Podcasts about new york review

On this week's show, Steve is joined by June Thomas, author of A Place of Our Own, and Michael Schulman, author of Her Again and Oscar Wars, for some rollicking Gabfest discourse. First up, they get all shook up by EPiC: Elvis Presley in Concert, the concert documentary directed by Baz Luhrmann from archival Elvis performance footage. Does the master of cinematic spectacle bring the King back to life?Next, they turn to The Fall and Rise of Reggie Dinkins, the new sitcom from 30 Rock co-creator Robert Carlock starring Tracy Morgan. Finally, they examine the uncanny and profound phenomena of posthumously-published celebrity interviews—including Eric Dane and Jane Goodall—of Netflix's Famous Last Words specials. Existential bravery or exploitative trash? They discuss.In an exclusive bonus episode for Slate Plus subscribers, the panel weighs in on the best casting Oscar race.EndorsementsMichael: The audiobook of the memoir I Regret Almost Everything by Keith McNally as narrated by the incomparable Richard E. Grant.June: Two niche podcasts featuring conversations with authors of biography including Bio, the official podcast of the Biographers International Organization, and Biographers in Conversation. Also, jumping on the Richard E. Grant train, the BBC parody cooking series Posh Nosh starring Grant and Arabella Weir.Steve: The recent essay “The Stony Dark Within” by Joy Williams about Rainer Maria Rilke in the New York Review of Books.--Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

On this week's show, Steve is joined by June Thomas, author of A Place of Our Own, and Michael Schulman, author of Her Again and Oscar Wars, for some rollicking Gabfest discourse. First up, they get all shook up by EPiC: Elvis Presley in Concert, the concert documentary directed by Baz Luhrmann from archival Elvis performance footage. Does the master of cinematic spectacle bring the King back to life?Next, they turn to The Fall and Rise of Reggie Dinkins, the new sitcom from 30 Rock co-creator Robert Carlock starring Tracy Morgan. Finally, they examine the uncanny and profound phenomena of posthumously-published celebrity interviews—including Eric Dane and Jane Goodall—of Netflix's Famous Last Words specials. Existential bravery or exploitative trash? They discuss.In an exclusive bonus episode for Slate Plus subscribers, the panel weighs in on the best casting Oscar race.EndorsementsMichael: The audiobook of the memoir I Regret Almost Everything by Keith McNally as narrated by the incomparable Richard E. Grant.June: Two niche podcasts featuring conversations with authors of biography including Bio, the official podcast of the Biographers International Organization, and Biographers in Conversation. Also, jumping on the Richard E. Grant train, the BBC parody cooking series Posh Nosh starring Grant and Arabella Weir.Steve: The recent essay “The Stony Dark Within” by Joy Williams about Rainer Maria Rilke in the New York Review of Books.--Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

Today we're looking at the book Abundance, by Ezra Klein, co-authored with Derek Thompson, published in 2025. Ezra Klein is a writer and editor. He has a columnist and editor at The Washington Post, a policy analyst at MSNBC, and a contributor to Bloomberg. He's written for The New Yorker and The New York Review of Books, and appeared on Face the Nation, The Daily Show, PBS NewsHour, and many more. He has earned a reputation of being somewhat left wing in his views. There is a danger in type casting people. As you will see, much of what he talks about in his book could be considered part of the libertarian and Republican core beliefs. In real estate, we live and die by the gap between what people need and what the market can deliver. When housing is scarce, rents rise, household formation slows, employers struggle to hire, and communities get brittle. Abundance is a book that argues the United States has not merely stumbled into scarcity, it has, in many ways, designed it. The authors' central claim is that we've built layers of well-intentioned rules and processes that make it painfully hard to build housing, infrastructure, and clean energy at the scale we say we want. -------------**Real Estate Espresso Podcast:** Spotify: [The Real Estate Espresso Podcast](https://open.spotify.com/show/3GvtwRmTq4r3es8cbw8jW0?si=c75ea506a6694ef1)   iTunes: [The Real Estate Espresso Podcast](https://podcasts.apple.com/ca/podcast/the-real-estate-espresso-podcast/id1340482613)   Website: [www.victorjm.com](http://www.victorjm.com)   LinkedIn: [Victor Menasce](http://www.linkedin.com/in/vmenasce)   YouTube: [The Real Estate Espresso Podcast](http://www.youtube.com/@victorjmenasce6734)   Facebook: [www.facebook.com/realestateespresso](http://www.facebook.com/realestateespresso)   Email: [podcast@victorjm.com](mailto:podcast@victorjm.com)  **Y Street Capital:** Website: [www.ystreetcapital.com](http://www.ystreetcapital.com)   Facebook: [www.facebook.com/YStreetCapital](https://www.facebook.com/YStreetCapital)   Instagram: [@ystreetcapital](http://www.instagram.com/ystreetcapital)  

Last October, the war in Sudan took a new turn with the capture of El Fasher by the Rapid Support Forces. The city in western Sudan had been under siege by the RSF for more than two years before the Sudanese armed forces suddenly withdrew. After taking control of El Fasher, the RSF began to carry out a massacre of civilians. A UN fact-finding mission recently found that the crimes in El Fasher bore “hallmarks of genocide.” The Sudanese catastrophe is all the more depressing because it comes after a brief moment of greater political openness and optimism after the ousting of a dictator in 2019. Joshua Craze joins Long Reads to discuss the evolution of the conflict in Sudan and its likely future. Joshua has written many articles about the politics of Sudan and South Sudan for publications such as the New Statesman, the New York Review of Books, and Jacobin. Read Joshua's 2023 essay for Jacobin, “Only You Can Save Darfur”: https://jacobin.com/2023/07/only-you-can-save-darfur And find other work on his personal website: https://www.joshuacraze.com/essays Long Reads is a Jacobin podcast looking in-depth at political topics and thinkers, both contemporary and historical, with the magazine's longform writers. Hosted by features editor Daniel Finn. Produced by Conor Gillies with music by Knxwledge.

The original trio Steve, Dana, and Julia convene for a right cracker of a Gabfest as they discuss How to Get to Heaven from Belfast, the new comedic mystery from Derry Girls creator Lisa McGee. In the Netflix series, three longtime Belfast friends must revisit their childhood trauma to unravel the mystery of a fourth friend's disappearance— raucous Northern Irish hijinks ensue.Next, they step into the unhinged dystopian Los Angeles of Gore Verbinski's new film Good Luck, Have Fun, Don't Die. In it a beleaguered time traveler played by Sam Rockwell must visit the same Norm's diner 117 times to save the world from the menace of A.I..Finally, they welcome Slate senior writer Christina Cauterucci to unpack her recent piece “My Gun and Me” about her unlikely journey towards gun ownership during Trump 2.0—and how she's not alone in doing so in her left-leaning, queer community.In an exclusive bonus episode for Slate Plus subscribers, they determine if there are indeed no comfortable reading positions, as a recent Slate essay by Luke Winkie attests. EndorsementsDana: The latest Today in Tabs entry from Rusty Foster "A.I. Isn't People."Julia: In lieu of an endorsement, a gripe: the much-hyped New York Times two-player word game Crossplay is just Scrabble! (If only there were a German word for this specific form of disappointment...)Steve: Rereading J.D. Salinger with some distance from one's own adolescence— particularly Franny and Zooey and the short story "For Esmé—with Love and Squalor." And for a good critical reassessment, read Janet Malcolm's New York Review of Books essay "Justice to J.D. Salinger." --Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

The original trio Steve, Dana, and Julia convene for a right cracker of a Gabfest as they discuss How to Get to Heaven from Belfast, the new comedic mystery from Derry Girls creator Lisa McGee. In the Netflix series, three longtime Belfast friends must revisit their childhood trauma to unravel the mystery of a fourth friend's disappearance— raucous Northern Irish hijinks ensue.Next, they step into the unhinged dystopian Los Angeles of Gore Verbinski's new film Good Luck, Have Fun, Don't Die. In it a beleaguered time traveler played by Sam Rockwell must visit the same Norm's diner 117 times to save the world from the menace of A.I..Finally, they welcome Slate senior writer Christina Cauterucci to unpack her recent piece “My Gun and Me” about her unlikely journey towards gun ownership during Trump 2.0—and how she's not alone in doing so in her left-leaning, queer community.In an exclusive bonus episode for Slate Plus subscribers, they determine if there are indeed no comfortable reading positions, as a recent Slate essay by Luke Winkie attests. EndorsementsDana: The latest Today in Tabs entry from Rusty Foster "A.I. Isn't People."Julia: In lieu of an endorsement, a gripe: the much-hyped New York Times two-player word game Crossplay is just Scrabble! (If only there were a German word for this specific form of disappointment...)Steve: Rereading J.D. Salinger with some distance from one's own adolescence— particularly Franny and Zooey and the short story "For Esmé—with Love and Squalor." And for a good critical reassessment, read Janet Malcolm's New York Review of Books essay "Justice to J.D. Salinger." --Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

