureata in Lettere e Filosofia all'Università Cattolica del Sacro Cuore. Ha scritto per il Magazine 8 e mezzo e per la rivista online LongTake. Scrive per La Ragione. I suoi racconti sono apparsi su Nazione Indiana, Il Primo Amore, Minima&Moralia e Altri Animali. Lavora all'Università IULM di Milano; è coordinatrice del Master in Sceneggiatura della sede di Roma. Produttore esecutivo del docufilm “Vorrei sparire senza morire – Un racconto di Pupi Avati” selezionato alle Giornate degli Autori nella 78esima edizione della Mostra del cinema di Venezia. Nel 2021 ha pubblicato il suo primo romanzo, Liquefatto (Polidoro Editore) e il saggio narrativo Se Rose gli facesse spazio, Jack si salverebbe? (Bietti).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Ilaria Palomba"Purgatorio"Alter Ego Edizioniwww.alteregoedizioni.itIlaria ha ingoiato delle benzodiazepine, ha dato le spalle a Roma e si è lanciata nel vuoto. Vive mesi lunghissimi in unità spinale; non sarebbe dovuta sopravvivere, invece torna addirittura a camminare. Il dolore mentale lascia spazio a quello fisico, spesso si sovrappongono, a volte esplodono, altre si silenziano in apatia. Le elucubrazioni raccontano il passato, gli uomini che si sono susseguiti, gli incubi, l'angoscia, un amore smodato per la letteratura e per la filosofia, cosa ha portato al suicidio ma anche ciò che è stato il ritorno alla vita dopo il “grande salto”.Purgatorio è un memoir che segue un andamento poetico, dove i personaggi riscrivono la propria identità nell'impossibilità di fissarla. Ilaria Palomba fronteggia interrogativi estremi e come Bernhard fa dialogare vita e morte in uno stile lirico che si lega agli eventi. Il lessico aulico, gli arcaismi, l'ossessività martellante, il movimento spiraliforme conducono il lettore a soffermarsi: ogni frase cerca di contenere il tutto.Ilaria Palomba, pugliese di origine, romana d'adozione, è nata nel 1987. Ha pubblicato i romanzi Fatti male (Gaffi, 2012, tradotto in tedesco per Aufbau-Verlag), Homo homini virus (Meridiano Zero, 2015, “Premio Carver” 2015), Brama (Giulio Perrone Editore, 2020), Vuoto (Les Flâneurs, 2022, “Premio Oscar del Libro” 2023, presentato al “Premio Strega” e menzione romanzo innovativo/sperimentale al “Premio Terre di Puglia”). Le sillogi poetiche Città metafisiche (Ensemble, 2021), Microcosmi (Ensemble, 2022, menzione d'onore al “Premio Semeria” 2021 e “Premio Virginia Woolf” al “Nabokov” 2023), Scisma (Les Flâneurs, 2024, “Premio Libro Irregolare”). Ha partecipato alle antologie Il mestiere più antico del mondo? (Elliot, 2017), L'ultimo sesso al tempo della peste (Neo, 2020). Ha fondato il blog letterario “Suite italiana” e attualmente collabora con la rivista “La Fionda”.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

The queens talk with gay literary icon Edmund White about his new book, The Loves of My Life: A Sex Memoir. (Miguel Murphy joins in the fun, too!)Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.                            Miguel's SHORE DITCH is available from Barrow Street.You can purchase Edmund White's new book, The Loves of My Life: A Sex Memoir, at BookWoman here. Bookwoman was founded to increase access to queer and feminist literature in Texas nearly fifty years ago. Read Colm Tóibín's essay, "On the Casual Brilliance of Edmund White"Read a tribute to Gary Indiana  in The Guardian here. Need a quick definition refresher of auto fiction? Here you go! Miguel mentions that composer Arnold Schoenberg's archive destroyed in LA fires, and you can read more about that here. Here's a dishy roundup of Nabokov's insults of DostoevskyFor a bit more about Larry Kramer's objections to The Farewell Symphony, read on.Learn more about Richard Howard and his poetry here. Edmund White and Michael Carroll talk about their relationship, and their experiences writing gay fiction here.And here's the Interview Magazine article we mention in the episode, in which gay writers ask Edmund White a question: “Tall Blonde With a Big Dick”: 18 Men Ask Edmund White Some Sexy Questions" Finally, check out the fabulous Garth Greenwell's website: https://www.garthgreenwell.com  

