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How do you report on a closed dictatorship with an oppressed yet defiant population? Journalist Nilo Tabrizy is an open-source investigative reporter who covers Iran.For Western media, it is almost impossible to provide an accurate picture of what is happening in Iran. One of the most reliable methods to do so is through open-source reporting, which uses publicly available data to reconstruct events and verify facts. Nilo Tabrizy previously did this work for The New York Times and The Washington Post. Among other investigations, she reported on the missile strike on an Iranian girls' school at the start of the war, in which about 165 students were killed. She recently received an Emmy for a documentary in collaboration with Bellingcat investigating the impact of the air strikes on the Iranian nuclear programme. How do you conduct data-driven investigations in a country notorious for internet blackouts?Earlier, Tabrizy covered the Woman, Life, Freedom movement demonstrations that erupted in Iran in 2022 after the death of Mahsa Jîna Amini. About these events, Tabrizy co-wrote the book For the Sun After Long Nights with Fatemeh Jamalpour, who is an Iranian feminist journalist, author, and former newspaper reporter. She is known for her reporting on women's rights, human rights, and social issues in Iran. She previously worked for the reformist Iranian newspaper Shargh and later contributed to international outlets including BBC World News, The Sunday Times, The Paris Review, and Los Angeles Times.The Dutch translation of their book, Zusters in Iran (Zwartjes & Labovic), was recently published. In conversation with Tabrizy and Jamalpour, we discuss the ongoing war in Iran, the recent round of protests in the country and what it means to report on a country that both journalists fled.Programme editor: Senna FeliusIn collaboration with: Zwartjes & LabovićZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.
Debut novelist Tara Menon on writing friendship as a life-shaping bond, the emotional architecture of grief, and researching the natural world for her novel Under Water. You'll learn Why a platonic friendship can shape a life as profoundly as any romance How to build tension in a story when the reader already knows what's coming. What an unexpected sea creature reveals about writing the bonds between women. The difference between endless research and knowing just enough to write the scene. Why fiction demands a kind of surrender that criticism never asks for. How grief for a lost friend and grief for a vanishing natural world can become one story. When self-doubt is evidence you're taking the work seriously. Why cutting a novel down to its essentials can matter more than what you leave in. A writing rhythm that looks nothing like “500 words every morning” (and works anyway). What finally makes the writing worth it, long before publication does. Resources & Links
Andrew Martin is the author of the novel Early Work, a New York Times Notable book of 2018, and the story collection Cool for America, longlisted for the 2020 Story Prize. His essays and stories have appeared frequently in The Paris Review, The New York Review of Books, and Harper's, as well as in The Yale Review, The Atlantic, McSweeney's, The Times Book Review and elsewhere. He lives in New York City with his family. Recommended Books: William Demby, Love Story Black Morgan Meis, The Drunken Silenus Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. 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
Andrew Martin is the author of the novel Early Work, a New York Times Notable book of 2018, and the story collection Cool for America, longlisted for the 2020 Story Prize. His essays and stories have appeared frequently in The Paris Review, The New York Review of Books, and Harper's, as well as in The Yale Review, The Atlantic, McSweeney's, The Times Book Review and elsewhere. He lives in New York City with his family. Recommended Books: William Demby, Love Story Black Morgan Meis, The Drunken Silenus Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
On this month's episode Nicole is joined by Tom Morris to read from and discuss his story ‘Notes on Contributors' published in Issue 54 Volume Two of The Stinging Fly magazine.In their conversation, Nicole and Tom talk about how writers discuss their writing routine and about the benefit of maintaining mystery and ambiguity in writing. They also discuss writing in the realm of the body rather than the realm of the intellect, trying to bring readers toward a feeling, and the importance of learning to develop and trust your own sense of taste as a writer.Thomas Morris is the author of We Don't Know What We're Doing, and Open Up. His work has been rejected by The Paris Review, McSweeney's, and The New Yorker. Originally from Caerphilly, South Wales, he lives in Dublin, where he worked for over a decade with The Stinging Fly.Nicole Flattery is a writer and critic. Her story collection Show Them A Good Time, was published by The Stinging Fly and Bloomsbury in 2019. Her first novel, Nothing Special, was published by Bloomsbury in 2023.– — –Each month on The Stinging Fly Podcast, we invite writers from the latest issue of the magazine to read and discuss their work. Previous episodes of the podcast can be found here. The podcast's theme music is ‘Sale of Lakes', by Divan. All of The Stinging Fly's archive is available to subscribers.
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. 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
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion
Molly Crabapple joins Michael Stauch to discuss the history of the Jewish Labor Bund, the subject of her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund (Random House, 2026). Once the most influential Jewish political force in Eastern Europe, the Bund was secular, socialist, and uncompromisingly anti-Zionist. The Bundists fought for dignity and equality, not in an imagined homeland in Palestine but “here where we live.” In the first popular history of the Bund, Crabapple re-creates their extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. The Bundists live deeply within this violent, volatile, and somehow hopeful period, as their stories interweave with the Russian Revolution and the Holocaust. The Bund's rise and fall raises the vital question: What can we learn from a movement that, for all its toughness, imagination, and moral clarity, was largely destroyed? Highlights include: Crabapple's personal connection to the Bund through her great-grandfather, Sam Rothbort; How the Bund built a vibrant youth counterculture amid harsh anti-Semitism in Eastern Europe; The significance of “Hereness” to the Bund's politics and how it distinguished the group from Zionist groups advocating the colonization of Palestine; A discussion of “theory-pilled nerds” and how Crabapple's activism and journalism since Occupy Wall Street shaped her insights into the inner life of the Bund; The future of anti-Zionism in the context of Israel's ongoing destruction of Palestine. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun (with Marwan Hisham), which was longlisted for a National Book Award. She was a 2020 New America Fellow and her reportage is the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker, and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics
Professor Megan Mayhew Bergman is an award-winning fiction writer, conservation journalist, filmmaker, and cultural critic. She serves as Director of Creative Writing at Middlebury College and Director of the Bread Loaf Environmental Writers' Conference. She is the author of four books and her work has appeared in The New Yorker, The New York Times, The Guardian, The Paris Review, Harper's Bazaar, and elsewhere.See more of Megan's work here: https://www.mayhewbergman.com
In this episode of The Midlife Purpose Project, I'm joined by author Ann Tashi Slater for a beautiful conversation about bardo, a Tibetan Buddhist concept often translated as an “in-between state.”Ann is the author of Traveling in Bardo, a book about how we move through uncertainty, change, transition, loss, illness, identity shifts, and all the spaces where life no longer looks the way it once did — but the next chapter has not fully arrived.And isn't that so much of midlife?Our bodies change. Our roles change. Our relationships change. Our children grow. Our identities shift. The world around us can feel uncertain and unstable. So often, we want to rush through the discomfort and get to the place where everything finally feels settled.But what if the in-between is not something to escape?What if it is actually a sacred place of possibility, insight, and transformation?In this conversation, Ann and I explore how bardo can help us understand the human experience of impermanence, why our resistance to change often creates more suffering than the change itself, and how we can begin to meet the uncertainty of life with more presence, compassion, and inner steadiness.We also talk about the connection between Tibetan Buddhist wisdom and yoga philosophy, especially around acceptance, karma, action, alignment, and the importance of living in a way that reflects what truly matters to us.This episode is for you if you are in a season of transition, questioning what comes next, grieving a life that no longer exists, or learning how to stop fighting reality and begin listening for the wisdom that can only arrive in the quiet.In This Episode, We Talk AboutWhat bardo means in Tibetan Buddhism and how it applies to everyday lifeWhy midlife can feel like a powerful “in-between” stateHow resistance to change increases sufferingWhy acceptance is not the same as giving upThe relationship between karma, action, and personal agencyHow our thoughts, words, and actions shape the experience of our livesWhy distraction keeps us from seeing clearlyHow to align your time and energy with what matters mostThe importance of listening to your true self beneath conditioning, people-pleasing, and old rolesWhy mortality can help us live with more clarity, courage, and intentionThe possibility hidden inside both voluntary and involuntary transitionsAnn Tashi Slater has written for The New Yorker, The New York Times, The Washington Post, The Paris Review, and many others. In her Darjeeling Journal column for Catapult, she writes about her Tibetan family history and bardo, and she blogged for HuffPost on similar topics. She presents and teaches workshops at Princeton, Columbia, Oxford, Asia Society, and The American University of Paris, among others. Her new book, Traveling in Bardo: The Art of Living in an Impermanent World (Balance/Hachette), has been named a Next Big Idea Club “Must-Read.” Learn more at anntashislater.com.SOCIAL MEDIA:https://www.facebook.com/ann.tashi.slaterhttps://www.linkedin.com/in/ann-tashi-slater-977b21b/https://x.com/anntashislaterhttps://www.instagram.com/anntashislater/If this conversation resonated with you, I would love to invite you to continue the journey with me on Substack, where I share reflections, practices, and resources for midlife women who are seeking peace, clarity, purpose, and a way back home to themselves.And if you are in your own in-between season and would like support reconnecting with yourself and creating a more aligned life, you can visit my website or book a discovery call using the links in the show notes.About Katie FarinasKatie Farinas is a midlife coach, yoga teacher, and spiritual guide who helps women navigate midlife with clarity, peace, purpose, and empowerment. Through yoga philosophy, mindfulness, nervous system regulation, and energy-based practices, Katie supports women in reconnecting with themselves and stepping fully into their most aligned and authentic lives.✨ Ways To Go Deeper:If you're ready to feel less overwhelmed and more connected to your body, needs, and inner voice, explore my 4-week private coaching experience for midlife women: Reconnect With Your Body and Yourself. Learn more here.Record your question here and I will answer it on the show!! https://www.speakpipe.com/KatieFarinasJoin the Monthly SatsangVisit Katie's websiteJoin the newsletter for soulful insights and to receive weekly practicesRead and watch on SubstackBook a reflective Insight Seat to come on the show and receive live coachingSchedule a Clarity Call to see if my coaching is right for you.