On episode 254, we welcome Aaron Poochigian to discuss his new translation of Meditations by Marcus Aurelius, Aaron's struggles with addiction and how the book helped him in recovery, suffering as stemming from interpretations of rather than facts about the world, meaning as stemming from virtue rather than reputation, learning to accept all of nature to manage suffering, applying the concept of 'strange beauty' to discover it everywhere, and the psychotherapeutic elements of Stoic philosophy. Aaron Poochigian is a poet, classics scholar, and translator who lives and writes in New York City. His work has appeared in such newspapers and journals as The Financial Times, The New York Review of Books, and Poetry Magazine. He's the author of Four Walks in Central Park: A Poetic Guide to the Park, and his translations include Stung with Love (Penguin UK). His new translation, available now, is Marcus Aurelius' Meditations. | Aaron Poochigian | ► Website | https://www.aaronpoochigian.com ► Twitter | https://x.com/Poochigian ► Meditations Book | https://amzn.to/4tO7Uyr Where you can find us: | Seize The Moment Podcast | ► Facebook | https://www.facebook.com/SeizeTheMoment ► Twitter | https://twitter.com/seize_podcast ► Instagram | https://www.instagram.com/seizethemoment ► TikTok | https://www.tiktok.com/@seizethemomentpodcast  

In today's episode from the Vault, we revisit Nadine Gordimer's James Lecture on the political landscape of South Africa, presented at the New York Institute for the Humanities on October 14, 1982. In 1982, resistance to South Africa's apartheid was growing increasingly militant, and the state's brutal repression heightened this tension. In her lecture, Gordimer speaks directly to this political landscape, describing the period as an “interregnum." She discusses the crisis of white identity in South Africa, the relationship between art and politics, the urgency for an alternative political left working toward what she calls a democracy without economic and military terror. This lecture was the basis of Gordimer's essay “Living in the Interregnum,” published in the New York Review of Books in January of 1983. Nadine Gordimer was a South African writer and political activist. She authored fifteen novels, including The Conversationalist, Burger's Daughter and July's People, over two hundred short stories, and several volumes of essays. She was awarded the Booker prize for the Conversationalist in 1974 and the Nobel Prize in Literature in 1991. She died in 2014 at the age of 90 in Johannesburg, South Africa. 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

In today's episode from the Vault, we revisit Nadine Gordimer's James Lecture on the political landscape of South Africa, presented at the New York Institute for the Humanities on October 14, 1982. In 1982, resistance to South Africa's apartheid was growing increasingly militant, and the state's brutal repression heightened this tension. In her lecture, Gordimer speaks directly to this political landscape, describing the period as an “interregnum." She discusses the crisis of white identity in South Africa, the relationship between art and politics, the urgency for an alternative political left working toward what she calls a democracy without economic and military terror. This lecture was the basis of Gordimer's essay “Living in the Interregnum,” published in the New York Review of Books in January of 1983. Nadine Gordimer was a South African writer and political activist. She authored fifteen novels, including The Conversationalist, Burger's Daughter and July's People, over two hundred short stories, and several volumes of essays. She was awarded the Booker prize for the Conversationalist in 1974 and the Nobel Prize in Literature in 1991. She died in 2014 at the age of 90 in Johannesburg, South Africa. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

In today's episode from the Vault, we revisit Nadine Gordimer's James Lecture on the political landscape of South Africa, presented at the New York Institute for the Humanities on October 14, 1982. In 1982, resistance to South Africa's apartheid was growing increasingly militant, and the state's brutal repression heightened this tension. In her lecture, Gordimer speaks directly to this political landscape, describing the period as an “interregnum." She discusses the crisis of white identity in South Africa, the relationship between art and politics, the urgency for an alternative political left working toward what she calls a democracy without economic and military terror. This lecture was the basis of Gordimer's essay “Living in the Interregnum,” published in the New York Review of Books in January of 1983. Nadine Gordimer was a South African writer and political activist. She authored fifteen novels, including The Conversationalist, Burger's Daughter and July's People, over two hundred short stories, and several volumes of essays. She was awarded the Booker prize for the Conversationalist in 1974 and the Nobel Prize in Literature in 1991. She died in 2014 at the age of 90 in Johannesburg, South Africa. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Not too long ago, in the 2000s and 2010s, many felt that the internet–even one behind the Great Firewall–would bring about a more open China. As President Bill Clinton famously quipped in 2000, Beijing trying to control the internet would be like “trying to nail jello to the wall.” Things don't look quite so certain now. China's internet is now more controlled than it was a decade ago, with platforms, content creators, and tech companies now firmly guided by rules and signals from Beijing. Yi-Ling Liu charts the story of the Chinese internet in her book The Wall Dancers: Searching for Freedom and Connection on the Chinese Internet (Knopf, 2026), with profiles of creators like Ma Baoli, the founder of one of China's, and the world's, largest gay dating apps, or Chinese hip hop pioneer Kafe Hu. Yi-Ling's work has been published in The New York Times Magazine, The New Yorker, Harper's Magazine, WIRED, and The New York Review of Books. She has been a New America Fellow, a recipient of the Matthew Power Literary Reporting Award, and an Overseas Press Club Foundation Scholar. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Wall Dancers . Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. 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

Not too long ago, in the 2000s and 2010s, many felt that the internet–even one behind the Great Firewall–would bring about a more open China. As President Bill Clinton famously quipped in 2000, Beijing trying to control the internet would be like “trying to nail jello to the wall.” Things don't look quite so certain now. China's internet is now more controlled than it was a decade ago, with platforms, content creators, and tech companies now firmly guided by rules and signals from Beijing. Yi-Ling Liu charts the story of the Chinese internet in her book The Wall Dancers: Searching for Freedom and Connection on the Chinese Internet (Knopf, 2026), with profiles of creators like Ma Baoli, the founder of one of China's, and the world's, largest gay dating apps, or Chinese hip hop pioneer Kafe Hu. Yi-Ling's work has been published in The New York Times Magazine, The New Yorker, Harper's Magazine, WIRED, and The New York Review of Books. She has been a New America Fellow, a recipient of the Matthew Power Literary Reporting Award, and an Overseas Press Club Foundation Scholar. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Wall Dancers . Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Not too long ago, in the 2000s and 2010s, many felt that the internet–even one behind the Great Firewall–would bring about a more open China. As President Bill Clinton famously quipped in 2000, Beijing trying to control the internet would be like “trying to nail jello to the wall.” Things don't look quite so certain now. China's internet is now more controlled than it was a decade ago, with platforms, content creators, and tech companies now firmly guided by rules and signals from Beijing. Yi-Ling Liu charts the story of the Chinese internet in her book The Wall Dancers: Searching for Freedom and Connection on the Chinese Internet (Knopf, 2026), with profiles of creators like Ma Baoli, the founder of one of China's, and the world's, largest gay dating apps, or Chinese hip hop pioneer Kafe Hu. Yi-Ling's work has been published in The New York Times Magazine, The New Yorker, Harper's Magazine, WIRED, and The New York Review of Books. She has been a New America Fellow, a recipient of the Matthew Power Literary Reporting Award, and an Overseas Press Club Foundation Scholar. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Wall Dancers . Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. 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

Not too long ago, in the 2000s and 2010s, many felt that the internet–even one behind the Great Firewall–would bring about a more open China. As President Bill Clinton famously quipped in 2000, Beijing trying to control the internet would be like “trying to nail jello to the wall.” Things don't look quite so certain now. China's internet is now more controlled than it was a decade ago, with platforms, content creators, and tech companies now firmly guided by rules and signals from Beijing. Yi-Ling Liu charts the story of the Chinese internet in her book The Wall Dancers: Searching for Freedom and Connection on the Chinese Internet (Knopf, 2026), with profiles of creators like Ma Baoli, the founder of one of China's, and the world's, largest gay dating apps, or Chinese hip hop pioneer Kafe Hu. Yi-Ling's work has been published in The New York Times Magazine, The New Yorker, Harper's Magazine, WIRED, and The New York Review of Books. She has been a New America Fellow, a recipient of the Matthew Power Literary Reporting Award, and an Overseas Press Club Foundation Scholar. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Wall Dancers . Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