It's The Stacks Book Club Day, and we're unpacking Lolita by Vladimir Nabokov with returning guest Ira Madison III. This literary classic is widely studied, but why? We explore what makes this novel a classic, why it's still taught today, and what Nabokov wanted readers to take away from his most infamous work.There are spoilers on this episode.Be sure to listen to the end of today's episode to find out what our March book club pick will be.You can find everything we discuss on today's show on The Stacks' website:https://thestackspodcast.com/2025/2/26/ep-360-lolitaConnect with Ira: Instagram | WebsiteConnect with The Stacks: Instagram | Twitter | Shop | Patreon | Goodreads | Substack | SubscribeSUPPORT THE STACKSJoin The Stacks Pack on PatreonTo support The Stacks and find out more from this week's sponsors, click here.Purchasing books through Bookshop.org or Amazon earns The Stacks a small commission.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Joseph O'Neill@JosephONeillxGet Godwin from https://www.penguinrandomhouse.com/books/741344/godwin-by-joseph-oneill/Gateway books Sylvia Plath - Poetry Portrait of the Artist as a Young Man - Joyce Seamus Heaney Current reads Karen Russel - The Antidote Looking forward to rereading Nabokov and Pynchon Desert Island Books Complete Shakespeare Joyce - DublinersInvisible Man - Ellis Pnin - Nabokov Collected poems - Wallace Stevens Frank Kermode - Collected writing Beckett - Nohow OnMuriel Spark Borges - Ficciones Madame Bovary Levinas - Totality and Infinity

We've arrived at the big one, the breakthrough book of 1985 – White Noise. In Episodes 21 and 22, DDSWTNP extend our White Noise “residency” and turn in-depth attention to DeLillo's most popular piece of fiction in another double episode.  Episode 21: White Noise (1) takes an expansive view of the novel's narrative and goes into depth on (among many other subjects) the iconic opening chapter's commentary on America and Americana, the meaning of Mylex suits, Jack's relationships with Heinrich and Orest Mercator, and what it means to be a rat, a snake, a fascist, and a scholar of Hitler in this book's universe. Episode 22: White Noise (2) interprets passages mainly from the book's second half, including scenes featuring the dark humor of Vernon Dickey and of SIMUVAC, the meaning of DeLillo's desired title “Panasonic,” Jack's shooting of Willie Mink (and what it owes to Nabokov), a riveting fire and a fascinating trash compactor cube, and the Dostoevskyan interrogation of belief by Sister Hermann Marie. Every minute features original ideas on the enduring meanings of White Noise in so many political, social, technological, and moral dimensions – what it teaches us about the roots and implications of our many epistemological crises, how it does all this in writing that somehow manages to be self-conscious, philosophical, hilarious, and warm all at once. Texts and artifacts discussed and mentioned in these episodes: Ernest Becker, The Denial of Death (Free Press, 1973).  Adam Begley, “Don DeLillo: The Art of Fiction CXXXV,” The Paris Review 128 (1993): 274-306.            (DeLillo: “And White Noise develops a trite adultery plot that enmeshes the hero, justifying his fears about the death energies contained in plots. When I think of highly plotted novels I think of detective fiction or mystery fiction, the kind of work that always produces a few dead bodies. But these bodies are basically plot points, not worked-out characters. The book's plot either moves inexorably toward a dead body or flows directly from it, and the more artificial the situation the better. Readers can play off their fears by encountering the death experience in a superficial way.”) Buddha, Ādittapariyāya Sutta (“Fire Sermon Discourse”). https://en.wikipedia.org/wiki/%C4%80dittapariy%C4%81ya_Sutta Don DeLillo, White Noise: Text and Criticism, Mark Osteen, ed. (Penguin, 1998). ---. “The Sightings.” Weekend Magazine (August 4, 1979), 26-30. Mary Douglas, Purity and Danger: An Analysis of Concepts of Pollution and Taboo (Routledge, 1966). Fyodor Dostoevsky, The Brothers Karamazov (1880). Franz Kafka, “A Hunger Artist” (1922). Édouard Manet's Olympia (1863). https://en.wikipedia.org/wiki/Olympia_(Manet) Vladimir Nabokov, Lolita (1955). Mark Osteen, “‘The Natural Language of the Culture': Exploring Commodities through White Noise.” Approaches to Teaching DeLillo's White Noise, eds. Tim Engles and John N. Duvall (MLA, 2006), pp. 192-203. Ronald Reagan, “Farewell Address to the Nation,” January 11, 1989. https://www.youtube.com/watch?v=FjECSv8KFN4            (“I've spoken of the ‘shining city' all my political life . . .”) Mark L. Sample, “Unseen and Unremarked On: Don DeLillo and the Failure of the Digital Humanities.” https://dhdebates.gc.cuny.edu/read/untitled-88c11800-9446-469b-a3be-3fdb36bfbd1e/section/be12b589-a9ca-4897-9475-f8c0b03ca648(See this article for DeLillo's list of alternate titles, including “Panasonic” and “Matshushita” (Panasonic's parent corporation).)