The Author Events Series presents Namwali Serpell | On Morrison In Conversation with Angela Flournoy Toni Morrison, Nobel Laureate and one of our most beloved writers, has inspired generations of readers. But her artistic genius is often overshadowed by her monumental public persona, perhaps because, as Namwali Serpell puts it, ''she is our only truly canonical black, female writer-and her work is highly complex.'' In On Morrison, Serpell brings her unique experience as both an award-winning writer and professor who teaches a course on Morrison to illuminate her masterful experiments with literary form. This is Morrison as you've never encountered her before, a journey through her oeuvre-her fiction and criticism, as well as her lesser-known dramatic works and poetry-with contextual guidance and original close readings. At once accessible and uncompromisingly rigorous, On Morrison is a primer not only on how to read one of the most significant American authors of all time, but also on how to read great works of literature in general. This dialogue on the page between two black women artist-readers is stylish, edifying, and thrilling in its scope and intelligence. Namwali Serpell was born in Lusaka and lives in New York. Her debut novel, The Old Drift, won an Anisfield-Wolf Book Award, the Arthur C. Clarke Award for Science Fiction, and the Los Angeles Times's Art Seidenbaum Award for First Fiction. Her second novel, The Furrows, was a finalist for a National Book Critics Circle Award for Fiction and was selected as one of The New York Times Ten Best Books of the Year. Her book of essays, Stranger Faces, was a finalist for a National Book Critics Circle Award for Criticism. She is a recipient of the Windham-Campbell Prize for Fiction, the Caine Prize for African Writing, and a Rona Jaffe Foundation Award. She is a professor of English at Harvard University. Angela Flournoy is the author of The Turner House, which was a finalist for the National Book Award, a finalist for the Center for Fiction First Novel Prize, a Barnes & Noble Discover Great New Writers selection, an Indie Next pick, and a New York Times Notable Book of the Year. Her fiction has appeared in The Paris Review, and she has written for The New York Times, The New Yorker, Los Angeles Times, and elsewhere. A graduate of the Iowa Writers' Workshop, Flournoy has taught at the University of Iowa, Princeton University, and UCLA. She lives in New York. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 2/25/2026)
The Author Events Series presents Matt Haig | The Midnight Train In Conversation with Katy Waldman When your life flashes before your eyes, where would you stop? No one can change the past, but the Midnight Train can take you there. The chance to re-live the moments that meant most. To see what kind of person you really were. For Wilbur his best days were with Maggie, the love of his life. On his honeymoon in Venice. Before he gave it all away. He wishes he could go back and live differently. But to do so risks everything . . . A magical, time-travelling love story, from the world of The Midnight Library. Matt Haig is the #1 New York Times-bestselling author of the novels The Midnight Library, The Life Impossible, and How to Stop Time, along with four other novels, the acclaimed memoirs Reasons to Stay Alive and Notes on a Nervous Planet, and several award-winning children's books. His work has been published in fifty territories across the world. Katy Waldman is a staff writer at The New Yorker, for which she writes about books, culture, and more. Previously, she was a staff writer at Slate and the host of the ''Slate's Audio Book Club'' podcast. She won the National Book Critics Circle's Nona Balakian Citation for Excellence in Reviewing in 2019 and the American Society of Magazine Editors's award for journalists under thirty in 2018; her work has appeared in The New York Times, The Washington Post, New York magazine, the Paris Review, and elsewhere. She lives with her husband and dog in Washington, D.C. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. If you'd like to purchase two tickets but only one copy of the book, please email authorevents@freelibrary.org Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 6/4/2026)
Rachel and Simon speak with the novelist and essayist Siri Hustvedt. Born in Minnesota in 1955 to a Norwegian mother and American father, Siri grew up bilingual. On a family trip one summer, she read voraciously and decided she wanted to become a writer. In 1981 Siri published her first poem in the Paris Review and a small collection emerged two years later. In 1992 she published her debut novel, “The Blindfold”, which was translated into 17 languages. Six more novels followed - “The Enchantment of Lily Dahl”, “What I Loved”, “The Sorrows of an American”, “The Summer Without Men”, “The Blazing World” (longlisted for the Man Booker Prize) and “Memories of the Future” - as well as several collections of essays. Alongside her writing, Siri has studied psychoanalysis, neurology and psychiatry and in 2015 she was appointed a lecturer in psychiatry at Weill Cornell medical school. We spoke to Siri about making her way in poetry and publishing, her interest in the sciences and her latest book, “Ghost Stories”, a memoir about her marriage to the late novelist Paul Auster. In addition to the standard audio format, the podcast is now available in video. You can check us out on YouTube under Always Take Notes. We've also made (yet) another update for those who support the podcast on the crowdfunding site Patreon. We've added a further 70 pages of new material to the package of successful article pitches that goes to anyone who supports the show with $5 per month or more, including new pitches to the New Yorker, Bloomberg Businessweek, and the Guardian Long Read. The whole compendium now runs to a magisterial 230 pages. For Patreons who contribute $10/month we're now also releasing bonus mini-episodes. Thanks to our sponsor, Scrivener, the first ten new signs-ups at $10/month will receive a lifelong license to Scrivener worth £55/$59.99 (one is left). This specialist word-processing software helps you organise long writing projects such as novels, academic papers and even scripts. Other Patreon rewards include signed copies of the podcast book and the opportunity to take part in a call with Simon and Rachel. A new edition of “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is available now. The updated version now includes insights from over 100 past guests on the podcast, with new contributions from Harlan Coben, Victoria Hislop, Lee Child, Megan Nolan, Jhumpa Lahiri, Philippa Gregory, Jo Nesbø, Paul Theroux, Hisham Matar and Bettany Hughes. You can order it via Amazon or Waterstones. Learn more about your ad choices. Visit podcastchoices.com/adchoices
മെസ്സി , അവർ വിചാരിക്കുന്നത് അവർക്ക് നിന്നെ അറിയാമെന്നാണ് ദില്ലി -ദാലി പോഡ്കാസ്റ്റിലേക്ക് സ്വാഗതം അമേരിക്കൻ കവി Rowan Ricardo Philips ലയണൽ മെസ്സിയോടുള്ള ആദരസൂചകമായി 2019 ൽ The Paris Review ൽ എഴുതിയ ധ്യാനാത്മകമായ ആദരലേഖനത്തിന്റെ മലയാളം പോഡ്കാസ്റ്റ് രൂപം
What if the missing ingredient in your creative life isn't more productivity, but more loafing? In this solo episode, Kat shares a personal update from her summer and an honest reflection on burnout, rest, and the radical act of doing less. Drawing from the book Writing, Creativity and Soul by Sue Monk Kidd, she introduces the concept of creative loitering, and makes the case that your imagination actually requires aimless, unstructured time to do its best work. Kat reads from the chapter "Creative Loitering," explores why slowing down is not laziness but a prerequisite for original thinking, and shares how she has been building more space into her own life, from beach reads and Paris Review issues at the hair salon to long European-style dinners and mornings with no agenda. This episode is an invitation to reclaim your human mind, protect your creative energy, and trust that stepping back is sometimes the most productive thing you can do. In this episode: Creative loitering: what it means and why it matters for artists and makers Excerpts from Writing, Creativity and Soul by Sue Monk Kidd and Joie: A Parisian's Guide to Celebrating the Good Life by Ajiri Aki The analog bag trend and other small ways to reduce scrolling and add presence Join the conversation on Substack: https://createmagazine.substack.com Share what you're reading, how you're resting, and what you'd like to hear more of on the show. Follow Kat: Instagram: @ekaterinaspopova | @createmagazine
Artist and writer Molly Crabapple joins This Is Hell! to talk about her new book, “Here Where We Live Is Our Country: The Story of the Jewish Bund." Molly is the author of two books, her 2015 memoir, "Drawing Blood," and "Brothers of the Gun: A Memoir of the Syrian War," which is written and Illustrated by Molly and Marwan Hisham. "Brothers of the Gun" was long-listed for a National Book Award. She was a 2020 New America Fellow and her reportage was the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. We will have new installments of Rotten History and Hangover Cure. We will also be sharing your answers to this week's Question from Hell! from Patreon. Help keep This Is Hell! completely listener supported and access bonus episodes by subscribing to our Patreon: www.patreon.com/thisishell
Well, that's about it for the story of planet Earth, poor Earth, reduced to not much more than a piece of burnt coal. But, as Deb Olin Unferth shows in her latest electrifying novel, life and love persist, even in the most unexpected, inhospitable places.Two women meet on a beach of artificial sand. One was raised in a pod in the ocean and the other may or may not be a robot. Their love—or any love—seems so unlikely. Earth is severely depopulated. Some people have given up, gone off to Mars. Others pursue eternal life as digital code. And yet others, like Dylan and Melanie, are holdouts—and some of those holdouts are constructing a vast molecular collection in hopes that a future person may be alive to make a new Earth. Foolhardy? Misguided? Quixotic? Probably. But what can a human (or a robot) do?By the end of Unferth's wild, poetic, revelatory, and slyly philosophical novel, the reader has traveled to the very edges of the cosmos as a “soul globule” and between grains of sand as a microscopic tardigrade. A slim book tackling big questions (is all matter conscious? will we tech ourselves into salvation, or out of existence?), Earth 7 (Graywolf Press 2026) is a poignant inquiry into death, mourning, and indefatigable life, the most exhilarating work to date by one of our most original and beloved writers. Deb Olin Unferth is the author of seven books, including Barn 8 and Wait Till You See Me Dance. She has received a Guggenheim Fellowship and four Pushcart Prizes, and was a National Books Critics Circle Award finalist. Her work has appeared in Harper's, The Paris Review, Granta, and McSweeney's. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Recommended Books: Victor Pelevin, Omon Ra Jean Stafford, A Mother in History Tanya Tagaq, Split Tooth Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices
Well, that's about it for the story of planet Earth, poor Earth, reduced to not much more than a piece of burnt coal. But, as Deb Olin Unferth shows in her latest electrifying novel, life and love persist, even in the most unexpected, inhospitable places.Two women meet on a beach of artificial sand. One was raised in a pod in the ocean and the other may or may not be a robot. Their love—or any love—seems so unlikely. Earth is severely depopulated. Some people have given up, gone off to Mars. Others pursue eternal life as digital code. And yet others, like Dylan and Melanie, are holdouts—and some of those holdouts are constructing a vast molecular collection in hopes that a future person may be alive to make a new Earth. Foolhardy? Misguided? Quixotic? Probably. But what can a human (or a robot) do?By the end of Unferth's wild, poetic, revelatory, and slyly philosophical novel, the reader has traveled to the very edges of the cosmos as a “soul globule” and between grains of sand as a microscopic tardigrade. A slim book tackling big questions (is all matter conscious? will we tech ourselves into salvation, or out of existence?), Earth 7 (Graywolf Press 2026) is a poignant inquiry into death, mourning, and indefatigable life, the most exhilarating work to date by one of our most original and beloved writers. Deb Olin Unferth is the author of seven books, including Barn 8 and Wait Till You See Me Dance. She has received a Guggenheim Fellowship and four Pushcart Prizes, and was a National Books Critics Circle Award finalist. Her work has appeared in Harper's, The Paris Review, Granta, and McSweeney's. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Recommended Books: Victor Pelevin, Omon Ra Jean Stafford, A Mother in History Tanya Tagaq, Split Tooth Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. 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
Well, that's about it for the story of planet Earth, poor Earth, reduced to not much more than a piece of burnt coal. But, as Deb Olin Unferth shows in her latest electrifying novel, life and love persist, even in the most unexpected, inhospitable places.Two women meet on a beach of artificial sand. One was raised in a pod in the ocean and the other may or may not be a robot. Their love—or any love—seems so unlikely. Earth is severely depopulated. Some people have given up, gone off to Mars. Others pursue eternal life as digital code. And yet others, like Dylan and Melanie, are holdouts—and some of those holdouts are constructing a vast molecular collection in hopes that a future person may be alive to make a new Earth. Foolhardy? Misguided? Quixotic? Probably. But what can a human (or a robot) do?By the end of Unferth's wild, poetic, revelatory, and slyly philosophical novel, the reader has traveled to the very edges of the cosmos as a “soul globule” and between grains of sand as a microscopic tardigrade. A slim book tackling big questions (is all matter conscious? will we tech ourselves into salvation, or out of existence?), Earth 7 (Graywolf Press 2026) is a poignant inquiry into death, mourning, and indefatigable life, the most exhilarating work to date by one of our most original and beloved writers. Deb Olin Unferth is the author of seven books, including Barn 8 and Wait Till You See Me Dance. She has received a Guggenheim Fellowship and four Pushcart Prizes, and was a National Books Critics Circle Award finalist. Her work has appeared in Harper's, The Paris Review, Granta, and McSweeney's. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Recommended Books: Victor Pelevin, Omon Ra Jean Stafford, A Mother in History Tanya Tagaq, Split Tooth Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction
Well, that's about it for the story of planet Earth, poor Earth, reduced to not much more than a piece of burnt coal. But, as Deb Olin Unferth shows in her latest electrifying novel, life and love persist, even in the most unexpected, inhospitable places.Two women meet on a beach of artificial sand. One was raised in a pod in the ocean and the other may or may not be a robot. Their love—or any love—seems so unlikely. Earth is severely depopulated. Some people have given up, gone off to Mars. Others pursue eternal life as digital code. And yet others, like Dylan and Melanie, are holdouts—and some of those holdouts are constructing a vast molecular collection in hopes that a future person may be alive to make a new Earth. Foolhardy? Misguided? Quixotic? Probably. But what can a human (or a robot) do?By the end of Unferth's wild, poetic, revelatory, and slyly philosophical novel, the reader has traveled to the very edges of the cosmos as a “soul globule” and between grains of sand as a microscopic tardigrade. A slim book tackling big questions (is all matter conscious? will we tech ourselves into salvation, or out of existence?), Earth 7 (Graywolf Press 2026) is a poignant inquiry into death, mourning, and indefatigable life, the most exhilarating work to date by one of our most original and beloved writers. Deb Olin Unferth is the author of seven books, including Barn 8 and Wait Till You See Me Dance. She has received a Guggenheim Fellowship and four Pushcart Prizes, and was a National Books Critics Circle Award finalist. Her work has appeared in Harper's, The Paris Review, Granta, and McSweeney's. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Recommended Books: Victor Pelevin, Omon Ra Jean Stafford, A Mother in History Tanya Tagaq, Split Tooth Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
With thanks to “forever” plastics, the earth has reverted to sand and dust. Dylan has been raised by her scientist mother, in a pod under the sea, and longs to escape the loneliness of being confined. The only friend she ever had was a pen pal from Mars, who disappeared. With great effort, she's escorted onto land, to the place of her mother's employment where she becomes the groundskeeper. Unofficially, she begins studying sand. After a few years, the company sends her on a vacation and she meets Melanie, possibly a robot. Love flourishes on the floundering planet, but death is never far, and Dylan's pen pal returns too late in Earth 7 (Graywolf Press 2026), a dystopian novel about the frailty of the planet, the ongoing need for scientific research, and the human struggle for survival. Deb Olin Unferth is the author of seven books, including the novels Barn 8 and Vacation, the memoir Revolution, finalist for the National Book Critics' Circle Award, two story collections, and the graphic novel I, Parrot. Her fiction and essays have appeared in over fifty magazines and journals, including Harper's, the New York Times, The Paris Review, Granta, and McSweeney's. She has received a Guggenheim fellowship, three Pushcart Prizes, a Creative Capital Fellowship for Innovative Literature, fellowships from the MacDowell, Yaddo, and Ucross residencies. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Unferth founded and directs the Pen City Writers, a creative writing program for incarcerated men at a maximum-security prison in south Texas. The program has been running for ten years, and the students regularly win writing awards from Pen America and the Insider Prize. Their work has appeared in many places, including Vice, StoryQuarterly, the Texas Observer, the Stranger's Guide, and the Marshall Project. Deb and her friend, Lucy Corin, have gone on several research and writing trips together, including to the Sahara Desert for the sand; in 2024, they spent a month in the Arctic to see ice, trying to get as close to the North Pole as possible, and reaching the 82nd parallel. Last year, they rented two pods in a scrub desert Dark Sky area of the US to see darkness. Originally from Chicago, Unferth lives in Austin with philosophy professor Matt Evans. 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
With thanks to “forever” plastics, the earth has reverted to sand and dust. Dylan has been raised by her scientist mother, in a pod under the sea, and longs to escape the loneliness of being confined. The only friend she ever had was a pen pal from Mars, who disappeared. With great effort, she's escorted onto land, to the place of her mother's employment where she becomes the groundskeeper. Unofficially, she begins studying sand. After a few years, the company sends her on a vacation and she meets Melanie, possibly a robot. Love flourishes on the floundering planet, but death is never far, and Dylan's pen pal returns too late in Earth 7 (Graywolf Press 2026), a dystopian novel about the frailty of the planet, the ongoing need for scientific research, and the human struggle for survival. Deb Olin Unferth is the author of seven books, including the novels Barn 8 and Vacation, the memoir Revolution, finalist for the National Book Critics' Circle Award, two story collections, and the graphic novel I, Parrot. Her fiction and essays have appeared in over fifty magazines and journals, including Harper's, the New York Times, The Paris Review, Granta, and McSweeney's. She has received a Guggenheim fellowship, three Pushcart Prizes, a Creative Capital Fellowship for Innovative Literature, fellowships from the MacDowell, Yaddo, and Ucross residencies. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Unferth founded and directs the Pen City Writers, a creative writing program for incarcerated men at a maximum-security prison in south Texas. The program has been running for ten years, and the students regularly win writing awards from Pen America and the Insider Prize. Their work has appeared in many places, including Vice, StoryQuarterly, the Texas Observer, the Stranger's Guide, and the Marshall Project. Deb and her friend, Lucy Corin, have gone on several research and writing trips together, including to the Sahara Desert for the sand; in 2024, they spent a month in the Arctic to see ice, trying to get as close to the North Pole as possible, and reaching the 82nd parallel. Last year, they rented two pods in a scrub desert Dark Sky area of the US to see darkness. Originally from Chicago, Unferth lives in Austin with philosophy professor Matt Evans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction
With thanks to “forever” plastics, the earth has reverted to sand and dust. Dylan has been raised by her scientist mother, in a pod under the sea, and longs to escape the loneliness of being confined. The only friend she ever had was a pen pal from Mars, who disappeared. With great effort, she's escorted onto land, to the place of her mother's employment where she becomes the groundskeeper. Unofficially, she begins studying sand. After a few years, the company sends her on a vacation and she meets Melanie, possibly a robot. Love flourishes on the floundering planet, but death is never far, and Dylan's pen pal returns too late in Earth 7 (Graywolf Press 2026), a dystopian novel about the frailty of the planet, the ongoing need for scientific research, and the human struggle for survival. Deb Olin Unferth is the author of seven books, including the novels Barn 8 and Vacation, the memoir Revolution, finalist for the National Book Critics' Circle Award, two story collections, and the graphic novel I, Parrot. Her fiction and essays have appeared in over fifty magazines and journals, including Harper's, the New York Times, The Paris Review, Granta, and McSweeney's. She has received a Guggenheim fellowship, three Pushcart Prizes, a Creative Capital Fellowship for Innovative Literature, fellowships from the MacDowell, Yaddo, and Ucross residencies. She's a professor at the University of Texas at Austin, where she teaches for the Michener Center, the New Writers' Project, and she also directs the Pen City Writers, the prison creative-writing program at a south Texas penitentiary. Unferth founded and directs the Pen City Writers, a creative writing program for incarcerated men at a maximum-security prison in south Texas. The program has been running for ten years, and the students regularly win writing awards from Pen America and the Insider Prize. Their work has appeared in many places, including Vice, StoryQuarterly, the Texas Observer, the Stranger's Guide, and the Marshall Project. Deb and her friend, Lucy Corin, have gone on several research and writing trips together, including to the Sahara Desert for the sand; in 2024, they spent a month in the Arctic to see ice, trying to get as close to the North Pole as possible, and reaching the 82nd parallel. Last year, they rented two pods in a scrub desert Dark Sky area of the US to see darkness. Originally from Chicago, Unferth lives in Austin with philosophy professor Matt Evans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Melisa Febos joins Let's Talk Memoir for a conversation about romantic obsessions, celibacy as a portal to freedom, living her way into a corner and having to fight her way out, leading with scene and story and plot, taking back the sovereignty of her own mind and body, approaching oneself as a protagonist, leaving out what isn't central to the story, remembering memoir is not a transcription of a time lived, radical feminists, exercising agency and self-reclamation, living an examined life, integrating memories that were indigestible to us in the moment, the project of looking at ourselves honestly, and her most recent book, now in paperback The Dry Season: A Memoir of Pleasure in a Year Without Sex. Ronit's upcoming workshop: Writing Dynamic Memoir: From Lived Experience to Gripping Story https://www.lmcmurtrylitcenter.org/workshops/writing-dynamic-memoir-from-lived-experience-to-gripping-story Also in this episode: -deepending friendships -memoir-plus digressions -writing about our obsessions Books mentioned in this episode: Will and Attention by Meghan O'Gieblyn Canon by Paige Lewis Fat Swim by Emma Copley Eisenberg Melissa Febos is the national bestselling author of five books, including Abandon Me, Girlhood—which won the National Book Critics Circle Award in Criticism, Body Work: The Radical Power of Personal Narrative, and, most recently, The Dry Season. Her awards and fellowships include those from the Guggenheim Foundation, LAMBDA Literary, the National Endowment for the Arts, The British Library, The Black Mountain Institute, MacDowell, the Bogliasco Foundation, The American Library in Paris, and others. Her work has appeared in The Paris Review, The New Yorker, The Sun, The New York Times Magazine, The Best American Essays, Vogue, The Best American Travel and Food Writing, and New York Review of Books. Febos is a Roy J. Carver Professor at the University of Iowa, where she teaches in the Nonfiction Writing Program. She lives in Iowa City with her wife, the poet Donika Kelly. Connect with Melissa: Website: https://www.melissafebos.com/ Instagram: https://www.instagram.com/melissafebos Purchase book via bookshop: This is for the pre-order paperback for The Dry Season https://bookshop.org/p/books/the-dry-season-a-memoir-of-pleasure-in-a-year-without-sex-melissa-febos/f1c8367d8e351d91?ean=9780593685150&next=t - Ronit Plank bio and links: Ronit Plank is a writer, teacher, and editor whose work has appeared in The Atlantic, Poets & Writers, River Teeth's Beautiful Things, The Rumpus, Salon, Hippocampus, The New York Times, and elsewhere, earning Best of the Net, Best Microfiction, and multiple Pushcart Prize nominations. Her memoir When She Comes Back was a Book Riot Best True Crime Book and Kirkus Reviews calls it, “An intimate, intuitive, emotionally vivid family account that finds hope in reconciliation". Ronit is also the author of the award-winning short story collection Home is a Made-Up Place, and her work has been anthologized in Selected Memories, Vol. 2: 15 Years of Hippocampus Magazine and Manna Songs: Stories of Jewish Culture and Heritage. Ronit is the Creative Nonfiction Editor at The Citron Review, teaches memoir at a host of venues including the University of Washington's Continuum Program, Antioch University, and 92NY's Roundtable, and is host of the podcast Let's Talk Memoir and the Substack Let's Talk Memoir. Find her on social media @ronitplank Website: www.ronitplank.com Substack: https://substack.com/@ronitplank Instagram: https://www.instagram.com/ronitplank/ When She Comes Back: https://ronitplank.com/when-she-comes-back/
Viola Roseboro’ isn’t well-known today, but she played a big behind-the-scenes role in the careers of a lot of American writers in the late 19th and early 20th centuries, shaping what’s thought of as the American literary canon. Research: “4 New Features.” Washington D.C. Evening Star. 4/29/2013. https://www.loc.gov/resource/sn83045462/1913-04-29/ed-1/?sp=10&r=-0.115,-0.055,1.648,0.596,0 Dykeman, Wilma. “Tennessee Women: An Infinite Variety.” Newport. Wakestone Books. 1993. Gorton, Stephanie. “The Strange, Forgotten Life of Viola Roseboro’.” The Paris Review. 2/24/2020. https://www.theparisreview.org/blog/2020/02/24/the-strange-forgotten-life-of-viola-roseboro/ Gregorie, Anne King. “Reviewed Work(s): Viola, The Duchess of New Dorp: A Biography of Viola Roseboro by Jane Kirkland Graham.” The South Carolina Historical Magazine, Vol. 57, No. 2 (Apr., 1956). Via JSTOR. https://www.jstor.org/stable/27566059 Howell, Isabel. “Reviewed Work(s): Viola, the Duchess of New Dorp, a Biography of Viola Roseboro' by Jane Kirkland Graham.” Tennessee Historical Quarterly, December, 1956. Via JSTOR. https://www.jstor.org/stable/42621315 McClure, S. S. “My Autobiography.” London: J. Murray. 1914. https://archive.org/details/myautobiography00mcclrich/ New York Times. “VIOLA ROSEBORO', FICTION EDITOR, 87; Former McClure's, Collier's Executive Dies--Helped O. Henry Get Start Bought Tarkington Stories Praised by Will Irwin.” 1/30/1945. https://www.nytimes.com/1945/01/30/archives/viola-roseboro-fiction-editor-87-former-mcclures-colliers-executive.html Osborn, Scott C. “Reviewed Work(s): Viola, The Duchess of New Dorp: A Biography of Viola Roseboro by Jane Kirkland Graham.” The Journal of Southern History, Vol. 22, No. 2 (May, 1956). Via JSTOR. https://www.jstor.org/stable/2954261 “Person Annotations.” From “#0088: Transcription of Letter from Willa Cather to Viola Roseboro', June 14 [1903].” The Complete Letters of Willa Cather. Center for Digital Research in the Humanities at the University of Nebraska–Lincoln. https://cather.unl.edu/writings/letters/let0088#ref001 Robinson, Phyllis C. “Willa: The Life of Willa Cather.” New York. Doubleday. 1983. Roseboro, Viola. “Begging as an Avocation.” New York World. 12/11/1887. Via New York University “Undercover Reporting.” https://undercover.hosting.nyu.edu/s/undercover-reporting/item/13733 A. W.. “Reviewed Work(s): Viola, the Duchess of New Dorp. A Biography of Viola Roseboro' by Jane Kirkland Graham.” Journal of the Illinois State Historical Society (1908-1984), Vol. 49, No. 1 (Spring,1956). Via JSTOR. https://www.jstor.org/stable/40189490 Schmalhofer, Stephen. “The Making of My Ántonia.” First Things. 12/17/2018. https://firstthings.com/the-making-of-my-ntonia/ Schmalhofer, Stephen. “Viola Roseboro’s literary garden.” The New Criterion. 12/12/2018. https://newcriterion.com/dispatch/viola-roseboros-literary-garden-10164/ Skaggs, Merrill M. “Viola Roseboro': A Prototype for Cather's ‘My Mortal Enemy’.” The Mississippi Quarterly , Winter 2000-01, Vol. 54, No. 1 (Winter 2000-01). Via JSTOR. https://www.jstor.org/stable/26476820 Skaggs, Merrill Maguire. “Willa Cather's New York: New Essays on Cather in the City.” Fairleigh Dickinson University Press. 2000. Tarbell, Ida M. “All In The Day S Work An Autobiography.” The Macmillan Company. 1939. https://archive.org/details/allinthedayswork010810mbp/ The Georgia Historical Quarterly. “Reviewed Work(s): Viola, The Duchess of Nenx Dorp. A Biography of Viola Roseboro'. Two volumes in one by Jane Kirkland Graham.” Vol. 40, No. 2 (June, 1956). Via JSTOR. https://www.jstor.org/stable/40577676 Adkins, Gilbert R. “Two Daughters of Tennessee.” Franklin County Historical Review. 1986: XVII:1, 30-42. Johanningsmeier, Charles. “Unmasking Willa Cather's ‘Mortal Enemy.’” Cather Studies. Vol. 5. https://cather.unl.edu/scholarship/catherstudies/5/cs005.johanningsmeier Williams, Jay. “Author Under Sail: The Imagination of Jack London, 1893-1902.” University of Nebraska Press, 2014. Project MUSE. https://muse.jhu.edu/book/35026. See omnystudio.com/listener for privacy information.