Not too long ago, in the 2000s and 2010s, many felt that the internet–even one behind the Great Firewall–would bring about a more open China. As President Bill Clinton famously quipped in 2000, Beijing trying to control the internet would be like “trying to nail jello to the wall.” Things don't look quite so certain now. China's internet is now more controlled than it was a decade ago, with platforms, content creators, and tech companies now firmly guided by rules and signals from Beijing. Yi-Ling Liu charts the story of the Chinese internet in her book The Wall Dancers: Searching for Freedom and Connection on the Chinese Internet (Knopf, 2026), with profiles of creators like Ma Baoli, the founder of one of China's, and the world's, largest gay dating apps, or Chinese hip hop pioneer Kafe Hu. Yi-Ling's work has been published in The New York Times Magazine, The New Yorker, Harper's Magazine, WIRED, and The New York Review of Books. She has been a New America Fellow, a recipient of the Matthew Power Literary Reporting Award, and an Overseas Press Club Foundation Scholar. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Wall Dancers . Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Today I have your headlines + Clips and my conversation with Waj begins at 38mins.  Subscribe and Watch Interviews LIVE : On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Please subscribe now for as little as 5$ and gain access to a community of over 750 awesome, curious, kind, funny, brilliant, generous souls Subscribe to Waj Substack Channel "The Left Hook" Check out his new show on youtube 'America Unhinged,' with Francesca Fiorentini and Wajahat Ali - Zeteo's new weekly show following Trump's first 100 days in office. Wajahat Ali is a Daily Beast columnist, public speaker, recovering attorney, and tired dad of three cute kids. Get his book Go Back To Where You Came From: And, Other Helpful Recommendations on Becoming American which will be published in January 2022 by Norton. He believes in sharing stories that are by us, for everyone: universal narratives told through a culturally specific lens to entertain, educate and bridge the global divides. Listen to Waj and DAnielle Moodie on Democracy-ish  He frequently appears on television and podcasts for his brilliant, incisive, and witty political commentary. Born in the Bay Area, California to Pakistani immigrant parents, Ali went to school wearing Husky pants and knowing only three words of English. He graduated from UC Berkeley with an English major and became a licensed attorney. He knows what it feels like to be the token minority in the classroom and the darkest person in a boardroom. Like Spiderman, he's often had the power and responsibility of being the cultural ambassador of an entire group of people, those who are often marginalized, silenced, or reduced to stereotypes. His essays, interviews, and reporting have appeared in The New York Times, The Atlantic, The Washington Post, The Guardian, and New York Review of Books. Ali has spoken at many organizations, from Google to Walmart-Jet to Princeton University to the United Nations to the Chandni Indian-Pakistani Restaurant in Newark, California, and his living room in front of his three kids. On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page   Gift a Subscription https://www.patreon.com/PeteDominick/gift Send Pete $ Directly on Venmo

Send us a textThis week, I chat with Ann Kjellberg, founding editor of the literary magazine Little Star and Book Post, a bite-sized newsletter-based review delivery service, sending well-made book reviews by distinguished and engaging writers, direct to your inbox.Start with a single question: who gets to decide what matters in books—algorithms, crowds, or critics who sign their names? We sit down with editor and publisher Ann Kjellberg to trace a life spent inside literature, from Yale and Farrar, Straus and Giroux to The New York Review of Books, Little Star, and her Substack, Bookpost. Along the way, we explore how clarity, curiosity, and community can still hold the center in a noisy culture.Ann shares how working with émigré writers, including Joseph Brodsky, shaped her view of editing as a craft of ethical clarity—making difficult ideas legible without flattening a writer's voice. We look at the mid-century boom that birthed the paperback revolution and an expanded reading public, then contrast it with today's attention economy, where BookTok trends and Amazon ratings often drown out patient, thoughtful criticism. Ann doesn't dismiss reader enthusiasm; she pairs it with the need for accountable reviews that analyze, cite, and argue—skills that teach us how to think rather than what to buy.We also celebrate indie and radical bookstores as engines of civic life. From hand-selling that starts lifelong reading relationships to nonprofit partnerships that put free books in schools, these shops build the pluralist spaces many communities lack. Ann explains why Bookpost rotates partner bookstores to steer purchases locally, and why a weekly, well-matched review can re-anchor conversation in substance. If you care about the future of reading, criticism, and the free exchange of ideas, this conversation offers a map—and a reason to keep showing up for books and each other.Enjoyed the conversation? Subscribe, share it with a friend, and leave a rating or review so more readers can find the show.Ann Kjellberg - Book PostSupport the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

Young Bernie Sanders arrived in Vermont in 1964 as part of a counter-cultural wave. The tall Jewish kid with the thick Brooklyn accent who spoke of socialism and revolution fit right in with the communards and hippies, though he was neither. Sanders was then, as now, his own man, raging against the establishment while simultaneously seeking to lead it, albeit in a very different direction.As author Dan Chaisson writes, the story of Bernie Sanders is also the story of Vermont. “To see how Vermont changed, simply look at how Bernie's message, reiterated for fifty years, migrated from the fringe to the heart of Vermont's political discourse.”In the early days, Burlingtonians knew Bernie “as a perennial political loser” who typically garnered a slim percentage of the electorate in in the 1970s, recounted Chiasson. “But also he was just an indefatigable kind of force.”Dan Chaisson is a Burlington native and the author of five books of poetry. He is a professor of English and chair of the English department at Wellesley College. A longtime contributor to The New Yorker and The New York Review of Books, his new book is Bernie for Burlington: The Rise of the People's Politician. Chiasson weaves together his own story of growing up in hardscrabble Burlington in the 1970s with Sanders' own, whom he observed throughout his life go from gadfly to mayor, to the most influential progressive political figure in the country.Chaisson traces Sanders' politics to his experience growing up poor in Brooklyn “in an economy that was designed to kill" him and his family. "His mother died in her 40s of a congenital heart condition.”Sanders attended the University of Chicago where he participated in civil rights protests. “He thought that things like racial and other kinds of traumas in our country stemmed directly from economics,” said Chiasson. “Moving to Vermont was a way of thinking, could we start society over?”What explains Bernie's appeal to conservatives in areas like the Northeast Kingdom? Chaisson said that Sanders admired and channeled George Aiken, the Republican Vermont governor and senator who famously opposed the Vietnam War, declaring that the U.S. should “say we won and get out.” Aiken “had a sort of similar kind of flintiness to him, a similar kind of orneriness or cantankerousness,” Chaisson said.Sanders, a lifelong independent, has long reserved some of his harshest criticism for Democrats. “He feels that the Democrats are the party of the educated elite and he feels much more comfortable among working people.” When he disagrees with someone, Sanders “has a talent for steering the conversation away from those differences and towards places of common interest and common ground.”Asked what he thought the legacy of Sanders would be, Chaisson said, “Just the tenacity, the temerity, the moral vision that Sanders laid out.” He quoted former Burlington Mayor Peter Clavelle, who described Sanders as “a moral visionary.”“Somebody with Bernie's fight in him and with his sense that there are right and wrong sides of the question morally when we engage with politics, that makes me feel pretty hopeful.”