We've arrived at the big one, the breakthrough book of 1985 – White Noise. In Episodes 21 and 22, DDSWTNP extend our White Noise “residency” and turn in-depth attention to DeLillo's most popular piece of fiction in another double episode.  Episode 21: White Noise (1) takes an expansive view of the novel's narrative and goes into depth on (among many other subjects) the iconic opening chapter's commentary on America and Americana, the meaning of Mylex suits, Jack's relationships with Heinrich and Orest Mercator, and what it means to be a rat, a snake, a fascist, and a scholar of Hitler in this book's universe. Episode 22: White Noise (2) interprets passages mainly from the book's second half, including scenes featuring the dark humor of Vernon Dickey and of SIMUVAC, the meaning of DeLillo's desired title “Panasonic,” Jack's shooting of Willie Mink (and what it owes to Nabokov), a riveting fire and a fascinating trash compactor cube, and the Dostoevskyan interrogation of belief by Sister Hermann Marie. Every minute features original ideas on the enduring meanings of White Noise in so many political, social, technological, and moral dimensions – what it teaches us about the roots and implications of our many epistemological crises, how it does all this in writing that somehow manages to be self-conscious, philosophical, hilarious, and warm all at once. Texts and artifacts discussed and mentioned in these episodes: Ernest Becker, The Denial of Death (Free Press, 1973).  Adam Begley, “Don DeLillo: The Art of Fiction CXXXV,” The Paris Review 128 (1993): 274-306.            (DeLillo: “And White Noise develops a trite adultery plot that enmeshes the hero, justifying his fears about the death energies contained in plots. When I think of highly plotted novels I think of detective fiction or mystery fiction, the kind of work that always produces a few dead bodies. But these bodies are basically plot points, not worked-out characters. The book's plot either moves inexorably toward a dead body or flows directly from it, and the more artificial the situation the better. Readers can play off their fears by encountering the death experience in a superficial way.”) Buddha, Ādittapariyāya Sutta (“Fire Sermon Discourse”). https://en.wikipedia.org/wiki/%C4%80dittapariy%C4%81ya_Sutta Don DeLillo, White Noise: Text and Criticism, Mark Osteen, ed. (Penguin, 1998). ---. “The Sightings.” Weekend Magazine (August 4, 1979), 26-30. Mary Douglas, Purity and Danger: An Analysis of Concepts of Pollution and Taboo (Routledge, 1966). Fyodor Dostoevsky, The Brothers Karamazov (1880). Franz Kafka, “A Hunger Artist” (1922). Édouard Manet's Olympia (1863). https://en.wikipedia.org/wiki/Olympia_(Manet) Vladimir Nabokov, Lolita (1955). Mark Osteen, “‘The Natural Language of the Culture': Exploring Commodities through White Noise.” Approaches to Teaching DeLillo's White Noise, eds. Tim Engles and John N. Duvall (MLA, 2006), pp. 192-203. Ronald Reagan, “Farewell Address to the Nation,” January 11, 1989. https://www.youtube.com/watch?v=FjECSv8KFN4            (“I've spoken of the ‘shining city' all my political life . . .”) Mark L. Sample, “Unseen and Unremarked On: Don DeLillo and the Failure of the Digital Humanities.” https://dhdebates.gc.cuny.edu/read/untitled-88c11800-9446-469b-a3be-3fdb36bfbd1e/section/be12b589-a9ca-4897-9475-f8c0b03ca648(See this article for DeLillo's list of alternate titles, including “Panasonic” and “Matshushita” (Panasonic's parent corporation).)