Send us Fan MailMy guest today is Caroline Woods, author of The Lunar Housewife, listed in the Visual Arts category on Art In Fiction.Watch on YouTube: https://youtu.be/0nJmxXJcrQQHow Caroline discovered the CIA's secret program to fund and shape American literary culture during the Cold War, including its involvement in the founding of the Paris Review, and why she saw a novel in it.The real-life women who inspired Louise: the aspiring writers and girlfriends surrounding the men at the center of the 1950s New York literary scene, and the female journalist who eventually broke the story decades later.The novel within a novel structure: why Louise's book had to be science fiction, how its chapters shift as Louise's disillusionment deepens, and the freedom of writing a melodramatic '50s romance as an "implied author" who isn't Caroline.The Hemingway interview at the heart of the book, based on Lillian Ross's real New Yorker profile, and how Hemingway, who is portrayed here as a kind of fairy godmother to Louise, inadvertently became Caroline's writing coach for the whole novel.Class tension in the 1950s literary world: why Louise's working-class origins matter in a scene dominated by Harvard and Yale men, and what that gave her as a character and as someone for readers to root for.How the title came about -- originally The Long Leash, the CIA's own term for the program -- and why her agent's suggestion of The Lunar Housewife did so much more work for the book.Writing The Lunar Housewife in spring 2020, during COVID lockdown, with a four-year-old and a one-year-old, writing after bedtime every night, and why that particular moment gave the lunar colony chapters their flavor.Why the 1950s is having a moment in historical fiction: the scrim of conformity and domestic bliss concealing postwar darkness, the seeds of the counterculture, and women who had tasted wartime freedom and had it yanked back.The common thread across Caroline's novels -- The Mesmerist, For All the Moons, and The Lunar Housewife -- women who question the status quo and push against systems, often in the face of government interference in private life.Caroline's advice to writers: write every single day (not just on Saturdays), and write what genuinely entertains you because if you're having fun, the reader will feel it.Reading from the opening pages of The Lunar Housewife: the launch party for Downtown magazine's second issue.Read more about Caroline Woods on her website: https://www.carolinewoodsauthor.com/Are you enjoying The Art In Fiction Podcast? Consider giving us a small donation so we can continue bringing you interviews with your favorite arts-inspired novelists. Click this link to donate: https://ko-fi.com/artinfiction.Also, check out Art In Fiction at https://www.artinfiction.com and explore 2500+ novels inspired by the arts in 11 categories: Architecture, Dance, Decorative Arts, Film, Literature, Music, Photography, Textile Arts, Theater, Visual Arts, & Other.Want to learn more about Carol Cram, the host of The Art In Fiction Podcast? She's the author of several award-winning novels, including The Towers of Tuscany, A Woman of Note, The Muse of Fire, and The Choir. Check out her website...
Inner Moonlight is the monthly poetry reading series at the Wild Detectives in Dallas. Curated by Dallas poet Logen Cure, the in-person show is the second Wednesday of every month in the Wild Detectives backyard. We love our podcast fans, so we release recordings of the live performances every month for y'all! On 5/13/26, we featured poet, essayist, and novelist Kendra Allen!Kendra Allen was born and raised in Dallas, Texas. She's the author of the memoir Fruit Punch, the poetry collection The Collection Plate, and the essay collection When You Learn the Alphabet, which won the 2018 Iowa Prize for Literary Nonfiction. She received an M.F.A. from the University of Alabama, and among other things she loves driving, pauses, and hands. Repetition is her favorite literary device. Some of her other works can be found on, or in, The Paris Review, Oxford American, The Rumpus, High Times, and more.www.innermoonlightpoetry.com
"It all has to come from within. So we each have to be in conversation with ourselves and with the work. It's really a relationship, not a project," says Ramona Ausubel, author of Unstuck: A Writer's Guide.Today we have Ramona Ausubel, author of Unstuck: A Writer's Guide. It's published by Tin House.Ramona's curriculum vitae is pretty dope. She's the author of the novels The Last Animal, Sons and Daughters of East and Plenty and No One is Here Except All of Us and the craft book Unstuck: 101 Doorways Leading from the Blank Page to the Last Page.Had a TON of fun with this one and it's a craft bomb.Ramona's work has appeared in The New Yorker, Tin House, The New York Times, Electric Literature, and The Paris Review online. She has taught with Tin House, Bread Loaf, and she's a professor at Colorado State University.This is a really fun and really crafty chat. We talk about: Why people want to be writers in the first place The people who stick around Coming up with ways through It's a relationship not a project No writing is ever wasted Nobody needs a kind-of-written book Submission clubs The offering is the action Community Shame, doubt, and envy Lifelong process of voice Inviting in other influences When querying asking 'who will you be?' PlatformYou can learn more about Ramona at ramonaausubel.com and follow her on Instagram @ramonaausubel.If you like this episode, I would definitely check out: Eps. 48 and 207 with Roy Peter Clark Ep. 49 with Dinty W. Moore Ep. 50 with Ted Conover
Everyone gets stuck. And in this interview with writer and teacher Ramona Ausubel, we talk about why this is normal and practical, usable ways to meet a page when we don't think we can go on. Drawing from her newest book, Unstuck:101 Doorways leading from the Blank Page to the Last Page, Ramona shares with us why certain strategies work only at certain stages of creative projects. We talk about finding patterns, ways to develop characters and create scenes, different ways to approach different drafts, the half-draft approach, finding opposition and so much more.Ramona Ausubel is the national bestselling author of Unstuck: 101 Doorways Leading From the Blank Page to the Last Page, The Last Animal, Awayland: stories, Sons and Daughters of Ease and Plenty, A Guide to Being Born and No One is Here Except All of Us. She is the recipient of the National Book Foundation Science + Literature Prize, the PEN/USA Fiction Award, the Cabell First Novelist Award and has been a finalist for both the California and Colorado Book Awards and the New York Public Library Young Lions Award. Her work has been published in The New Yorker, The New York Times, The Paris Review daily, One Story, Tin House, The Oxford American, Ploughshares and elsewhere. She is a professor at Colorado State University and lives in Boulder, Colorado with her family. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit emergingform.substack.com/subscribe
Thank you to Feedspot.com for making Emotional Detox was voted as one of the top 30 Best Podcasts for detoxing! Today on Emotional Detox, author Anne Tashi Slater about her latest book, Traveling in Bardo: The Art of Living in an Impermanent World. Anne is a brilliant writer and speaker. Her work has been published by The New Yorker, The Paris Review, Tin House, AGNI, Catapult, Granta, and the HuffPost, among others. Listen in as she shares teachings and insights about the art of acceptance. Don't forget to subscribe to the show! Purchase her book: Traveling in Bardo: The Art of Living in an Impermanent World Purchase: The Emotional Detox 50 Card Deck
Ross Simonini is an interdisciplinary artist and writer. Read his essays Bless The Phone here and Through the Fire here. Check out his essential interviews with so many modern masters at The Believer! Noa on using our phone less. Dapne on using our phone less. Rabbi Yoni on the bathroom blessing. -- BECOME A WEIRD HELPER AND LISTEN TO THE SHOW AD-FREE! GET YOUR WEIRDLY HELPFUL MERCH HERE! -- Ross has held solo presentations of his work at the Sharjah Biennial (UAE), Francois Ghebaly (NYC), anonymous gallery (NYC), Et Al (SF), SHRINE (LA), suns.works (Zurich), Shoot the Lobster (LU), and Human Resources (LA). His novel, The Book of Formation (2018, Melville House) chronicles the rise of a fictional philosophical movement. His essays appear in the New York Times, McSweeneys, ArtReview and The Paris Review. He releases music under his own name and has released music as a member of the bands, NewVillager and Trespassers William. He has performed at Performa, Andy Warhol Museum, and the Brooklyn Museum. As a professor, he has taught seminars on experimental process, writing, art, sound, and dialogue at Columbia University, CA College of the Arts, and UCLA. He served as an editor at The Believer for a decade and has created audio programs for SFMOMA, KCRW, and ArtReview. He ran ALICIA, a gallery & performance space on his property in Altadena before the fire. Learn more about your ad choices. Visit megaphone.fm/adchoices
Declan Ryan is an Irish poet based in London. His first poetry collection, published in 2023, is called “Crisis Actor”. One reviewer said that the poems are preoccupied with, and driven by, the weight and difficulty of expectation — of ourselves and of others. His poems, reviews and essays have appeared in numerous journals including the New York Review of Books, The New Yorker, The Paris Review, The Guardian, The Observer, The Irish Times and New Statesman. My featured song is “Like Never Before”, my recent single. Spotify. link —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest Testimonials Click here to Subscribe Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH DECLAN:www.declanryan.uk —---------------------------------------- ROBERT'S NEWEST RELEASE:“MI CACHIMBER ALL STARS” is the new, expanded version of Robert's single, “Mi Cachimber”, which he wrote for his father. Featuring Camila Cortina on Rhodes and Xito Lovell on trombone in addition to Benny Benack III and Dave Smith on flugelhorn, and Project Grand Slam's rhythm section. CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S RECENT RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —---------------------------------------- Audio production: Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Bat-Ami Rivlin is a New York-based sculptor working primarily in found and surplus objects. Notable exhibitions include Boat, Plastic, Tire, L21, Spain (2023-24); Simple Sabotage, Kunsthal NORD, Denmark (2023-24); The Socrates Annual, Socrates Sculpture Park, NY (2023-24); COLAPSO, Tenerife Espacio de las Artes, Spain (2022); EN-SITIO, Museo de la Ciudad de Querétaro, Mexico (2022); whereabouts, Hessel Museum of Art, CCS Bard, NY (2022); No Can Do, M23, NY (2021); and more. Rivlin's work was featured in publications such as Artforum, BOMB, Brooklyn Rail, Flash-Art, Emergent magazine, Artnet, PIN-UP, Office Magazine, The Paris Review, Public Parking, and more. Rivlin holds an MFA from Columbia University. She is the recipient of the Monira Foundation Residency, Sculpture Space Residency, Socrates Sculpture Park Fellowship, A.I.R. Gallery Fellowship, among others. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky. Bat-Ami Rivlin, Untitled (radiators, zip ties), installation view at Management, New York, 2026. Courtesy of the artist and Management. Photo by Inna Svyatsky.