John welcomes Harvard legal eminence Laurence Tribe back to the show to discuss the constitutional dimensions of the chaos in Minneapolis, the fragile state of the rule of law in the Trump 2.0 era, and whether the Supreme Court will salvage or sacrifice what remains of its public legitimacy with its rulings on a handful of key cases in the months ahead. Tribe also discusses his new essay in the New York Review of Books critiquing his colleague Jill Lepore's recently published history of the U.S. Constitution. 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

On January 3rd, 2026 the United States of America military, under orders from Donald Trump, captured and kidnapped Venezuela's President Nicolas Maduro and his wife, Celia Flores. Despite Maduro's and Flores' indictments from the US Justice Department, accusing them of narco-terrorism conspiracy, this act was, according to many observers, a clear violation of international law. The Trump administration didn't seem to care too much about that. Despite some vague attempts to provide a legal justification for its actions, Stephen Miller, The White House deputy chief of staff for policy, said he had little regard for what he termed “international niceties”: “We live in a world, in the real world…that is governed by strength, that is governed by force, that is governed by power…These are the iron laws of the world since the beginning of time.”These words echo how a particular philosophy of international relations called “realism” has been understanding the world, long before Donald Trump came to office. For realists, what the US did in Venezuela is not too different to what the US has always done (not just in South America, but also in Iraq and Afghanistan), only this time any pretence of morality or legality has been, more or less, dropped, in favour of brandishing brute force and naked self-interest.  So, was international law always just a thin veil of justification for the exercise of brute force? Or are Trump's actions a departure from a more civilised world in which even the most powerful states were constrained by international legal norms. Linda Kinstler is a Junior Fellow at the Harvard Society of Fellows and a scholar of legal and intellectual history. Her first book, Come to This Court & Cry (Public Affairs, 2022) won a Whiting Award in Non-Fiction and was shortlisted for the Wingate Prize for Jewish Literature. She is also a contributing writer to the New York Times Magazine and frequently writes for the New York Review of Books, the London Review of Books, The Atlantic, and elsewhere. Her essay The Theory That Gives Trump a Blank Check for Aggression will form the basis of our conversation.If you enjoyed the episode, please leave us a rating and a review on Apple Podcasts.This podcast is created in partnership with The Philosopher, the UK's longest running public philosophy journalm founded in 1923. Check out the latest issue of The Philosopher and its online events series: https://www.thephilosopher1923.org Artwork by Nick HallidayMusic by Rowan Mcilvride

This author and scholar's latest book, Biography of a Dangerous Idea: A New History of Race from Louis XIV to Thomas Jefferson, will be published in February 2026 by Other Press. Curran, a distinguished humanities professor at Wesleyan University, has written or edited six books, including Who's Black and Why: A Hidden Chapter in the Eighteenth-Century Invention of Race. It was nominated for an NAACP Image Award, and it won the Association of American Publishers Prose Award. Curran's journalistic writing has appeared in the New York Review of Books, The New York Times, The Guardian, Time Magazine, Newsweek, The Paris Review, Il Pais, Folha de S. Paola and the Wall Street Journal. BIO member and BIO podcast producer Jenny Skoog interviewed Andrew Curran.

On January 29, Pulitzer Prize-winning historian, journalist, and author of "Autocracy, Inc." Anne Applebaum and journalist, lawyer, and founder of the "Popular Information" newsletter Judd Legum joined moderator Charlie Sykes, author of the "To the Contrary" newsletter and podcast, for a timely discussion on how political power is being reshaped in the U.S. and globally—and what it means for democracy.The conversation examined how democratic institutions are increasingly undermined through gradual, legal changes that concentrate power, weaken accountability, and reward loyalty over principle. Speakers emphasized that the greatest danger lies not in any single leader, but in systems that normalize corruption, disinformation, and politicized governance.Ukraine emerged as a critical test of democratic resolve, highlighting the global stakes of the moment.The discussion concluded with a clear warning and reminder: democracy does not sustain itself—it survives only when citizens choose to defend it.CALL TO ACTION:Support Joyce Uptown Foodshelf (https://www.joyceuptownfoodshelf.org/)Support MIRAC (https://www.givemn.org/organization/M...)Check out Anne's newsletter “Open Letters, from Anne Applebaum”: https://anneapplebaum.substack.com/Explore Judd's newsletter “Popular Information”: https://popular.info/Visit Charlie's newsletter and podcast “To the Contrary”: https://charliesykes.substack.com/ABOUT THE SPEAKERS:Anne Applebaum is staff writer for The Atlantic and author of the best-selling 2020 book "Twilight of Democracy: The Seductive Lure of Authoritarianism" and her latest book "Autocracy, Inc." Applebaum is also a senior fellow at the Johns Hopkins University School of Advanced International Studies and the SNF Agora Institute, where she co-directs Arena, a program on disinformation and 21st-century propaganda.Judd Legum is the founder and author of "Popular Information", an independent newsletter dedicated to accountability journalism. Popular Information won the 2020 Online Journalism Award for Excellence in Newsletters, and the 2025 David Nyhan Prize for Public Policy Journalism. Its reporting was credited by Bloomberg for bringing a “political reckoning” to corporate America. Previously, Legum founded and served as editor-in-chief of "ThinkProgress", a progressive media outlet. In 2008, Legum was the research director for Hillary Clinton's first presidential campaign. He is a graduate of Georgetown University Law Center and Pomona College.Charlie Sykes is the author of the Substack newsletter, "To the Contrary", and contributes to The Atlantic and MSNBC. His most recent book, "How the Right Lost Its Mind", published by St. Martin's Press, was released in October 2017.Sykes has written for The New York Times, The Atlantic, The Weekly Standard, The Washington Post, Commentary, The Wall Street Journal, Politico, The Los Angeles Times, Newsweek, Time.com, USA Today, National Review, The New York Review of Books, the New York Daily News, and other national publications. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bigtentnews.substack.com

This episode of Rising Anxieties dissects a New York Review of Books article that acknowledges factory farm horrors while stopping short of the obvious conclusion: stop eating chickens. Mariann cuts through the nonsense of backyard chicken enthusiasts who claim moral superiority while perpetuating exploitation; eye-rolls at legislators who prioritize wolf delisting and “official chicken wing flavors” over meaningful change; and questions…

Today I am delighted to speak with Andrew Ross about his new book, The Weather Report: A Journey Through Unsettled Climates. In this study, Ross revisits areas of the world that he has written about before—Palestine, the United Arab Emirates, Phoenix, Arizona, and China. While he found no absolute correlates, he did discover that what he calls a “subterranean current of thought” emerged as he spoke with former interviewees and new ones, and visited old sites that became familiar in a different way. In particular, we follow up Andrew's claim that in Palestine we find a “grisly future arriving there sooner than elsewhere.”  The book focusses on the idea of population and scarcity, and argues that much of the policies that are based on the presumption of scarce resources are actually predicated on what Ross calls “bogus scarcity,” drawn upon to drive capitalist and genocidal and ecocidal violence. This is a violence that awaits us all unless we can find a better way of living together in the world.Andrew Ross is Professor of Social and Cultural Analysis at NYU, where he is director of the Prison Research Lab. A contributor to The Guardian, the New York Times, The Nation, New York Review of Books, and Al Jazeera, he is the author or editor of about 30 books, including Stone Men: The Palestinians Who Built Israel (which won a Palestine Book Prize), and, most recently, The Weather Report: A Journey Through Unsettled Climates. He is the co-founder of several movement groups, and currently is serving on the national steering committee of the Faculty and Staff for Justice in Palestine network.

For many of us, handbags are an essential part of our lives. They allow us to leave the house with everything we need, and they also can be another place to show off our status or style. This hour, we look at the evolution of the handbag. We'll talk about famous "It Bags", how handbags contributed to human development, and the impact of the Walmart "Birkin." GUESTS: Nancy MacDonell: Fashion journalist and fashion historian. She writes the Wall Street Journal column "Fashion with a Past.” Her new book is Empresses of Seventh Avenue: World War II, New York City, and the Birth of American Fashion Hannah Carlson: Senior Lecturer in the Apparel Department at the Rhode Island School of Design. She’s also the author of Pockets: An Intimate History of How We Keep Things Close Audrey Wollen: Book critic and writer whose work has appeared in The New Yorker, Harper's, The New York Review of Books and other outlets. Her article “A Unified Theory of the Handbag” recently appeared in The Yale Review Aarushi Bhandari: An Assistant Professor of Sociology at Davidson College. Her new book is Attention and Alienation Join the conversation on Facebook and Twitter. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Colin McEnroe and Dylan Reyes contributed to this show, which originally aired on June 4, 2025.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Podcasting is a privilege as Steve is joined by Dan Kois and Rebecca Onion to unpack and cackle at the domestic thriller schlockfest The Housemaid. Sydney Sweeney and Amanda Seyfried star in the Paul Fieg-directed tale of two women facing off to rule the McMansion roost.Next, Seyfried proves she's got the range as the panel joins the chorus appraising her performance in The Testament of Ann Lee, the epic tone poem and musical biopic about the founder of the Shakers directed by Mona Fastvold. Finally, Julia hops on the call to join a conversation with Alia Hanna Habib, the influential book agent who is divulging hard-won publishing world insights in a new book Take It from Me and in the Substack Delivery & Acceptance.In a Slate Plus bonus episode, the panel addresses a listener questioner from a U.S. history teacher about syllabus-worthy pop culture.EndorsementsDan: The Ruth Asawa retrospective at MoMA which illuminates the work and life of the prolific artist.Rebecca: A bunch of books including Canticle by Janet Rich Edwards, The Ax by Donald E. Westlake, and True Grit by Charles Portis.Steve: The essay "East Side Story" about Marty Supreme by Nawal Arjini in the New York Review of Books.---Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