On this edition of Brodie's Sit Down, our Brodie Brazil chats with legendary Sharks goalie, Evgeni Nabokov

“I admire Freud greatly,” the novelist Vladimir Nabokov once said, “as a comic writer.” For Nabokov, Sigmund Freud was “the Viennese witch-doctor,” objectionable for “the vulgar, shabby, fundamentally medieval world” of his ideas. Author Joshua Ferris (The Dinner Party, Then We Came to the End) joins Jacke for a discussion of the author of Lolita and his special hatred for “the Austrian crank with a shabby umbrella.” [This episode was originally released on September 30, 2017. It is presented here without commercial interruptions.] Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Where do you arrive if you follow Vaden's obsessions to their terminus? You arrive at Brian Boyd, the world expert on the two titanic thinkers of the 20th century: Karl Popper and Vladimir Nabokov. Boyd wrote his PhD thesis on Nabokov's 1969 novel Ada, impressing Nabokov's wife Vera so much that he was invited to catalogue Nabokov's unpublished archives. This led to Boyd's two-volume biography of Nabokov, which Vera kept on her beside table. Boyd also developed an interest in Popper, and began research for his biography in 1996, which was then promptly delayed as he worked on his book, On The Origin of Stories, which we [dedicated episode #50]((https://www.incrementspodcast.com/50) to. In this episode, we ask Professor Boyd to contrast and compare his two subjects, by addressing the question: What could Karl Popper have learned from Vladimir Nabokov? We discuss How Brian discovered Nabokov Did Nabokov have a philosophy? Nabokov's life as a scientist Was Nabokov simply a writer of puzzles? How much should author intentions matter when interpreting literature? References Boyd's book on the evolutionary origins of art and literature: On the Origin of Stories: Evolution, Cognition, and Fiction (https://www.amazon.com/Origin-Stories-Evolution-Cognition-Fiction/dp/0674057112) Our episode on the above (https://www.incrementspodcast.com/50) Stalking Nabokov (https://www.amazon.com/Stalking-Nabokov-Brian-Boyd/dp/0231158564), by Boyd. Boyd's book on Pale Fire: Nabokov's Pale Fire: The Magic of Artistic Discovery (https://www.amazon.com/Nabokovs-Pale-Fire-Artistic-Discovery/dp/0691089574) AdaOnline (https://www.ada.auckland.ac.nz/), annotated notes on Ada by Boyd. Art historian and one of Popper's close friends, Ernst Gombrich (https://en.wikipedia.org/wiki/Ernst_Gombrich) # Errata The Burghers of Calais is by Balzac rather than Rodin The Nabokov family fled Leningrad rather than Petrograd (as Petersburg had become during WWI). Socials Follow us on Twitter at @IncrementsPod, @BennyChugg, @VadenMasrani Come join our discord server! DM us on twitter or send us an email to get a supersecret link Become a patreon subscriber here (https://www.patreon.com/Increments). Or give us one-time cash donations to help cover our lack of cash donations here (https://ko-fi.com/increments). Click dem like buttons on youtube (https://www.youtube.com/channel/UC_4wZzQyoW4s4ZuE4FY9DQQ) Do you love words, or ideas? Email us one but not the other at incrementspodcast@gmail.com. Special Guest: Brian Boyd.