On tending to our interdependence, living life fully, and dying with attention and equanimity. 0:00 — Introduction 1:34 — Overview of Ann's Book "Traveling in Bardo" 3:55 — Personal Reflections on Grandmother's Funeral 7:20 — The Role of Practice in Embracing Impermanence 16:15 — Living with Attention and Interdependence 34:57 — Authenticity and True Nature 42:09 — Conclusion and Final Thoughts Ann Tashi Slater writes for The New Yorker, The New York Times, The Washington Post, The Paris Review, and Granta, among others, and is a contributing editor at Tricycle. She presents and teaches workshops at Princeton, Columbia, Oxford, Asia Society, and The American University of Paris, and was a regular speaker at NYC's Rubin Museum of Art during the museum's 20-year run. Ann's new book, Traveling in Bardo: The Art of Living in an Impermanent World was released by Balance/Hachette in September, 2025. TRAVELING IN BARDO explores how we can find meaning and happiness in a world where change is the only certainty. Interweaving explorations of "bardo" between-states in relation to marriage and friendship, parents and children, and work and creativity with stories of her Tibetan ancestors and Buddhist teachings on the fleeting nature of existence, Slater illuminates what the teachings have to tell us in our contemporary lives. She relays vital wisdom from Tibetan culture, giving us a bold, new framework to navigate moments of change and live life fully. With a foreword by Dani Shapiro, the book has been praised by Elizabeth Gilbert, Melissa Febos, Sharon Salzberg, and Julia Alvarez, among others, and has been selected as a "Must-Read" by the Next Big Idea Club, co-curated by Malcolm Gladwell. In the midst of this shifting landscape, Slater invites us to embrace impermanence in a powerful way, rooted in ancient wisdom. During over forty years of writing and speaking about her Tibetan-American heritage and the relevance of Buddhism in Western society, Slater has come to see how Tibetan bardo views on impermanence can transform the way we live. A luminous guide to navigating transition and impermanence, it offers us the opportunity to find happiness in an impermanent world.
Dear FriendsIn this episode of Gateways to Awakening, Yasmeen Turayhi sits down with writer and teacher Ann Tashi Slater—a Tibetan-American author whose work has appeared in The New Yorker, The New York Times, The Washington Post, The Paris Review, and more. Ann joins us from Tokyo to explore her new book, Traveling in Bardo: The Art of Living in an Impermanent World, a Next Big Idea Club “Must-Read,” and to unpack one of the most powerful spiritual frameworks for this moment in history: the bardo.Bardo, in Tibetan Buddhism, means “between state.” It can refer to the space between death and rebirth, but it also describes the in-between moments we all live through—career transitions, identity shifts, endings, new beginnings, illness, loss, and the quiet uncertainty of not knowing what comes next. Together, Yasmeen and Ann explore how accepting impermanence is not passive at all—it is the turning point that restores agency, clarity, and forward movement. Ann shares personal stories from her Tibetan family lineage in Darjeeling, including the fascinating ancestral connection between her great-grandfather and the early Western translation of The Tibetan Book of the Dead. “Acceptance is not giving up. Acceptance is the moment where we stop fighting reality and finally regain the ability to move forward.” - Ann Tashi SlaterIn this episode, we explore:1. What bardo actually means, and why it is not only about death but also about everyday life transitions.2. Why the only real certainty is change, and how accepting that can reduce anxiety rather than increase it.3. How “acceptance” creates calm because it helps the mind stop fighting reality and start seeing options clearly.4. A powerful Buddhist framing of agency: action of body, speech, and mind, including the choice to take no action.5. How victim narratives can subtly remove our power, and how the bardo teachings help bring responsibility back in a grounding way.6. Why karma means action, not fate, and how small daily choices create “forks in the road” over time.7. How to “practice impermanence” through everyday endings—the end of a day, a season, a trip, a conversation—so you are more resilient when bigger transitions arrive.Ann Tashi Slater's book is Traveling in Bardo: The Art of Living in an Impermanent World, and you can learn more at anntashislater.com.If this episode resonated, please share it with someone who is navigating a transition, facing uncertainty, or standing in the in-between—and needs language for how to move through it with more clarity, grace, and power.Tune in to Gateways to Awakening for more conversations with leading thinkers, creators, and spiritual pioneers shaping the future of consciousness. For more from me: follow my writing on Substack (substack.com/@therealyasmeent), find me on Instagram @TheRealYasmeenT, or visit InnerKnowingSchool.com.
Notes and Links to Sarah Aziza's Work Sarah Aziza (she/هي ) is a Palestinian American writer, translator, and artist with roots in ‘Ibdis and Deir al-Balah, Gaza. She is the author of The Hollow Half. Winner of the Palestine Book Awards, The Hollow Half is a genre-bending work of memoir, lyricism, and oral history exploring the intertwined legacies of diaspora, colonialism, and the American dream. It is available wherever books are sold. Sarah's award-winning journalism, poetry, essays, and experimental nonfiction have appeared in The New Yorker, The Paris Review, Best American Essays, The Baffler, Harper's Magazine, Mizna, The Washington Post, The Guardian, and The Nation, among other publications. The recipient of fellowships from Fulbright, MacDowell, the Asian American Writers Workshop, Tin House Writers' Workshop, and numerous grants from the Pulitzer Center for Crisis Reporting, she has lived and worked in Saudi Arabia, Algeria, Jordan, South Africa, Palestine, and the United States. Buy The Hollow Half Sarah Aziza's Website Review of The Hollow Half from Kirkus Reviews Sarah on Democracy Now Discussing Her Memoir At about 2:30, Sarah talks about her language and reading life growing up At about 5:10, Sarah expands upon readings that inspired and challenged her At about 13:00, Pete and Sarah discuss ideas of writing as “political,” inspired by Marwan Makhoul, and Sarah cites a gripping poem by Noor Hindi At about 15:20, At about 17:30, Sarah responds to Pete asking about the book's title and ideas of generational trauma and Sarah's Americanness At about 20:30, Sarah talks about his father “pouring his hope” into her and sheltered and open pain At about 22:20, Pete uses a Hasan Minhaj routine and Sarah expands on ideas of first generation and immigrant parents' relationships At about 23:20, Sarah reflects on ideas of love's multiple meanings and connects these myriad ideas to much of the book and calls the book “an offering…in a time of suffering” At about 28:00, The two discuss the vagaries of Arabic and translation and its challenges and beauty At about 33:20, Pete recounts the book's opening, and Sarah expands on her grandmother's life and struggles and joys and how Sarah is connected to her grandmother-”Sittoo” At about 37:25, The two meditate on the “small victories” of Sarah's grandmother At about 39:05, Sarah explains how she sees her recovery/”recovered” and her present and past with anorexia At about 41:45, Sarah responds to Pete asking about an emblematic scene from the memoir where an IpHone asks to verify her identity At about 43:05, Sarah discusses the idea of “better than what?” especially as a child At about 45:15, Sarah talks about her family's connections to ‘Ibdis, Gaza, and the fact that so much stolen and ethnically-cleansed land in Palestine is open/unused At about 48:15, Sarah talks about her time recovering from prolonged anorexia At about 50:45, Pete notes the specific and universal in the book, as he and Sarah discuss the impulse to bury oneself in work At about 53:10, Sarah expands on reasoning for writing the book and in particular “put[ting] into place” her family history and finding a place to publish a story like hers that she feels is rarely published At about 55:20, Sarah talks about her grandmother's time living with Sarah and her family At about 57:30, Sarah responds to Pete's questions about the anorexia ward and how she saw and sees the employees there At about 1:00:45, Sarah talks about the ways in which photos opened up ideas and research and thoughts of her grandmother and her history At about 1:03:20, Pete talks about ideas of misogyny that is specific to non-white women At about 1:03:50, Sarah reflects on and outlines two pivotal and damaging experiences in which white neighbors showed surprise and revulsion At about 1:06:45, The two discuss Sarah's parents and their foundation and Foundation At about 1:08:45, Sarah responds to Pete's questions about research for the book At about 1:11:00, Sarah expands on connections between the personal and the geopolitical in her work and research At about 1:11:30, Sarah recounts the story of some early involvement with pro-Palestine efforts and emotional and physical assaults At about 1:13:00, Sarah talks about being in Middle East and ideas of “humanizing” and “a political awakening” in the US and Middle East At about 1:17:10, Sarah talks about connections between resistance and love At about 1:20:25, Pete cites Ernest Hemingway in citing Sarah's family connections to Gaza At about 1:22:00, Sarah talks about the idea of “yes” and a meaningful part of the book and interpretations of being “half…” Palestinian, etc. At about 1:27:10, Sarah talks about parallels between her partner's love for her and her choice to love Palestine on a daily basis At about 1:28:00, Pete asks Sarah about ways forward, and how we get people to not “look away,” and she talks about inspiration You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode. Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, is up now at Chicago Review. Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode deals with short, powerful poems and prose that pack a punch-take that, alliteration! The episode features meaningful and resonant work from Robert Hershon, Mosab Abu Toha, Ernest Hemingway, Sara Abou Rashed, Khaled Juma, Andrea Cohen, and Marwan Makhoul. Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 340 with Donna Minkowitz, a writer of fantasy, memoir, and journalism lauded by Lilith Magazine for her “fierce imagination and compelling prose.” Her first book, Ferocious Romance, won a Lambda Literary Award for Best Book On Religion/Spirituality. She is also the author of the novel DONNAVILLE, published in 2024. She and Pete will be revisiting her memoir Growing Up Golem, a finalist for both a Lambda Literary Award and Judy Grahn Nonfiction Award. The episode airs on May 5. Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people. You can also donate at chuffed.org, World Central Kitchen, and so many more, and/or you can contact writer friend Ursula Villarreal-Moura directly or through Pete, as she has direct links with friends in Gaza.