Podcasting is a privilege as Steve is joined by Dan Kois and Rebecca Onion to unpack and cackle at the domestic thriller schlockfest The Housemaid. Sydney Sweeney and Amanda Seyfried star in the Paul Fieg-directed tale of two women facing off to rule the McMansion roost.Next, Seyfried proves she's got the range as the panel joins the chorus appraising her performance in The Testament of Ann Lee, the epic tone poem and musical biopic about the founder of the Shakers directed by Mona Fastvold. Finally, Julia hops on the call to join a conversation with Alia Hanna Habib, the influential book agent who is divulging hard-won publishing world insights in a new book Take It from Me and in the Substack Delivery & Acceptance.In a Slate Plus bonus episode, the panel addresses a listener questioner from a U.S. history teacher about syllabus-worthy pop culture.EndorsementsDan: The Ruth Asawa retrospective at MoMA which illuminates the work and life of the prolific artist.Rebecca: A bunch of books including Canticle by Janet Rich Edwards, The Ax by Donald E. Westlake, and True Grit by Charles Portis.Steve: The essay "East Side Story" about Marty Supreme by Nawal Arjini in the New York Review of Books.---Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Happy New Year! Cheers to a great 2026! In today's Episode, we continue our Winter Hiatus with a Replay of EP27 from June of 2024, with Illustrator Tucker Nichols... Emily chats with NorCal based artist Tucker Nichols as he shares stories about his spontaneous move to Taiwan, where he immersed himself in a vibrant artistic community. He discusses his extensive body of work, including children's books and the initiative 'Flowers for Sick People.' He reflects on his background, including his mother's influence and his intense study of East Asian art. Tucker's journey includes struggling with Crohn's disease and a career shift to become a full-time artist, supported by his wife. He talks about influential works and places, emphasizing his lifelong passion for art. The podcast concludes with three thought-provoking questions Emily asks every guest.Stay tuned as we return in 2 weeks with a brand new Episode with featuring a new batch of Awesome Artists! About Artist  Tucker Nichols:Tucker Nichols is an artist based in Northern California. His work has been featured at the Drawing Center in New York, the San Francisco Museum of Modern Art, the Denver Art Museum, Den Frie Museum in Copenhagen, and the Asian Art Museum in San Francisco. A show of his sculpture, Almost Everything On The Table, was recently on view at the Aldrich Contemporary Art Museum. He is currently an Artist Trustee at SFMOMA.His drawings have been published in The New Yorker, The New York Review of Books, McSweeney's, The Thing Quarterly, and the Op-Ed pages of The New York Times. He is co-author of the books, Crabtree (with Jon Nichols) and This Bridge Will Not Be Gray (with Dave Eggers). Flowers for Things I Don't Know How to Say  was released in March 2024. Flowers for Sick People, his ongoing multimedia project, can be viewed here.Visit Tucker's Website:  TuckerNichols.comFollow Tucker  on Instagram:  @TuckerNichols--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This episode originally aired November 17, 2025 on Patreon — we're unlocking it as a holiday treat. If there's a Trump-era topic that manages to fascinate without being entirely depressing, it's probably the ongoing arguments about architecture that his ascension has occasioned. Proponents of a RETVRN to the architectural ideals of ancient Greece and Rome are prominent in MAGA circles; partisans of a neo-classical revival populate government commissions, and their prescriptions find expression in various executive orders again. To understand who these people are, what their movement wants, and the kernel of truth in their grievances, we talked to architectural critic and proprietor of McMansion Hell Kate Wagner. We start by analyzing Trump's ballroom and the demolishing the East Wing of the White House — the perfect way into MAGA architecture and the mind of their Beautiful Builder himself, Donald J. Trump.Sources:Kate Wagner, "Duncing About Architecture," New Republic, Feb 8, 2020— "Trump Will Not Make Architecture Great Again," The Nation, Jan 7, 2025— "The Real Problem With Trump's Cheesy Neoclassical Building Fetish," Feb 12, 2025— "what the fuck are we doing anymore," The Late Review, Jan 9, 2025.— "Wrecking Ballroom," The New York Review of Architecture, Dec 17, 2025.Charlie Nash, "Trump Admits He Could've Built Ballroom Without Destroying the East Wing, But 'It Looked Like Hell,'" Mediate, Nov 10, 2025Jonathan Edwards & Dan Diamond, "Trump hires new White House ballroom architect," WaPo, Dec 4, 2025. ...and don't forget to subscribe to Know Your Enemy on Patreon for access to all of our bonus episodes!

Sarah Boxer is foremost a thinker! The author of s⁠everal books, graphic novels and articles for many storied publications such as the New York Times, The New York Review of Books, The Atlantic, Brooklyn Rail and many more. Dr. Lisa began her career as a self-proclaimed psychotherapist in 2001 and Sarah, on staff at the Arts & Ideas desk at the NY Times, wrote a feature story on Psychotherapy LIVE! READ IT HERE Lisa's live stage show where she did "Psychotherapy" on audience volunteers. A LOT has happened in the last 25 years. Sarah has a 22 year old son and she's putting the finishing touches on a book of her drawings she did of him from birth to age 5 that is to be published soon. She discusses what effect it had on her to do those drawings, how she first dived into Freud's writing at age 15 (her father had his books in the house) and her impression of Psychotherapy LIVE! all those years ago (a good impression!) It's compelling to find these women with their separate journeys back in the same room, years away from when they first met in July, 2002. Sarah Boxer Bio: WHO AM I? ​​I am a writer of non-fiction and graphic fiction from Colorado who now lives in Washington, D.C. I have drawn & written two psycho-comics -- In the Floyd Archives, based on Freud's case histories, and its post-Freudian sequel, Mother May I?  I have also written reviews and essays for The New York Review of Books, The Atlantic, The Comics Journal, The L.A Review of Books, The New York Times, Photograph, Slate, and Artforum. Now I'm working on a third volume of my Shakespearean Tragic-Comics, a series that so far includes Hamlet: Prince of Pigs ​and Anchovius Caesar. For more detail, see my CV.  WHO WAS I?​​For many years I worked at The New York Times  (1989-2006) where I was, at various points, a photo critic, a Web critic, an arts reporter, an editor at The Week in Review, and an editor at The Book Review.  In 2008 Vintage published Ultimate Blogs: Masterworks From the Wild Web, an anthology that I edited. My first book, published by Pantheon in 2001 was In the Floyd Archives.

Anatol Lieven of the Quincy Institute analyzes Trump's official national security strategy. Susannah Glickman, recently interviewed by the New York Review of Books, looks at the transformation of the US government into a private equity firm. Behind the News, hosted by Doug Henwood, covers the worlds of economics and politics and their complex interactions, from the local to the global.

It's the usual brawl at the bar with the three barflies of the Three Whisky Happy Hour, where we take note of Justice Kentanji Brown Jackson sayiing the quiet (progressive) part out loud, likely flattered by the New York Review of Books recently saying of her: “Ketanji Brown Jackson is proving to be the sharpest justice […]

It's the usual brawl at the bar with the three barflies of the Three Whisky Happy Hour, where we take note of Justice Kentanji Brown Jackson sayiing the quiet (progressive) part out loud, likely flattered by the New York Review of Books recently saying of her: "Ketanji Brown Jackson is proving to be the sharpest justice on the Supreme Court." (No, seriously—they really printed that sentence.) But did she really just give away the whole anti-democratic impulse of progressives? It looks like she did.We actually agree that Humphrey's Executor is going to get executed because Slaughter (the party to the case against Trump) ha set it up for the slaughter.Speaking of slaughtering, we get around to celebrating the seasonal apperance of the McRib, but not before reviewing how his bears on John Yoo's favorite constitutional doctrine, the 'unitary executive,' and we take a brief tour to argue over some of the fine points of the Dred Scott case. Because whisky will do that to you.

Ray D. Madoff is a professor at Boston College Law School and the cofounder and director of the Boston College Forum on Philanthropy and the Public Good. She is the author of Immortality and the Law: The Rising Power of the American Dead and lead author of The Practical Guide to Estate Planning. Her writing has appeared in The New York Times, The Wall Street Journal, The Washington Post, and The New York Review of Books, among other outlets. Get a copy of her brilliant book The Second Estate: How the Tax Code Made an American Aristocracy Anthony Scaramucci is the founder and managing partner of SkyBridge, a global alternative investment firm, and founder and chairman of SALT, a global thought leadership forum and venture studio. He is the host of the podcast Open Book with Anthony Scaramucci. A graduate of Tufts University and Harvard Law School, he lives in Manhasset, Long Island.