Jak na Nowojorczyka przystało, narodził się w jednym z nowojorskich hoteli nieopodal Times Square, w czasach kiedy na Manhattanie powstające wieżowce pięły się do nieba, a spełnienie się wielkiego amerykańskiego snu było bardziej realne niż kiedykolwiek wcześniej czy później w historii. Na początku utożsamiał miejski szyk, wyrafinowanie, dystans i poczucie humoru, ale po II wojnie światowej nabrał dziennikarskiego rozpędu i na jego łamach ukazywały się ikoniczne i przełomowe teksty, kontestujące mit Ameryki. Ciągnęli do niego nie tylko wielcy reporterzy, ale też wielcy pisarze – Lem, Pynchon, Updike, Nabokov, Plath, Márquez – choć temu ostatniemu się nie udało…a kilka miesięcy po odrzuceniu tekstu przez redaktorów nowojorskiego pisma, dostał literackiego Nobla….tym tygodnikiem jest The New Yorker. "The New Yorker. Biografia pisma, które zmieniło Amerykę" to nowa książka Michała Choińskiego, który jest gościem tego odcinka. Prowadzenie: Agata Kasprolewicz Gość: Michał Choiński "The New Yorker. Biografia pisma, które zmieniło Amerykę" Michała Choińskiego, wydawnictwo Znak. --------------------------------------------- Raport o stanie świata to audycja, która istnieje dzięki naszym Patronom, dołącz się do zbiórki ➡️ ⁠https://patronite.pl/DariuszRosiak⁠ Subskrybuj newsletter Raportu o stanie świata ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➡️ ⁠https://dariuszrosiak.substack.com⁠ Koszulki i kubki Raportu ➡️ ⁠https://patronite-sklep.pl/kolekcja/raport-o-stanie-swiata/⁠ [Autopromocja]

This episode is an interview with the journalist Sarah Ditum, discussing her book Toxic and her journalism.The book is about our treatment of famous women in the Noughties, told through the stories of nine women in particular: Britney Spears, Paris Hilton, Lindsay Lohan, Aaliyah, Janet Jackson, Amy Winehouse, Kim Kardashian, Chynah and Jennifer Aniston. Sarah explained why she wrote it, the evolution of the book, and how it felt researching that period.We also discussed Sarah's journalism and what it's been like to write about controversial subjects, and the impact on her friendships, commissions and ability to get a book published. This is a link to Sarah's book:https://uk.bookshop.org/p/books/toxic-sarah-ditum/6333454Here's a link to Lectures on Literature by Vladimir Nabokov which she recommended:https://www.amazon.co.uk/Lectures-Literature-Harvest-Fredson-Bowers/dp/0156027755And here's a link to my books:https://uk.bookshop.org/contributors/andrew-hankinsonThanks for listening.