David Gordon was born in New York City. His first novel, The Serialist, won the VCU/Cabell First Novel Award and was a finalist for an Edgar Award. It was also made into a major motion picture in Japan. His work has also appeared in The Paris Review, The New York Times, Purple, and Fence, among other publications. Spies, Lies, and Private Eyes is copyrighted by Authors on the Air Global Radio Network #authorsofinstagram #authorinterview #writingcommunity #authorsontheair#suspensebooks#authorssupportingauthors #thrillerbooks #suspense #wip#writers#writersinspiration #books#bookrecommendations #bookaddict #bookaddicted#bookaddiction #bibliophile #read#amreading #lovetoread #terrencemccauley#terrencemccauleybooks #bookouture #thrillers #thetwilighttown #DavidGordon #BehindSunset
Today I am deeply honored to welcome back Iranian journalists Fatemeh Jamalpour and Nilo Tabrizy. Before, they talked about their book, For the Sun After Long Nights: the Story of Iran's Women-led Uprising, today they tell us of conditions in Iran, which since January has suffered the government's massacre of tens of thousands of protesters and the onslaught of the US/Israel war on Iran. Instead of concentrating on how the war is going and its effects on the global economy, as most media sources do, we focus entirely on the Iranian people, and talk about the effects of the bombing on daily life, the attacks on infrastructure, and the shutting down of the Internet. We look at the impact of these many forms of violence on civil society, and talk about the differentials of class, ethnicity, and gender. We end by having Fatemeh and Nilo talk about how covering Iran now is affecting their lives as journalists, and as Iranians.Fatemeh Jamalpour is a feminist journalist banned from working in Iran by the Ministry of Intelligence. Jamalpour has worked as a freelance reporter for outlets such as The Sunday Times, The Paris Review and the Los Angeles Times, and has also held positions at BBC World News in London and Shargh newspaper in Tehran. She has two master's degrees in journalism and communication from Northwestern University and Allameh Tabatabaei University in Tehran and was a 2024-25 Knight-Wallace Fellow at the University of Michigan.Nilo Tabrizy is an investigative reporter at The Washington Post. She works for the Visual Forensics team, where she covers Iran using open-source methods. Previously, she was a video journalist at the New York Times, covering Iran, race and policing, abortion access, and more. She is an Emmy nominee and the 2022 winner of the Front Page Award for Online Investigative Reporting. Nilo received her MS in Journalism from Columbia University and her BA in Political Science and French from the University of British Columbia.
The Writer Files: Writing, Productivity, Creativity, and Neuroscience
Bestselling and award-winning author Ramona Ausubel spoke with us about the value of low-residency MFA programs, and how to jumpstart your writing process with her latest book UNSTUCK: 101 Doorways Leading from the Blank Page to the Last Page. Ramona Ausubel is the author of five books, most recently The Last Animal which was a national bestseller and received the National Book Foundation Science + Nature Prize and was a Barnes & Noble book of the month. She was the recipient of the PEN/USA Fiction Award, the VCU Cabell First Novelist Award and has been a finalist for both the California and Colorado Book Awards, the New York Public Library Young Lions Award, and has had multiple selections as a New York Times Book Review Editors' Choice. Her latest non-fiction, Unstuck: 101 Doorways Leading From the Blank Page to the Last Page is a companion for writers at all stages of the process, and described as a book “… about staying in love with your writing: feeling excited, mischievous, productive, and hopeful—the opposite of being stuck. “ A Most Anticipated Book of 2026 from LitHub, Kirkus Reviews described it as, “An upbeat guide to navigating the writing process . . . Warm-hearted and practical, Ausubel emerges as trustworthy companion for a writer who's stuck anywhere on the challenging road of creativity. Generous, empathetic, and unfailingly encouraging.” Ramona's work has been published in The New Yorker, The New York Times, The Paris Review daily, One Story, Tin House, The Oxford American, Ploughshares and others. She is a professor at Colorado State University and has taught in the Bennington Writing Seminars, Tin House Writing Workshop, Writing by Writers, the Community of Writers, Bread Loaf Environmental, Writing Workshop Paris and elsewhere. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Ramona Ausubel, Milena and I discussed: Why getting stuck is normal and productive rather than something to fear How to fall back in love with your own work Practical exercises to help writers navigate the creative process The magic prompt that never fails Why you need to let "not knowing" to be your companion And a lot more! Show Notes: ramonaausubel.com UNSTUCK: 101 Doorways Leading from the Blank Page to the Last Page By Ramona Ausubel – April 14, 2026 (Amazon) Ramona Ausubel Amazon Author Page Ramona Ausubel on Instagram Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices
Welcome to Exponential View, the show where I explore how exponential technologies such as AI are reshaping our future. I've been studying AI and exponential technologies at the frontier for over ten years. Each week, I share some of my analysis or speak with an expert guest to make light of a particular topic. To keep up with the Exponential transition, subscribe to this channel or to my newsletter: https://www.exponentialview.co/ ---- Greg Williams has joined EV as Executive Editor — two years in the search. He was editor-in-chief of WIRED UK, recognized as Editor of the Year (Technology) three times, and is a five-time novelist. Introducing him to our community in this week's episode became an opportunity to redefine what EV is: why we make maps instead of stories, and where I think AI is taking institutional media. We covered: (00:10) Why Greg joined EV (04:16) The four horsemen of the media apocalypse (05:42) Google Zero (06:47) AI: collaborator or adversary? (08:48) Tools, not information (11:09) We make maps, not stories (14:18) Building for AI to consume (17:52) AI can't summarize The New Yorker Read more about why we hired Greg here: https://www.exponentialview.co/p/exponential-view-greg-williams ---- Where to find me: Exponential View newsletter: https://www.exponentialview.co/ Website: https://www.azeemazhar.com/ LinkedIn: https://www.linkedin.com/in/azeem/ Twitter/X: https://x.com/azeem Where to find Greg: https://www.uk.linkedin.com/in/greg-williams-0977a05 Production by EPIIPLUS1. Production and research: Baba Films, Chantal Smith, Marija Gavrilov. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
“I find it very odd that agency is being promoted for its own sake rather than being connected to any kind of value system. Because without those things, agency looks pretty scary. Dictators are quite high agency.” — Sophie Haigney On April Fools' Day, The New York Times published an op-ed entitled “All the Worst People Seem to Want to Be High Agency.” But it wasn't a joke. Sophie Haigney — former web editor of The Paris Review, currently working on a debut essay collection entitled Future Relics — warns that “agency” has become the defining buzzword of Silicon Valley bro culture. From Sam Altman to Mark Zuckerberg, Haigney observes, our new tech overlords have made becoming “high agency” their top priority in self-realization. Haigney argues that these entrepreneurs touting high agency most insistently are the very same people building the tools most likely to rob everyone else of theirs. Like her New York Times jeremiad, it's no joke. Altman and Zuckerberg's agentic technologies are often exploitative and addictive. They will make the worst people worse. Ha ha. It will be April Fools' Day every day. Five Takeaways • The 401(k) Is Low Agency: Sam Altman's first answer to “what skills to develop in the age of AI”: become high agency. The term has migrated from philosophy and debates about free will into Silicon Valley self-help, LinkedIn posts, and entrepreneurship podcasts. In its new form it has a gambling element the old bootstrap individualism lacked. Someone in San Francisco told Haigney that having a 401(k) is the lowest-agency thing you can do with your money. Put it all on red. The rewards for big risk-taking are so much larger now that incrementalism — get a job, save up, buy a house — looks like passivity. That's a new development, and a dangerous one. • The People Promoting Agency Are Robbing You of Yours: Haigney's sharpest observation: the people promoting high agency most loudly are building the tools most likely to strip it from everyone else. Sam Altman says become high agency. His product — in Haigney's view — will function like social media: not liberating but addictive, another rabbit hole that makes people more stuck. The gambling epidemic is the same logic. Sports betting offers the seductive illusion that your specific knowledge can crack the system. But the system is designed so the average person can't win. High agency, in practice, tends to concentrate at the top. • Stuckness and the Lottery Mindset: We live in a moment of extreme stuckness — people who feel two steps away from winning the lottery and yet completely unable to move. This odd combination — paralysis plus the fantasy of a big break — is what the high-agency ideology exploits. Haigney connects it to the gambling epidemic, to the male podcasters with beards, to the young men who feel the system is rigged against them and are being told: the solution is to become the kind of person who cuts in line. What nobody says is that the cutting-in-line ethos, scaled up, is what produced the system they feel rigged by in the first place. • Hitler Was High Agency: The most unsettling move in the piece. Agency without values is just power. FDR was high agency: he packed the court, overrode term limits, used wartime powers to push through the New Deal. Dictators, Haigney notes, are quite high agency. The tech adoption of the term strips it of any moral content — agency is promoted for its own sake, disconnected from any question of what it's being used for. That, she argues, is what makes it genuinely frightening at scale. Emerson's “Self-Reliance” is the American ancestor. Thoreau, its famous practitioner, got his mum to do his laundry. • High Agency Could Mean Repair: Haigney's counter-proposal: couldn't we be high agency and organize to build a better railway? Wouldn't it be high agency to fix the Department of Education rather than abolishing it? The NHS, railways, public education — systems people are nostalgic for — required enormous collective agency to build. The tech definition of agency is individualistic and destructive. But there's another definition: the capacity to act together, to create rather than just disrupt. That version doesn't get much airtime on the podcasts. It should. About the Guest Sophie Haigney is a critic and journalist who writes about visual art, books, and technology for The New York Times, The New Yorker, The Atlantic, Harper's, and others. She is a former web editor of The Paris Review and is working on her debut essay collection, Future Relics, for Liveright. References: • “All the Worst People Seem to Want to Be High Agency,” The New York Times, April 1, 2026. By Sophie Haigney. • Ralph Waldo Emerson, “Self-Reliance” (1841) — the American philosophical ancestor of today's high-agency ideology. • Episode 2858: Scott Galloway on the male crisis — agency, stuckness, and young men. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTubeApple PodcastsSpotify Chapters: (00:31) - “All the worst people seem to want to be high agency” — the April 1 op-ed (02:51) - The Silicon Valley definition: risk, disruption, cutting in line (04:52) - Emerson, self-reliance, and the new American individualism (06:44) - Is high agency essential to survive the 2020s? (08:41) - Thoreau's laundry: the gendered dimension of agency (11:04) - Male podcasters, the crisis of young men, and the seduction of high agency (12:20) - Stuckness, gambling, and the lottery mindset (16:13) - TikTok, the Grateful Dead, and the age of addiction (17:16) - The people promoting agency are building tools to take it from you (18:29) - AI: the biggest addiction on the horizon (19:56) - Agency as the new political axis: left, right, and disruption (21:29) - Is skepticism of agency just nostalgia for the twentieth century? (24:16) - California's failed railways, China's success, and democracy's agency problem (25:16) - Hitler was high agen...
Zarina Zabrisky is an American writer based in the Bay Area, California. She is the author of the novel, We, Monsters, several collections of short stories, including Explosion, A Cute Tombstone and her debut work, Iron, and a book of collaborative poetry and art, Green Lions, co-written with Simon Rogghe. Zabrisky is currently based in Odesa, Ukraine. From the beginning of the 2022 full-scale Russian invasion of Ukraine, Zabrisky has been reporting on the war in Ukraine for Euromaidan Press, Byline Times and A Community Alliance, and has been published in The Paris Review and various other publications. ----------ARTICLE:https://euromaidanpress.com/2026/03/16/mined-in-starved-out-hunted-from-above-life-in-the-towns-russia-demands-at-the-peace-table/#google_vignettehttps://bylinetimes.com/2025/05/29/un-confirms-russian-drone-attacks-on-kherson-are-crimes-against-humanity-and-war-crimes/FILM:
What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.
We welcome back to our show Jeet Heer, the Canadian author, comics critic, literary critic and journalist. He is the National Affairs correspondent for The Nation and the host of the weekly Nation podcast, The Time of Monsters. He also pens the monthly column Morbid Symptoms. Jeet was a former staff writer at the New Republic and has written for numerous publications including: The National Post, The New Yorker, The Paris Review, the Boston Globe and The Guardian. Jeet has written several books — his anthology “A Comic Studies Reader”, co-authored with Kent Worcester, was the winner of the Rollins Award. He joins Mea Culpa as Trump takes his authoritarian Civil War show on the road.
Journalist and writer Elizabeth Bisland was sent on a trip around the world in 1889, in a sort of race against Nellie Bly. But that was not something she wanted to be known for. Research: Bisland, Elisabeth. “At the Sign of the Hobby Horse.” Houghton, Mifflin and Co. Riverside Press. 1910. https://archive.org/details/atsignofhobbyhor0000eliz/page/n12/mode/1up Bisland, Elizabeth, 1861-1929. “A Candle of Understanding: a Novel.” New York and London: Harper & brothers, 1903. Bisland, Elizabeth. “In Seven Stages: A Flying Trip Around the World.” New York. Harper & Brothers. 1891. https://digital.library.upenn.edu/women/bisland/stages/stages.html Bisland, Elizabeth. “Societies for Minding One's Own Business.” The North American Review. 11/1/1910. Bisland, Elizabeth. “The Art of Travel.” From The woman's book, dealing practically with the modern conditions of home-life, self-support, education, opportunities, and every-day problems. 1894. https://archive.org/details/bub_gb_LBEhBEGmUq4C/ Bisland, Elizabeth. “The Truth About Men and Other Matters.” New York. Avondale Press. 1927. Britannica Editors. "Lafcadio Hearn". Encyclopedia Britannica, 22 Sep. 2025, https://www.britannica.com/biography/Lafcadio-Hearn. Accessed 18 February 2026. Codrescu, Andrei. “The Many Lives of Lafcadio Hearn.” The Paris Review. 7/2/2019. https://www.theparisreview.org/blog/2019/07/02/the-many-lives-of-lafcadio-hearn/ “Foley, Alethea "Mattie",” Notable Kentucky African Americans Database, accessed February 19, 2026, https://nkaa.uky.edu/nkaa/items/show/300004770. Goodman, Matthew. “Elizabeth Bisland’s Race Around the World.” Public Domain Review. 10/16/2013. https://publicdomainreview.org/essay/elizabeth-bislands-race-around-the-world/ Harrison-Kahan, Lori and Karen E. H. Skinazi. “The Girl Reporter in Fact and Fiction: Miriam Michelson's New Women and Periodical Culture in the Progressive Era.” American Quarterly , Jun., 2002, Vol. 54, No. 2 (Jun., 2002). https://www.jstor.org/stable/30041927 Heitman, Danny. “Lafcadio Hearn in New Orleans.” HUMANITIES, May/June 2012, Volume 33, Number 3. https://www.neh.gov/humanities/2012/mayjune/feature/lafcadio-hearn-in-new-orleans New York Times. “MRS. E.B. WETMORE, AUTHOR, DIES IN SOUTH; Former Elizabeth Bisland of This City to Be Buried in Woodlawn Today.” 1/19/1929. https://www.nytimes.com/1929/01/09/archives/mrs-eb-wetmore-author-dies-in-south-former-elizabeth-bisland-of.html Christopher Goodwin & Associates, Inc. “Historical and Archaeological Investigations of Fort Bisland and Lower Bayou Teche, St. Mary Parish, Louisiana.” June 1991. https://apps.dtic.mil/sti/tr/pdf/ADA242489.pdf Roggenkamp, Karen. “Dignified Sensationalism: ‘Cosmopolitan,’ Elizabeth Bisland, and Trips around the World.” American Periodicals , 2007, Vol. 17, No. 1 (2007). Via JSTOR. https://www.jstor.org/stable/20770967 Rose, Alex. “Elizabeth Bisland: Around the World in 76 Days.” Science Museum Group. 1/30/2023. https://blog.sciencemuseumgroup.org.uk/rare-globe-celebrates-elizabeth-bislands-voyage-around-the-world/ Science Museum Group. “Elizabeth Bisland 1861-1929.” https://collection.sciencemuseumgroup.org.uk/people/cp172999/elizabeth-bisland Tutwiler, Julia R. “The Southern Woman in New York.” The Bookman: A Magazine of Literature and Life. February, 1904. https://archive.org/details/the-bookman-1895-1933/1900-1909/1904/The%20Bookman%20v18n06%20%281904-02%29%20%28unz%29/page/624/mode/1up Tutwiler, Julia R. “The Southern Woman in New York: Part 2.” The Bookman: A Magazine of Literature and Life. March, 1904. https://archive.org/details/bookmanareviewb05unkngoog/page/50/mode/1up Vatican Apostolic Library. “Elizabeth Bisland.” En Route Project. https://enrouteproject.com/en/the-research/the-female-travelers/elizabeth-bisland/ Williams, Susan Millar. “L’enfant Terrible: Elizabeth Bisland and the South.” The Southern Review; Oct 1, 1986; 22, 4; ProQuest pg. 680. See omnystudio.com/listener for privacy information.
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