Susannah Glickman, an assistant professor of history at Stony Brook University who specializes in the political economy of computation and information, sat down with Lawfare Associate Editor Olivia Manes to discuss the role of defense tech in the second Trump administration. Susannah unpacked her recent article in the New York Review of Books tracing the historical relationship between tech, defense, and the U.S. government, and explained how defense tech firms which have benefitted from U.S. industrial policy are now undermining it for the sake of short-term profits. To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

In this episode from the Institute's vault, we revisit an October 2007 presentation by theoretical physicist and Institute Fellow Jeremy Bernstein on J. Robert Oppenheimer, the atomic bomb, and the nuclear arms race that followed. As a physicist, Bernstein made contributions to elementary particle physics and cosmology, working at the Institute for Advanced Study in Princeton, New York University, and Stevens Institute of Technology, where he became Professor Emeritus in 1967. He held visiting positions at CERN, Oxford, and the École Polytechnique, among others, and was the last surviving senior member of Project Orion, which studied the potential of nuclear pulse propulsion for space travel. Bernstein was a staff writer for The New Yorker for over three decades. He wrote regularly for The New York Review of Books, The Atlantic Monthly, and Scientific American, and authored over two dozen books, including Oppenheimer: Portrait of an Enigma (2004). He passed away on April 20th, 2025 at the age of 95. Here he is in 2007, discussing the topics on which he made a great contribution and helped illuminate. Learn more about your ad choices. Visit megaphone.fm/adchoices

My conversation with Waj starts at about 45 mins in to today's show after headlines and clips - "The Shit Show" Subscribe and Watch Interviews LIVE : On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Venmo at the bottom! Please subscribe now for as little as 5$ and gain access to a community of over 750 awesome, curious, kind, funny, brilliant, generous soul Subscribe to Waj Substack Channel "The Left Hook" Check out his new show on youtube 'America Unhinged,' with Francesca Fiorentini and Wajahat Ali - Zeteo's new weekly show following Trump's first 100 days in office. Wajahat Ali is a Daily Beast columnist, public speaker, recovering attorney, and tired dad of three cute kids. Get his book Go Back To Where You Came From: And, Other Helpful Recommendations on Becoming American which will be published in January 2022 by Norton. He believes in sharing stories that are by us, for everyone: universal narratives told through a culturally specific lens to entertain, educate and bridge the global divides. Listen to Waj and DAnielle Moodie on Democracy-ish  He frequently appears on television and podcasts for his brilliant, incisive, and witty political commentary. Born in the Bay Area, California to Pakistani immigrant parents, Ali went to school wearing Husky pants and knowing only three words of English. He graduated from UC Berkeley with an English major and became a licensed attorney. He knows what it feels like to be the token minority in the classroom and the darkest person in a boardroom. Like Spiderman, he's often had the power and responsibility of being the cultural ambassador of an entire group of people, those who are often marginalized, silenced, or reduced to stereotypes. His essays, interviews, and reporting have appeared in The New York Times, The Atlantic, The Washington Post, The Guardian, and New York Review of Books. Ali has spoken at many organizations, from Google to Walmart-Jet to Princeton University to the United Nations to the Chandni Indian-Pakistani Restaurant in Newark, California, and his living room in front of his three kids. On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page   Gift a Subscription https://www.patreon.com/PeteDominick/gift Send Pete $ Directly on Venmo

Individuation isn’t about becoming better. It’s about becoming whole. At 75, neurologist Oliver Sacks finally integrated the parts of himself he’d kept hidden—his sexuality, his need for love, his domestic life (who knew he kept a library of Jung's work). Bill Hayes talks intimately about Sacks’s late-life transformation which exemplifies Jung’s crucial insight: growth isn’t about fixing what’s broken. It’s about integrating what you’ve exiled. The recipient of a Guggenheim Fellowship in nonfiction, Bill Hayes is a frequent contributor to the New York Times and the author of seven books, including Sleep Demons; Five Quarts; The Anatomist; Insomniac City; and How We Live Now: Scenes from the Pandemic.  His writing has also appeared in The Wall Street Journal, The New York Review of Books, the New York Times “T” Style Magazine, BuzzFeed, and The Guardian. His most recent book, SWEAT: A History of Exercise, a narrative nonfiction look at exercise from antiquity to the present, is available now wherever books are sold.  Hayes is also a photographer, with credits including The New Yorker, Vanity Fair, and the New York Times.  His portraits of his partner, the late Oliver Sacks, appear in the volume of Dr. Sacks's suite of final essays Gratitude.  A collection of his street photography, How New York Breaks Your Heart, was published in 2018 by Bloomsbury.  His photographs are available for sale as limited edition prints exclusively by CLAMP art gallery in New York City. Books by Bill Hayes: Patricia Martin, MFA, is the host of Jung in the World. A noted cultural analyst, she applies Jungian theory to her work as a researcher and writer. Author of three books, her work has been featured in the New York Times, Harvard Business Review, Huffington Post, and USA Today. She holds an MFA in writing and literature from Bennington College and an MA in cultural studies at the University College, Dublin (honors). In 2018, she completed the Jungian Studies Program at the C. G. Jung Institute Chicago where she is a professional affiliate. A scholar in residence at the Chicago Public Library, for the last decade she's been studying the digital culture and its impact on the individuation process. Patricia travels the world giving talks and workshops based on her findings and has a private consulting practice in Chicago. Be informed of new programs and content by joining our mailing list! Support this free podcast by making a donation, becoming a member of the Institute, or making a purchase in our online store! Your support enables us to provide free and low-cost educational resources to all. This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. You may share it, but please do not change it, sell it, or transcribe it.Executive Producer: Ben LawHosts: Patricia Martin, Judith Cooper, Daniel Ross, Adina Davidson, and Raisa Cabrera2025-2026 Season Intern: Zoe KalawMusic: Peter Demuth

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

e-flux journal Associate Editor Andreas Petrossiants talks to author Andrew Ross about his recent book, The Weather Report: A Journey Through Unsettled Climates. Between the summers of 2023 and 2024, Andrew Ross visited Ramallah (Palestine), Dubai (UAE), Phoenix (USA), and Shanghai (China)—some of the landscapes most disturbed by human activity, whether through active warfare or massive development projects. Rather than offering another eco-polemic or recalling for us the dread prognostications of Malthus in the 19th century or Ehrlich in the 20th, The Weather Report is a clear-eyed and essentially optimistic book that proposes a pragmatic, just, and urgent new common ground reestablishing scalable projects of mutual aid and care as a new, essential center for our economic, ecological, and social well-being.  Andrew Ross is a social activist and Professor of Social and Cultural Analysis at NYU. A contributor to The Guardian, The New York Times, The Nation, Artforum, Jacobin, New York Review of Books, and Al Jazeera, he is the author or editor of almost 30 books and hundreds of articles on a wide variety of topics—labor and work, urbanism, politics, technology, environmental justice, alternative economics, music, film, TV, art, architecture, and poetry. His articles have appeared in newspapers and magazines as well as in academic and public interest journals, and his books are published by mainstream trade, academic, and independent presses. He has lectured at hundreds of universities and cultural institutions in North America, Europe, Asia, Latin America, the Middle East, and Australia. Politically active in many movement fields, he is the co-founder of several groups–Gulf Labor Artists Coalition, Global Ultra Luxury Faction, Coalition for Fair Labor, Occupy Student Debt Campaign, Strike Debt, the Debt Collective, and Decolonize This Place—and is an organizer with others, including the American Association of University Professors and the US Academic and Cultural Boycott of Israel. He also serves on the steering committee of the national network of Faculty and Staff for Justice in Palestine. Ross's books include The Weather Report; A Journey Through Unsettled Climates, Abolition Labor: The Fight to End Prison Slavery, Cars and Jails: Freedom Dreams, Debt, and Carcerality, Sunbelt Blues: The Failure of American Housing, Stone Men: The Palestinians Who Built Israel (winner of a Palestine Book Award), Creditocracy and the Case for Debt Refusal, Bird On Fire: Lessons from the World's Least Sustainable City, Nice Work If You Can Get It: Life and Labor in Precarious Times, Fast Boat to China: Corporate Flight and the Consequences of Free Trade–Lessons from Shanghai, Low Pay, High Profile: The Global Push for Fair Labor, No-Collar: The Humane Workplace and its Hidden Costs, The Celebration Chronicles: Life, Liberty, and The Pursuit of Property Value in Disney's New Town, Real Love: In Pursuit of Cultural Justice, The Chicago Gangster Theory of Life: Nature's Debt to Society, Strange Weather: Culture, Science and Technology in the Age of Limits, and No Respect: Intellectuals and Popular Culture.