Sandra Petrignani"Leggere gli uomini"Editori Laterza.itwww.laterza.itSpalancando le chiuse ‘stanze tutte per sé' degli scrittori, Sandra Petrignani legge gli uomini, con passione e in ordine sparso. Rilegge i loro libri cercando di comprendere anche la loro natura.Per secoli, solo gli scrittori maschi hanno potuto disporre di una stanza tutta per sé, di uno ‘studio' inaccessibile dove indisturbati hanno composto capolavori. E quando ne uscivano, avevano il mondo intero per fare esperienza di cose e persone. Al sesso femminile raramente è stato concesso un analogo privilegio. Il sesso femminile per molto tempo non ha potuto scriverli quei libri meravigliosi: soltanto leggerli. Così intere generazioni di donne hanno esplorato le geografie dell'animo umano, scoperto l'amore, l'amicizia e la propria identità sulle opere scritte dagli uomini. Rispecchiandosi a volte perfettamente, a volte con difficoltà, a volte per niente.Fra esercizi di ammirazione e scatti di rabbia, attraverso memorabili citazioni, Sandra Petrignani ci porta dentro tante pagine indimenticabili, da Dumas a Roth, da Pavese a Proust, da Calvino a Tolstoj, da Gary a Dostoevskij, da Moravia a Mann, da Manganelli a Kundera, da Malerba a Čechov, da Nabokov a Chatwin, da Tabucchi a Kafka e a mille altri. Fino ad alcuni grandi di oggi, Modiano, McEwan, Carrère... Cercando davvero di capirli i maschi, nella scrittura e nella vita, nel coraggio e nella fragilità, nel bisogno di nascondersi e di negarsi, nelle ossessioni di cui sono preda. Una scorribanda molto personale e appassionata che ci fa scoprire, come insegna Virginia Woolf, quanto «nella vita come nell'arte i valori delle donne non sono i valori degli uomini» e che esiste, probabilmente, un modo femminile di essere lettore.Sandra Petrignani, nata a Piacenza, vive fra la campagna umbra e Roma. Fra le sue pubblicazioni: con La Tartaruga Le signore della scrittura; con Neri Pozza i libri di viaggio Ultima Indiae La scrittrice abita qui, i racconti di fantasmi Care presenze, ilritratto della società letteraria del dopoguerra Addio a Roma, il romanzo dedicato alla figura di DurasMarguerite, il ritratto di Natalia GinzburgLa corsara, finalista Premio Strega 2019; con Giunti La persona giusta, romanzo per YA; con Rrose Sélavy la fiaba illustrata per bambini Elsina e il grande segreto, ispirata a Elsa Morante; con Gramma/Feltrinelli Autobiografia dei miei cani. Per Laterza è autrice di E in mezzo il fiume. A piedi nei due centri di Roma e Lessico femminile.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Marco Alfano"Parole a manovella"La linea scrittawww.lalineascritta.itSpesso i grandi scrittori si mettono a giocare mentre scrivono.Dagli insospettabili Dante e Boccaccio fino a Joyce, Nabokov, Cortàzar e Primo Levi, solo per citarne alcuni, la letteratura si è nutrita e si nutre sottotraccia di sperimentazioni sulla forma che sono delle vere e proprie macchine giocose, i cui ingranaggi sono regole rigorose che producono piacere aggiuntivo nel lettore. E soprattutto che hanno la funzione di stimolo alla creatività, come ben sapevano gli scrittori dell'OuLiPo come Perec e Queneau (cui si unì Italo Calvino), che hanno prodotto capolavori assoluti a partire da una griglia di norme formali in cui sbizzarrirsi con la fantasia per ottenere il miglior risultato, proprio come in un gioco di società.E, d'altra parte, il piacere del gioco, che sia coltivato individualmente o in gruppo, si alimenta spessissimo con la lingua, le parole e la loro duttilità, i sensi multipli (e i nonsensi), le assonanze. Dal Gioco del vocabolario al Telegrafo senza fili, dal Taboo ai surrealisti Cadaveri Squisiti, ai molteplici giochi enigmistici il divertimento passa attraverso il linguaggio, la sua manipolazione gioiosa, lo stupore infantile della scoperta di nuovi sensi e nuovi suoni.Questo laboratorio vuole affrontare con serissima leggerezza la relazione tra parola e gioco, in entrambe le direzioni: usare il gioco e le sue regole come strumento creativo per scrivere e le parole per giocare e divertirsi. Lo faremo attraversando la miriade di forme della ludoscrittura, leggendo e analizzando gli scrittori e i poeti che l'hanno praticata ma soprattutto scrivendo e giocando assieme.  A chi è rivolto:A chi scrive e vuole aggiungere nuovi utensili, manovelle, trottole, scatole a molla e caleidoscopi alla sua cassetta degli attrezzi narrativaA chi è appassionato di giochi, letteratura, enigmistica, poesia, combinatoria, scrittura umoristicaA chiunque, che sia o no incluso nelle due categorie precedenti, voglia divertirsi e impararenuovi giochi e cimenti da sperimentare in gruppo o da soloCome si articolaSei incontri in videoconferenza, il giovedì, di due ore ciascuno, con una parte teorica e, principalmente, l'applicazione pratica e creativa delle varie forme di scrittura ludica o “a contrainte”. Esercizi, giochi e scritture saranno condivisi continuativamente attraverso una mailing list e un gruppo Facebook che saranno attivi durante il laboratorio e anche successivamente.Alcuni degli argomenti/giochi:l'OuLiPo e la scrittura a contrainte; Lipogrammi e tautogrammi; Acrostici, palindromi e anagrammi; Poesia metasemantica; Le lingue inventate; Le parole inesistenti e il gioco del vocabolario; La combinatoria; Le forme poetiche come Ur-contraintes; Il nonsense e i Limericks; Le scritture automatiche; Il cut-up di Borroughs; Il cinegioco (gioco dei titoli).Alcuni degli autori trattati:Georges Perec; Raymond Queneau; Primo Levi; Stefano Bartezzaghi; Giampaolo Dossena; Umberto Eco; Italo Calvino; Tommaso Landolfi; Julio Cortázar; Jorge Luis Borges; J. Rodolfo Wilcock; Giorgio Manganelli; Marcello Marchesi; Achille Campanile; Ettore Petrolini; Raymond Roussel; Leonardo Sciascia; Vladimir Nabokov; Giovanni Boccaccio; Dante Alighieri; Gianni Mura; Beppe Varaldo; Toti Scialoja; Edward Lear; Lewis Carroll; Fosco Maraini.Marco AlfanoCura per Lalineascritta, nei cui laboratori si è formato, il sito web, e i corsi in videoconferenza, che ha ideato e realizza assieme ad Antonella Cilento dal 2011. È docente del laboratorio di ludoscrittura "Parole a Manovella". Ha pubblicato racconti in numerose antologie, sui quotidiani L'Unità e Roma e sulla rivista internazionale «Storie». È in preparazione una sua raccolta di poesie illustrate ispirate a Toti Scialoja e sta lavorando al suo primo romanzo. Musicista, è stato membro fondatore dei Panoramics (con i quali ha tra l'altro composto le musiche originali per lavori video e teatrali di Mario Martone e Andrea Renzi e collaborato con Enzo Moscato e Peppe Servillo) ed è attualmente componente dei Ferraniacolor, pop band il cui album di esordio è uscito nel marzo del 2018. È tra gli autori di «Perdurante», tributo a Francesco Durante pubblicato nel 2021 dall'OpLePo, sezione italiana dell' OuLiPo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