Exploring and Collecting African American History Harriet Tubman is, if surveys are to be trusted, one of the ten most famous Americans ever born. Yet often she's a figure more out of myth than history, often rightly celebrated but seldom understood. Tiya Miles's Night Flyer changes all that, probing the ecological reality of Tubman's surroundings and examining her kinship with other enslaved women who similarly passed through a spiritual wilderness and recorded those travels in profound and moving memoirs. Tiya Miles is the author of eight books, including four prizewinning histories about race and slavery. She is a two-time winner of Yale's Frederick Douglass Prize and a two-time winner of the National Council on Public History Book Award. Her 2021 National Book Award winner, All That She Carried: The Journey of Ashley's Sack, a Black Family Keepsake, was a New York Times bestseller that won eleven historical and literary prizes, including the Cundill History Prize. All That She Carried was named A Best Book of the Year by The New York Times, The Washington Post, The Boston Globe, The Atlanta-Journal Constitution, NPR, Publisher's Weekly, The Atlantic, Time, and more.  Her latest work, Night Flyer: Harriet Tubman and the Faith and Dreams of a Free People, was a finalist for the National Book Critics Circle Award in biography.  Her other nonfiction works include Wild Girls: How the Outdoors Shaped the Women Who Challenged a Nation, The Dawn of Detroit, Tales from the Haunted South, The House on Diamond Hill, and Ties That Bind. Miles publishes essays and reviews in The New York Times, The Boston Globe, The Atlantic, The New York Review of Books, and other media outlets. Miles is also the author of the novel, The Cherokee Rose, a ghost story set in the Native American plantation South. Check out more books by this author at your library. Miles has consulted with colleagues at historic sites and museums on representations of slavery, African American material culture, and the Black-Indigenous intertwined past, including, most recently, the Fabric of a Nation quilt exhibition at the Museum of Fine Arts in Boston. Her work has been supported by a MacArthur Foundation "Genius" Award, the Mellon Foundation, the National Endowment for the Humanities, and the Guggenheim Foundation.  Miles was born and raised in Cincinnati, Ohio, and she is currently the Michael Garvey Professor of History and Radcliffe Alumnae Professor at Harvard University. You can find her online at https://tiyamiles.com/ or on Facebook and Instagram  @TiyaMiles. Interviewer Tammy Cherry has taught at FSCJ as an English professor for 22 years. Along with composition classes, Tammy teaches African American literature and honors classes. She is a lifelong Jacksonville resident and recently served as co-host for the WJCT podcast Bygone Jax. --- Never miss an event! Sign up for email newsletters at https://bit.ly/JaxLibraryUpdates  Jacksonville Public LibraryWebsite: https://jaxpubliclibrary.org/ Twitter: https://twitter.com/jaxlibrary Facebook: https://www.facebook.com/JaxLibrary/ Instagram: https://www.instagram.com/jaxlibrary/ YouTube: https://www.youtube.com/user/jaxpubliclibraryfl Contact Us: jplpromotions@coj.net 

Joseph O'Neill is the author of the novel Godwin, now available in trade paperback from Vintage. O'Neill was born in Ireland and grew up in Mozambique, Iran, Turkey, and Holland. His previous novels include the PEN/Faulkner Award–winning Netherland and the Booker Prize long-listed The Dog. O'Neill's short fiction appears regularly in The New Yorker and his political essays in The New York Review of Books. He lives in New York City. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠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

653. Part 2 of our conversation with Kathleen DuVal about her book, Native Nations: A Millennium in North America. “Pulitzer Prize Winner - National Bestseller - A magisterial overview of a thousand years of Native American history” (The New York Review of Books), from the rise of ancient cities more than a thousand years ago to fights for sovereignty that continue today. Winner of the Bancroft Prize, the Cundill History Prize, and the Mark Lynton History Prize. Long before the colonization of North America, Indigenous Americans built diverse civilizations and adapted to a changing world in ways that reverberated globally. And, as award-winning historian Kathleen DuVal vividly recounts, when Europeans did arrive, no civilization came to a halt because of a few wandering explorers, even when the strangers came well armed. Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 221 years. Order your copy today! This week in the Louisiana Anthology. Katie Bickham. "Widow's Walk, 1917." The word came that seven hundred thousand bodies had drawn their last breaths at Verdun, an earth-quaking number for those unacquainted with the greedy appetites of death. She had never been across the sea, but pictured the corpses laid in neat rows like chopped cane at harvest time.     “Apologies, ma'am,” came Small John's voice from the rear stairs.  “I'd'a sent Roberta, but she scared fiercely of high places. You got to come down. The sun will cook you through.”     Five weeks her husband had been gone, and she hadn't even heaved a sigh until she'd tried to fasten her silver bracelet on her own, a task best suited to a second pair of hands. Sweating, she gripped the chain until the metal grew hot in her palm.     “Ma'am?” Small John tried again.  Without turning, she could feel him moving closer. Had he ever touched her once in these long years? “Roberta said you in a fury.”     She turned from the iron railing and flung the bracelet at him hard.  It hit his shoulder, tinkled as it fell onto the slate. He lifted it by one end like a snake and walked toward her.  “I'd'a gone, too,” he said.  “Over there to fight. ‘Cept I don't see like I ought to, and my knee ain't right.”     He watched her as if she might bolt over the edge, body set to lunge. Her temper cooled quick, the way Louisiana afternoons went from sweltering to raising shivers on skin before a hurricane blew in from the gulf.  “Small John?” she asked. She held her shaking wrist out to him, her jaw and throat and chest all gone hot and raw.     She thought he might throw it back at her, but he looked at her straight on, barely glanced down as he slipped the tiny teeth of the clasp together around her wrist, never once touched her skin. This week in Louisiana history. November 22, 1886. 30 Negros killed/100 wounded by vigilanties to stop canefield strike in Thibodeaux, This week in New Orleans history. The New Orleans Recreation Department Keller Center at 1814 Magnolia Street was dedicated on November 22, 1971. It was named in honor of Rosa Freeman Keller who had dedicated decades of her life in New Orleans to racial and gender equality. This week in Louisiana. Christmas Wonderland in the Pines Locations around Jonesboro November 29, 2025 Grand Marshal Coffee and Ceremony - 10:00 AM in the Community Room in Town Hall. The Grand Marshal is presented a Proclamation from the Mayor declaring the day in their honor. Family, friends, and guest of the Grand Marshal are especially invited to attend the ceremony. All visitors and members of the public are also invited to attend. Business casual attire is encouraged. Official Turning on of the Christmas Lights - 12:00 PM Following the Grand Marshal Coffee, the over 5 million Christmas lights are officially turned on for the remainder of the holiday season. Annual Christmas Wonderland in the Pines Parade - 4:30 PM The annual parade starts along Cooper Avenue, turns at Third Street, comes down Allen Avenue toward the Courthouse and turns onto Jimmie Davis Boulevard, turns at Hudson Avenue, and finishes on Seventh Street. The judges' table is located on Jimmie Davis Blvd. at the steps of the Courthouse. Annual Firework Show - approximately 7:00 PM Once dark, the firework show will start. The fireworks are shot from the Public Works Department, under the supervision of the State Fire Marshal. The fireworks can be viewed from nearly anywhere in the city. Postcards from Louisiana. Aislinn Kerchaert. Thanksgiving.  Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook. 

If you've got a cultural question or topic you'd like our hosts to tackle, now is your chance because we're preparing for our annual call-in show! Call and leave us a message with your cultural query at:  347-201-2397 On this week's show, Julia, Dana, Steve are off to the dystopian races with Edgar Wright's adaptation of The Running Man. Based on a novel by Stephen King and starring movie-star-to-be Glenn Powell, the film is chockfull of adrenaline and stylish wit but does it overcome its own authoritarian bleakness? They discuss with Slate's own Sam Adams. Next, they take a look at the oft-forgotten presidency and assassination of James A. Garfield in the Netflix limited series Death By Lightning, starring Michael Shannon, Matthew Macfadyen, and a whole lot of period accurate beards. Finally, they look to the heavens with the loftily ambitious, operatic, and polyglottal new album LUX by Rosalía.  In an exclusive bonus episode for Slate Plus subscribers, they continue their recap series and get into the twists and turns of the fourth episode of Pluribus. Endorsements Dana: The 17th century nun and poet (a very Rosalía-like divine feminine) Sor Juana Inés de la Cruz and particularly the poem "The Ripcord of Love" as translated by Ada Límon. Steve: Joyce Carol Oates's iconic, lacerating subtweet for the ages—illustrated beautifully on Literary Hub—as well as the prolific author's essay about the novel We Have Always Lived In the Castle in The New York Review of Books. (Steve welcomes listener recommendations for their favorite Oates's novel.) Julia: The Alpine Men's Snow Boot from Xero, for when the Los Angeles Almanac predicts rain. Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Julia, Dana, Steve are off to the dystopian races with Edgar Wright's adaptation of The Running Man. Based on a novel by Stephen King and starring movie-star-to-be Glenn Powell, the film is chockfull of adrenaline and stylish wit but does it overcome its own authoritarian bleakness? They discuss with Slate's own Sam Adams. Next, they take a look at the oft-forgotten presidency and assassination of James A. Garfield in the Netflix limited series Death By Lightning, starring Michael Shannon, Matthew Macfadyen, and a whole lot of period accurate beards. Finally, they look to the heavens with the loftily ambitious, operatic, and polyglottal new album LUX by Rosalía.  In an exclusive bonus episode for Slate Plus subscribers, they continue their recap series and get into the twists and turns of the fourth episode of Pluribus. If you've got a cultural question or topic you'd like our hosts to tackle, now is your chance because we're preparing for our annual call-in show! Call and leave us a message with your cultural query at:  347-201-2397 Endorsements Dana: The 17th century nun and poet (a very Rosalía-like divine feminine) Sor Juana Inés de la Cruz and particularly the poem "The Ripcord of Love" as translated by Ada Límon. Steve: Joyce Carol Oates's iconic, lacerating subtweet for the ages—illustrated beautifully on Literary Hub—as well as the prolific author's essay about the novel We Have Always Lived In the Castle in The New York Review of Books. (Steve welcomes listener recommendations for their favorite Oates's novel.) Julia: The Alpine Men's Snow Boot from Xero, for when the Los Angeles Almanac predicts rain. Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you've got a cultural question or topic you'd like our hosts to tackle, now is your chance because we're preparing for our annual call-in show! Call and leave us a message with your cultural query at:  347-201-2397 On this week's show, Julia, Dana, Steve are off to the dystopian races with Edgar Wright's adaptation of The Running Man. Based on a novel by Stephen King and starring movie-star-to-be Glenn Powell, the film is chockfull of adrenaline and stylish wit but does it overcome its own authoritarian bleakness? They discuss with Slate's own Sam Adams. Next, they take a look at the oft-forgotten presidency and assassination of James A. Garfield in the Netflix limited series Death By Lightning, starring Michael Shannon, Matthew Macfadyen, and a whole lot of period accurate beards. Finally, they look to the heavens with the loftily ambitious, operatic, and polyglottal new album LUX by Rosalía.  In an exclusive bonus episode for Slate Plus subscribers, they continue their recap series and get into the twists and turns of the fourth episode of Pluribus. Endorsements Dana: The 17th century nun and poet (a very Rosalía-like divine feminine) Sor Juana Inés de la Cruz and particularly the poem "The Ripcord of Love" as translated by Ada Límon. Steve: Joyce Carol Oates's iconic, lacerating subtweet for the ages—illustrated beautifully on Literary Hub—as well as the prolific author's essay about the novel We Have Always Lived In the Castle in The New York Review of Books. (Steve welcomes listener recommendations for their favorite Oates's novel.) Julia: The Alpine Men's Snow Boot from Xero, for when the Los Angeles Almanac predicts rain. Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Learn more about your ad choices. Visit megaphone.fm/adchoices

Following a young woman over the course of one outrageous and insufferable downtown dinner party at the home of her estranged best friends—an artist and curator couple, whom she now realizes stands for everything she detests—Happiness and Love (Scribner, 2025) is a piercing debut novel about brazen materialism, self-obsession, and the empty careerism of so-called cultural elites.Years after escaping New York and the center of its artistic world—a group of self-important, depraved, and unscrupulous artists, curators, and hangers-on—our narrator is back in town. With no plans to see anyone she once knew, she's wandering around the Lower East Side, thinking about the recent death of her former best friend, Rebecca, when she runs into Eugene, one half of the artist-curator couple at the heart of her old social set. Despite her better judgement, she accepts his invitation to a dinner party. And though the party is held only hours after Rebecca's funeral, it not a memorial of Rebecca but a dinner held in honor of a young, newly famous actress whose lateness delays the party by hours.As the guests sip their natural wine and await the actress's arrival, the narrator, from her perch on the corner seat of a white sofa, silently, systematically, and mercilessly eviscerates them—their manners, their relationships, their delusions and failures, and the complete moral poverty that brings them here, to Nicole and Eugene's loft on the Bowery. When the guest of honor finally does arrive, she sets in motion a disastrous end to the evening, laying bare the depravity and decadence of the hosts' empty little lives—a hollowness that the narrator herself knows all too well. Zoe Dubno is a writer from New York. She attended Oberlin College and has an MFA from Rutgers University, Newark. Her writing has appeared in Granta, The New York Times Magazine, The New York Review of Books, The Guardian, The Nation, Vogue, and elsewhere. Happiness and Love is her first novel. Recommended Books: Simone de Beauvoir, The Mandarins Learn more about your ad choices. Visit megaphone.fm/adchoices

Margaux MacColl, co-author of a series of articles in the SF Standard, discusses Zoomer tech bros. Susannah Glickman, who wrote a recent piece for the New York Review of Books, looks at the new arms makers who want to disrupt the legacy prime contractors. Behind the News, hosted by Doug Henwood, covers the worlds of economics and politics and their complex interactions, from the local to the global.

On this week's show, Dana, Steve, and Julia step into the gothic, visually rich world of Guillermo del Toro's Frankenstein. It's been years in the making, gorgeously rendered, and stars the always compelling Oscar Isaac and Jacob Elordi, but it's up for debate if something like a soul emerges from del Toro's mad machinations. Next, author and journalist Stefan Fatsis joins the logophilic panel to talk about the uncertain fate of dictionaries as chronicled in his new book Unabridged: The Thrill of (and Threat To) the Modern Dictionary. Finally, the hosts talk about the sonically and narratively layered new podcast Fela Kuti: Fear No Man about the legendary Nigerian musician and activist— its acclaimed producer Jad Abumrad joins to discuss.   In an exclusive Slate Plus bonus episode, Jad sticks around to pepper the Gabfesters with questions about how we make our own podcast week after week. Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Endorsements Steve: Jad Abumrad's new podcast Fela Kuti: Fear No Man (yes, the one covered in this very episode— it's that good). Also, Ben Lerner's essay “Cardiography” in the New York Review of Books. Jad: The dark Macedonian fantasy You Won't Be Alone.  Julia: “Tense Present: Democracy, English, and the Wars over Usage,” David Foster Wallace's classic essay originally published in Harpers.Dana: Adam Gopnik's recent piece "What Do We Want from Our Child Stars?" in The New Yorker. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, “Monster: The Ed Gein Story” is the most watched show on Netflix. It's a dramatized retelling of the life of the serial killer who inspired “Psycho” and “The Texas Chainsaw Massacre.” The “Monster” franchise, which includes two earlier seasons about Jeffrey Dahmer and Lyle and Erik Menendez, is one of Netflix's splashiest hits – the Dahmer season is still the fourth-most viewed English language show in the history of the platform. And the true crime obsession only grows each year. On Netflix last year, 15 of the top 20 documentaries were true crime docs, compared to just six in 2020. But what does it mean for the subjects of these documentaries, that Americans endlessly crave stories about murder and bloodshed and terror? John J. Lennon is a contributing editor for Esquire and writes frequently for New York Review of Books and the New York Times. This week, he spoke to host Brooke Gladstone from Sing Sing Correctional Facility, where he's serving his 24th year of his 28-year-to-life sentence for murder, drug sales, and gun possession. They spoke about his new book, The Tragedy of True Crime, what it was like to watch himself get featured in a true crime documentary, and why he wants to upend the typical 'true crime' narratives of good vs. evil.  On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.