The 2024 Sharks Legends Game was... legendary. If only Joe Thornton scored three more goals. Nabokov spectacular in net, a loud homecoming for Pavelski, and smiles on the ice and in the stands. Erik Kuhre and AJ Strong chat about an exceptional night before another exceptional night! Teal Town USA - A San Jose Sharks' post-game podcast, for the fans, by the fans! Subscribe to catch us after every Sharks game and our weekly wrap-up show, The Pucknologists!
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In this fiery love story set in equatorial Africa, Peace Corps volunteer David Fields in on mission: to build a medical dispensary in a remote village where he seldom has his bearings and must fight a cocktail of tropical maladies and cultural taboos. He throws himself into work, which he's deliciously distracted from in his pursuit of a gorgeous African lady. In her vitality, Assam rocks with the energy of a dozen women and bye and bye David becomes the hunter captured by the game. And what a rollicking game of love it is with delicious “distractions” keeping the reader spellbound. With its hunting ventures into rainforest and original Bantu folktales recounted fireside, this is a novel that, in its haunting end, will strum elegiacally at your heartstrings. Resonating with Nabokov's truism, “The finest art is not simple and sincere but rather complex and deceitful.” Think of the Mona Lisa's smile. Think of Water Drumming in the Soul ... Your soul.

What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat 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

What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

En el Teatro Luis del Olmo Sergio del Molino entrevista a Lolita, personaje de Vladimir Nabokov. Ella nos cuenta cómo Nabokov escribió el libro que le hizo famoso y que tiene como protagonistas a Humbert Humbert y su amada, la niña Dolores Haze. En esta entrevista, Dolores se queja de haber sido utilizada por infinidad de críticos literarios como "la niñita abusada de la literatura universal" y cuenta su propia versión de la historia. 

This week, biographers and novelists share what it is like to write about other writers. Mary V. Dearborn covers Carson McCullers, George Getschow covers Larry McMurtry, Harold Holzer covers Abraham Lincoln, and Monika Zgutsova covers Véra Nabokov. Moderated by Peter Coviello. This conversation took place May 19, 2024 and was recorded live at the American [...]

Aleksandr Skorobogatov is the author of Russian Gothic, available from Rare Bird. Translated by Ilona Yazhbin Chavasse. Skorobogatov was born in Grodno in what is now Belorussia. He is one of the most original Russian writers of the post-communist era. An heir to Dostoevsky, Gogol, Bulgakov, Nabokov, Pelevin, and Sorokin--the surreal line of the Russian literary canon--his novels have been published to great acclaim in Russian, Croatian, Danish, Dutch, French, Italian, Greek, Serbian, and Spanish. He won the prestigious International Literary Award Città di Penne for the Italian edition of Russian Gothic, which also received the Best Novel of the Year Award from Yunost. Cocaine (2017) won Belgium's Cutting Edge Award for 'Best Book International'. His most recent novel, Raccoon, was published by De Geus in 2020. De Tijd has called Skorobogatov "the best Russian writer of the moment." He lives and works in Belgium. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Let this be a sign that if the only Nabokov book you've read is Lolita, you should remedy that. Despair is Corinne's pick for June's prompt to read a book about twins or doppelgangers.  Content warning: mention of suicide, murder, Dostoevsky Our next book discussion will be The Stud by Jackie Collins. You can find it at your local bookstore or library and read along with us. If you want to read along with The Bookstore Challenge 2024, you can join us on The StoryGraph to see what others are reading for each month and get ideas for your TBR: The Bookstore Challenge 2024. Get two audiobook credits for the price of one at Libro.fm when you sign up using the code BOOKSTOREPOD. Website | Patreon

Join hosts J.D. Barker, Christine Daigle, Kevin Tumlinson, and Dick Wybrow as they discuss the week's entertainment news, including the Romance Writers of America filing for bankruptcy, Polis Books, and how Costco plans to stop selling books year round. Then, stick around for a chat with Carol LaHines! Carol LaHines: For me, the most affecting stories are those that are leavened with a sardonic sensibility.  Italo Calvino, one of my favorite writers, notes “th[e] particular connection between melancholy and humor,” speaking of how great writing “foregrounds [with] tiny, luminous traces that counterpoint the dark catastrophe.”  I've always veered toward the great literary comic writers—from Cervantes to Laurence Sterne to Pynchon, with a particular reverence for Nabokov, who believed that the best writing places the reader under a spell. My debut novel, Someday Everything Will All Make Sense, was a finalist for the Nilsen Prize for a First Novel and an American Fiction Award. My second novel, The Vixen Amber Halloway, is forthcoming in 2024 (Regal House). My fiction has appeared in journals including Fence, Denver Quarterly, Hayden's Ferry Review, Cimarron Review, The Literary Review, The Laurel Review, South Dakota Review, North Dakota Quarterly, The South Carolina Review, The Chattahoochee Review, The Nebraska Review, North Atlantic Review, Sycamore Review, Permafrost, redivider, Literary Orphans, and Literal Latte. My story, “Papijack,” was selected by judge Patrick Ryan as the recipient of the Lamar York Prize for Fiction. My short stories and novellas have been nominated for a Pushcart Prize and been finalists for the David Meyerson Fiction Prize, the Mary McCarthy Prize, the New Letters short story award, and the Disquiet Literary Prize, among others. My nonfiction includes “New York est une ville a part,” appearing in chantier d'ecriture (Mémoire d'encrier, A. Heminway, ed.). I am a graduate of New York University, Gallatin Division, and of St. John's University School of Law. My teachers include Rick Moody, Phil Schultz, and Sheila Kohler. --- Support this podcast: https://podcasters.spotify.com/pod/show/writersink/support

Do you want to see the world as it is, or as it ought to be? This difficult question is at the heart of the millennia-old debate over morality and art. Pulling back the camera to ask how we got to our current dysfunction, Spencer moves from Homer and Isaiah to Nabokov and Matthew Arnold, looking for answers to the questions that are currently wracking the culture. The digital age has shattered a lot of our old systems, but somewhere in the aftermath there is hope for a new middle ages and a re-enchanted world. Check out our sponsor, the Ancient Language Institute: https://ancientlanguage.com/youngheretics/ Sign up to be in the mailbag: https://rejoiceevermore.substack.com/ Pick up my book, How to Save the West: https://a.co/d/9S57cfh

In the previous decade, Adrian Lyne had made two movies (Fatal Attraction and Indecent Proposal) that had grossed over $100 million in the US alone. With carte blanche to do whatever he wanted, he made an adaptation of the Nabokov novel about a 40-year-old pedophile's obsession with his adolescent step-daughter – and no distributor wanted to release it. In a decade rife with the commodification and sexualization of young teens (see our previous episode on Drew Barrymore), what lines did Lyne's Lolita cross? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices