Podcasts about The Paris Review

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.

Ottavio Fatica"Operazione Shylock"Philip RothPrefazione: Emmanuel CarrèreAdelphiwww.adelphi.it«Un libro infernale, che non si riesce a smettere di leggere. Una riflessione sul giudaismo, su Israele, sull'invecchiare, sulla menzogna, sull'invenzione, sulla letteratura – su tutto ciò che conta nella vita. Assolutamente vertiginoso. Leggetelo» (Emmanuel Carrère). Traduzione di Ottavio FaticaTraduzione della prefazione di Emmanuel Carrère: Ena MarchiNella sua burrascosa carriera, Philip Roth ci ha abituato alle più spericolate acrobazie narrative, ma mai ha osato tanto quanto in Operazione Shylock, dove, per dire e fare tutto ciò che vuole, ha sentito il bisogno di misurarsi con il suo più temibile avversario: un altro Philip Roth – stesso nome e stessi connotati, solo il nomignolo Moishe Pipik a distinguerlo da sé. Mai il tema del Doppio è stato usato in un romanzo con un tale autolesivo virtuosismo. Roth azzanna sé stesso come essere umano, come ebreo, come Philip Roth, e non si accontenta di una libbra di carne. Come congegnare, altrimenti, una spy story che tiene insieme il Mossad, il processo al mostro di Treblinka, il recupero dopo un crollo psichico da Halcion, l'incontro-scontro con ebrei e palestinesi in una Gerusalemme pattugliata dall'esercito israeliano, il faccia a faccia ustorio con l'altro Philip Roth – un megalomane che per salvare gli ebrei ashkenaziti da un probabile prossimo sterminio si fa propugnatore di una nuova diaspora, uno spregiudicato controesodo verso i paesi europei d'origine – e con la sua procace, concupita compagna? Sfoggiando una lingua viscerale e insieme altamente speculativa, Roth combina in queste pagine la più spiritata, isterica commedia nera con il dramma di popoli e di singoli individui lacerati, e mette in scena una mirabolante due-giorni a Gerusalemme che – incredibile a dirsi – fa anche ridere.Philip Milton Roth nasce a Newark, nel New Jersey, il 19 marzo del 1933 in una famiglia della piccola borghesia ebraica. Si laurea alla Bucknell University e fa un master in letteratura inglese all'Università di Chicago. Pubblica i primi racconti sulla Paris Review, su Esquire e sul New Yorker. Il suo capolavoro è Pastorale Americana, con cui vince il Premio Pulitzer nel 1997 e da cui è stato tratto un film da Ewan McGregor, che interpreta anche il ruolo del protagonista. Il libro fa parte una trilogia che comprende Ho sposato un comunista e La macchia umana. Il suo esordio avviene nel 1959 con Addio Columbus. Dieci anni dopo la fama con Il lamento di Portnoy, in cui il protagonista, un trentenne ebreo, Alexander Portnoy, racconta all'analista le proprie nevrosi sessuali.Autore di trentuno libri, Roth è stato un critico feroce della società americana, della sessualità maschile e dei falsi miti dell'uomo occidentale (in Complotto contro l'America del 2004 immagina che alle elezioni per la presidenza americana del 1940 venga eletto Charles Lindbergh anziché Roosevelt, e che questo trasformi gli Stati Uniti in un alleato della Germania nazista). Nel 2009 annuncia il suo ritiro dall'attività di romanziere. Il suo nome è apparso spesso nella lista dei concorrenti al premio Nobel per la letteratura. Muore a New York il 22 maggio 2018.Ottavio FaticaFamoso per le sue numerose traduzioni, ricordiamo: il Moby-Dick di Melville, quasi tutto Kipling, i diari di Byron, i limerick di Lear, Céline, Henry James. Per Einaudi ha pubblicato nella collana Collezione di poesie, Le omissioni (2009) e Vicino alla dimora del serpente (2019).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

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.

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.

In this episode of The Archive Project, we feature poet and essayist Cathy Park Hong from Portland Arts & Lectures in January 2022. Hong became nationally famous in the spring of 2020 for her essay collection Minor Feelings: An Asian American Reckoning, a book so searing and powerful it landed her on the cover of Time magazine's 2021 issue featuring the 100 most influential people in the world. Minor Feelings is a collection of seven essays is both a deeply personal account of Hong becoming—and being—an artist, and is also an account of her and her family's experience as Korean Americans in this country. But she has emphasized that this is a book about America, not necessarily about being Asian. It is also a book infused with her sensibility as a poet, as someone who is fascinated with the endless mutability and power of language. Hong has published three acclaimed collections of poetry, and many listeners who know and have read Minor Feelings might be surprised to learn she primarily identifies as a poet not as an essayist. The theme of her talk is “community and belonging” and she threads a narrative through pop culture, religion, autobiography, and 20th century history, in order to try to understand the rise in hate crimes against Asian Americans during the pandemic, and the broader discrimination so many Americans experience in their daily lives. That she does this with anger, humor, and tenderness speaks to her remarkable powers as a writer and speaker. Cathy Park Hong is the author of three poetry collections and Minor Feelings, a New York Times bestselling book of creative nonfiction which won the National Book Critics Circle Award for autobiography and was longlisted for the Andrew Carnegie Medal for Excellence. Hong is a recipient of the Windham-Campbell Literature Prize, a Guggenheim Fellowship, and a National Endowment for the Arts Fellowship. Her poems have been published in Poetry, The New York Times, The Paris Review, McSweeney's, and other journals. She is the poetry editor of The New Republic and full professor at Rutgers University–Newark.

DoodleBobGreenlights JournalLast Tango in BrooklynDon DeLillo Secret Hockey NovelWhat We Can Learn from Writing in JournalsTrader Joe's Blueberry Lemonade Sparkling WaterNanami Seven Seas JournalTrain Dreams in The Paris Review, Summer 2002"Dirty Work" by Steely Dan

In The Lady's Handbook for Her Mysterious Illness, Sarah Ramey shares her journey through chronic illness and the medical system's blind spots. This week, we're bringing forward a powerful 2022 conversation with Sarah Ramey, author of The Lady's Handbook for Her Mysterious Illness, whose novel was selected as a MomAdvice Book Club Book the year that this conversation was recorded. This discussion remains as urgent and resonant today as when it first aired, offering an unflinching look at chronic illness, medical bias, and the stories women are too often forced to carry alone. In this episode, we also discuss the complexities of the mind-body connection, the role of privilege in accessing care, and the turning point that led Sarah toward healing through functional medicine. Anne Patchett featured The Lady's Handbook for Her Mysterious Illness in her "If You Haven't Read This Book, It's New to You" series for Parnassus Books. She described it as crackling, electrifying, funny, and fast-paced—a book that will outrage you and one you won't be able to put down.  I co-sign this recommendation and am proud to pull this out from our studio vault as we celebrate this month's book club book, The Mad Wife, and the ways women's health has been so misunderstood.   In this spoiler-filled conversation:

Host Jason Blitman is joined by debut novelist Tara Menon to talk about her new book, Under Water. Conversation highlights include:

Molly Crabapple is an artist and writer. She is the co-author of Brothers of the Gun, an illustrated collaboration with Syrian war journalist Marwan Hisham, which was a NY Times Notable Book. Her memoir, Drawing Blood, received global praise and attention. Her animated films have won two Emmys and an Edward R. Murrow Award. Molly's reportage has been published in the New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, The New Yorker and Rolling Stone. She was the 2019 artist-in-residence at NYU's Hagop Kevorkian Center for Near Eastern Studies in 2019, a New America fellow in 2020, and the winner of the Bernhardt Labor Journalism Award in 2022. In 2023, she was a fellow at the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library.Molly's third book, ⁠Here Where We Live is Our Country: The Story of the Jewish Bund,⁠ will be released by One World/Random House in April 2026. Please PRE-ORDER if you'd like to support her work and artistry!Molly websiteLeah website

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.

Acclaimed short fiction writers Sarah Hall, Jonathan Escoffery, and Niamh Mulvey on building immersive worlds in compressed spaces, grounding stories in real human stakes, and writing openings and endings that transform both character and reader.   Timestamps: 00:01:06 Sarah Hall (from Episode 161) 00:14:43 Jonathan Escoffery (from Episode 56) 00:26:42 Niamh Mulvey (previously unreleased conversation) You'll learn: Sarah Hall's “keyhole” approach to short stories — and how the unseen world beyond the scene gives a story its depth. Why trusting your preoccupations beats forcing a theme, and how over-awareness of your own subject can kill the fiction. A technique for thickening a thin first draft: telescope into your character's childhood, then out to their future. Why Jonathan Escoffery believes stories without real-world stakes will lose to equally crafted stories that engage with the world, every time. How Escoffery pairs imagination with lived emotional experience to make unfamiliar settings resonate — and why personal growth feeds artistic growth. What choosing a linked story collection over a novel taught Escoffery about pacing, pause, and propulsive energy. Why Niamh Mulvey thinks showing off your best writing in an opening is a mistake — and what to do instead (start specific, name a character, put two people in relation). A prompt for finding your story's urgency: ask “why this moment?” and aim for the energy of really good gossip. How character desire shapes place and plot at the same time, so setting becomes what your character wants rather than backdrop. Mulvey's “third element” — a character, object, or event seeded early that can emerge later to unlock your ending. Resources & Links: Join our LWS community! Sarah's full episode and notes Jonathan's full episode and notes If I Survive You by Jonathan Escoffery Hearts and Bones: Love Songs for Late Youth by Niamh Mulvey The Amendments by Niamh Mulvey Sombrero Fallout by Richard Brautigan   About Sarah Hall: Sarah Hall is one of the UK's most talented authors. Twice nominated for the Man Booker Prize, the first and only writer to win the BBC National Short Story Award twice, she has written ten highly acclaimed novels and short story collections. About Jonathan Escoffery: Jonathan Escoffery is the author of the linked story collection If I Survive You, a New York Times and Booklist Editor's Choice, an IndieNext Pick, and a National Bestseller. His stories have appeared in The Paris Review, Oprah Daily, Electric Literature, Zyzzyva, AGNI, Pleiades, American Short Fiction, Prairie Schooner, Passages North, and elsewhere. About Niamh Mulvey: Niamh Mulvey is from Kilkenny, Ireland. Her short fiction has been published in The Stinging Fly, Banshee and Southword and was shortlisted for the Seán O'Faoláin Prize for Short Fiction 2020. Her short story collection Hearts and Bones: Love Songs for Late Youth was published by Picador. The Amendments is her first novel. For show notes, transcripts and to attend our live podcasts visit: podcast.londonwriterssalon.com.For free writing sessions, join free Writers' Hours: writershour.com.*FOLLOW LONDON WRITERS' SALONTwitter: twitter.com/​​WritersSalonInstagram: instagram.com/londonwriterssalonFacebook: facebook.com/LondonWritersSalonIf you're enjoying this show, please rate and review this show!

Charlotte and Jo go deep on jealousy, self-hatred, love, and vulnerability in a conversation that touches on A Separate Peace, The Go-Between, Beowulf, and more. Then the canny and intrepid Maya Binyam joins for a discussion about the category of little girlhood, ambiguity in fiction, and female desire.Maya Binyam is the author of Hangman. Her writing has appeared in the New Yorker, the Paris Review, Best American Short Stories, and elsewhere. She is a 2025 - 2026 Rome Prize Fellow at the American Academy in Rome. Please consider supporting our work on Patreon, where you can access additional materials and send us your guest and book coverage requests! Books discussed on all seasons of the podcast are aggregated here on Bookshop. Questions and comments can be directed to readingwriterspod at gmail dot com. Outro music by Marty Sulkow and Joe Valle.Charlotte Shane's most recent book is An Honest Woman. Her essay newsletter, Meant For You, can be subscribed to or read online for free, and her social media handle is @charoshane.  Jo Livingstone is a writer who teaches at Pratt Institute. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Matt Broaddus is the author of Deeper the Tropics and Temporal Anomalies. His poems have appeared in The American Poetry Review, Annulet, Denver Quarterly, and The Paris Review. He lives in Colorado and serves as an Advisory Poetry Editor for The Paris Review. Links:Matt Broaddus' website"'Blue Prints' and Other Poems" at Changes"The Seal of Approval" at American Poetry Review"The Sun Is a Disembodied Thought: An Interview with Matt Broaddus" at Poetry Daily"These Lit Particulars: On Matt Broaddus' Deeper the Tropics" at Cleveland Review of BooksMentioned in this episode:KnoxCountyLibrary.orgThank you for listening and sharing this podcast. Explore life-changing resources and events, sign up for newsletters, follow us on social media, and more through our website, www.knoxcountylibrary.org.Rate & review on Podchaser

Bret Anthony Johnston is the author of the award-winning short story collection Corpus Christi, the novels We Burn Daylight and Remember Me Like This and the editor of Naming the World: And Other Exercises for the Creative Writer. His short stories have been published in anthologized in New Stories from the South: The Year's Best; The O. Henry Prize Stories and The Best American Short Stories. His work has been widely translated and appears in The New Yorker, The Atlantic, Esquire, The Paris Review, The New York Times Magazine and Virginia Quarterly Review. He is the Director of the Michener Center for Writers at the University of Texas at Austin. His new short story collection is Encounters with Unexpected Animals. Learn more about your ad choices. Visit megaphone.fm/adchoices

Emily Nemens is the author of the novel Clutch, available from Tin House. Nemens's debut novel, The Cactus League, was a New York Times Book ReviewEditors' Choice and named one of NPR's and Lit Hub's favorite books of 2020. Her stories have appeared in BOMB, The Gettysburg Review, n+1, and elsewhere; her illustrations have appeared in The New Yorker and in collaboration with Harvey Pekar. Emily spent over a decade editing literary quarterlies, including leading The Paris Review and serving as co-editor and prose editor of The Southern Review. She held the 2022-23 Picador Professorship (University of Leipzig) and teaches in the MFA program at Bennington College. She lives in central New Jersey with her husband and dog. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. This episode is sponsored by Ulysses. Go to ⁠⁠⁠⁠⁠ulys.app/writeabook⁠⁠⁠⁠⁠ to download Ulysses, and use the code OTHERPPL at checkout to get 25% off the first year of your yearly subscription. Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bret Anthony Johnston is the internationally bestselling author of the novels We Burn Daylight and Remember Me Like This, as well as the award-winning story collection Corpus Christi. He edited the craft book, Naming the World: And Other Exercises for the Creative Writer. His work has been widely translated and appears in The New Yorker, The Atlantic, Esquire, The Paris Review, The Best American Short Stories, and elsewhere. After directing the creative writing program at Harvard University for over a decade, he is now the Director of the Michener Center for Writers at the University of Texas at Austin. He joins Marrie Stone to talk about his latest story collection, Encounters with Unexpected Animals. These 12 pieces are masterclasses on managing time in short fiction, showing what dialogue can do, bringing setting to life, playing with POV (including 2nd person), and arranging a collection to read like an album. They discuss it all. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. You can find hundreds of past interviews on our website. (Recorded February 11, 2026) Host: Barbara DeMarco-Barrett Host: Marrie Stone Music: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Charlotte and Jo go deep on jealousy, self-hatred, and vulnerability in a conversation that touches on A Separate Peace, The Go-Between, Beowulf, and more. Then the canny and intrepid Maya Binyam joins for a discussion about the category of little girlhood, ambiguity in fiction, and female desire.Maya Binyam is the author of Hangman. Her writing has appeared in the New Yorker, the Paris Review, Best American Short Stories, and elsewhere. She is a 2025 - 2026 Rome Prize Fellow at the American Academy in Rome. Please consider supporting our work on Patreon, where you can access additional materials and send us your guest and book coverage requests! Books discussed on all seasons of the podcast are aggregated here on Bookshop. Questions and comments can be directed to readingwriterspod at gmail dot com. Outro music by Marty Sulkow and Joe Valle.Charlotte Shane's most recent book is An Honest Woman. Her essay newsletter, Meant For You, can be subscribed to or read online for free, and her social media handle is @charoshane. Jo Livingstone is a writer who teaches at Pratt Institute.To support the show, navigate to https://www.patreon.com/ReadingWriters Hosted on Acast. See acast.com/privacy for more information.

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Draft2Digital, Bookshop DRM, Harper's Bazaar Short Story Contest, and AI Slop books. Then, stick around for a chat with Benjamin Hale!Benjamin Hale is the author of the novel The Evolution of Bruno Littlemore (Twelve, 2011), the short fiction collection The Fat Artist and Other Stories (Simon & Schuster, 2016), and the nonfiction book Cave Mountain: A Disappearance and a Reckoning in the Ozarks (HarperCollins, 2026).  He has received the Bard Fiction Prize, a Michener-Copernicus Award, and nominations for the Dylan Thomas Prize and the New York Public Library's Young Lions Fiction Award. His writing has appeared, among other places, in Conjunctions, Harper's Magazine, the Paris Review, the New York Times, the Washington Post, Dissent and the LA Review of Books Quarterly, and has been anthologized in Best American Science and Nature Writing.  He is a senior editor at Conjunctions, teaches at Bard College and Columbia University, and lives in a small town in New York's Hudson Valley. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Much like guest Sarah Aziza's beautiful memoir, The Hollow Half, this week's show covers a lot of territory and shines light on multiple topics of interest to memoirists. We explore memoir as art—what that means and whether memoirists should strive for their work to be art per se. Aziza's book is experimental and ambitious, and as such gives this week's episode delves into craft choices and process and more. Aziza shares her family history and how her grandmother started to show up in her dreams—and how this memoir took root and ultimately became the gift it is—timely, urgent, and beautiful. Sarah Aziza is a Palestinian American writer, translator, and artist with roots in ‘Ibdis and Deir al-Balah, Gaza. She is the author of the genre-bending memoir The Hollow Half, winner of the Palestine Book Award and named a Most Anticipated and Best Book of the Year by Vulture, Vanity Fair, Literary Hub, Elle, Electric Literature, and Mizna, among others. Sarah's award-winning journalism, poetry, essays, and experimental nonfiction have appeared in The New Yorker, The Paris Review, and Best American Essays, among other publications. She is the recipient of fellowships and support from Fulbright, MacDowell, USA Artists, the Asian American Writers Workshop, and others. Sarah has lived and worked in Saudi Arabia, Jordan, South Africa, and Palestine, and now resides in the U.S. on occupied Munsee Lenape and Canarsie land. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Notes and Links to Peter Orner's Work    Peter Orner is the author of eight books, most recently the novel, The Gossip Columnist's Daughter, named one of the best books of 2025 by the New Yorker and the Chicago Tribune, as well as the essay collections, Still No Word from You, a finalist for the PEN Award for the Art of the Essay, and Am I Alone Here?, a finalist for the National Book Critics Circle Award for Criticism. His story collection Maggie Brown and Others was a New York Times Notable Book. Other books include Love and Shame and Love (Winner of the California Book Award) Last Car Over the Sagamore Bridge, The Second Coming of Mavala Shikongo (finalist for the Los Angeles Times Book Award), and Esther Stories. A recipient of the Rome Prize and a Guggenheim Fellowship, Orner is also the editor of three books of oral history for the Voice of Witness series, and co-editor with Laura Lampton Scott of a new oral history series from McSweeney's called “Dispatches.” His work has appeared in The New Yorker, the Atlantic, Harper's, the Paris Review and has been awarded four Pushcart Prizes. With Yvette Benavides, he's the co-host of the Lonely Voice Podcast on Texas Public Radio. Orner recently led short courses on James Joyce's Ulysses, and Melville's Moby-Dick for the Community of Writers/Writers' Annex. He teaches at Dartmouth College and lives in Vermont. Buy The Gossip Columnist's Daughter   New York Times Review of The Gossip Columnist's Daughter    Peter Orner's Website At about 2:30, Peter responds to Pete's question about the feedback he's gotten since the publication of  At about 3:30, Peter expands on ideas of making Chicago concrete for his readers At about 4:40, Peter gives background on family's roots in Chicago and in Eastern Europe At about 6:25, Mike Ditka slander?! At about 7:50, Peter highlights Saul Bellow as a writer who influenced him, as well as Stuart Dybek, Betty Howland, and John Irving among others  At about 10:05, Peter reflects on David Foster Wallace as an “Illinois writer” At about 12:10, Peter discusses Zadie Smith and Yiyun Li, and as impressive and chill-inducing contemporary writers  At about 13:30, Peter lists some reading favorites of his university students, and he expands on how they are “blown away” by James Joyce's work At about 15:00, The two fanboy over James Joyce's “The Dead” At about 16:15, Peter reflects on Pete asking if his The Gossip Columnist's Daughter would be classified as “historical fiction” At about 17:15, Peter expands on his view of the book's epigraph from Chekhov At about 18:15, Pete cites another great epigraph and great book from Jess Walter At about 18:50, The two lay out the book's exposition, and Peter describes the book's inciting incident, a tragic death At about 20:20, The two discuss the book's beginning as in medias res  At about 21:30, Peter talks about the character of Babs as inspired by grandmother, and Pete shares about his Chicago grandfather's longevity At about 22:55, Peter expands on the idea of Jed, the book's narrator, feeling that three key events in 1963 were a pivot point for the family At about 26:15, Jack Ruby and the provinciality and “small world” of Chicago At about 29:10, Pete and Peter lay out Jed's college professor setup At about 30:00, Peter explains the cause of death and theories and conspiracy theories around it At about 31:35, Peter responds to Pete's musings about the old-fashioned “imperative” headlines that  At about 33:00, Some of Cookie Kupcinet's last writings are discussed  At about 34:30, Peter reflects on the travails and pressures of Cookie At about 36:00, Some of the prodigious pull of Irv Kupcinet is discussed, and Pete compares Irv's work to that of Ace in Casino At about 37:55, Lou Rosenthal's reticence and kinship with Robert Todd Lincoln are discussed At about 39:00, Peter expands on a scene in which the “grieving” narrator walks by the house where his ex-wife and daughter live; he discusses the importance he places on place At about 41:40, Sidney Korshak and his historical background and Chicago connection is discussed At about 44:10, The two discuss doubts in the story about the way in which Cookie died At about 45:20, Cookie's legacy and the ways in which Jed, the narrator, gains a sort of obsession with conspiracy theories and marginalia  At about 48:20, Peter talks about the book's storyline as a “family story” and using a “tiny kernel” as a “jump off” point for his book At about 49:20, Peter responds to Pete's questions about the state of the current conspiracy theories involving the Kupcinets and JFK's assassination  At about 51:20, The two discuss the breakup of the friendship between the Rosenthals and Kupcinets, as Pete compares a turned-down piece of writing to the book's storyline  At about 53:20, Peter reflects on the intrigue that comes with  At about 55:00, Peter expands on the “Captain” moniker his grandfather have, and that he played off in his book At about 58:20, The two reflect on the memorable character of Solly At about 1:01:00, Theories involving traumas and low points and broken relationships are discussed  At about 1:03:00, Pete highlights a resonant last scene        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 soon 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 features an exploration of formative and transformative writing for children, as Pete surveys wonderful writers on their own influences.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    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 323 with second-time guest Luke Epplin. He is the author Our Team: The Epic Story of Four Men and the World Series That Changed Baseball and Moses and the Doctor: Two Men, One Championship, and the Birth of Modern Basketball.    The episode airs on February 13, three days after Pub Day for Moses and the Doctor.    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.

Erin Somers' new novel, The Ten Year Affair is a story about Millennial disillusionment (and extramarital sex). The New Yorker called it “intoxicating” and W praised the book for its “sometimes mocking examination of young middle age.” I wanted to speak with Erin because her characters reflect a sense of grown-up melancholy arising when goals like home ownership, careers, and parenthood don't provide the fulfillment that was expected of them. So what do we do, she asks implicitly, when we find ourselves in a life designed to have meaning but does not deliver on that promise? Her characters also embody the impossible and contradictory messages society has imposed on gender roles for her generation. For men: be sensitive, inclusive, do half the housework, but still make a lot of money. For women: go conquer the corporate world while simultaneously being a present, nurturing mother and a sensual, doting wife. To me, this issue—even more than the deliciously provocative infidelity—is what has me continuing to think about the book, weeks after I finished it. Erin's writing and reportage has appeared in The New York Times Magazine, The New Yorker, The Paris Review, Esquire, GQ, The Nation, The New Republic, and elsewhere. Vogue named her first novel, Stay Up With Hugo Best, to their list of the Best Books of the Year for 2019. ✍️Please ⁠rate and review⁠ ⁠⁠Reasonably Happy⁠⁠ (DO IT!) ✍️ https://ratethispodcast.com/paulopod

Ocean Vuong, poet, essayist, novelist, educator, and photographer, joins PhotoWork with Sasha Wolf for an in-depth conversation about his solo photography exhibition Sõng and the accompanying photobook, presented at CPW. In this episode, Vuong reflects on storytelling across mediums, creative practice, and the discipline behind writing and photography. Drawing from his life experience, he speaks candidly about process, vulnerability, and the courage required to share work publicly. This episode offers grounded insight for artists who question their creative voice or the value of presenting their work. https://www.oceanvuong.com/ https://cpw.org/exhibition/song/ Writer, professor, and photographer Ocean Vuong is the author of On Earth We're Briefly Gorgeous, winner of the American Book Award, The Mark Twain Award, and The New England Book Award. The novel debuted for six weeks on The New York Times bestseller list and has since sold more than a million copies in 41 languages. A nominee for the National Book Award and a recipient of a MacArthur "Genius" Grant, he is also the author of the poetry collections, Time is a Mother, a finalist for the Griffin prize, and Night Sky with Exit Wounds, a New York Times Top 10 Book, winner of the T.S. Eliot Prize, the Whiting Award, the Thom Gunn Award.  Selected by Time magazine as one of its 100 Rising Cultural Influencers, Vuong's writings have been featured in The Atlantic, Granta, Harpers, The Nation, New Republic, The New Yorker, The New York Times, Paris Review, The Village Voice, and American Poetry Review, which awarded him the Stanley Kunitz Prize for Younger Poets.  Born in Saigon, Vietnam and raised in Hartford, Connecticut in a working class family of nail salon and factory laborers, he was educated at nearby Manchester Community College before transferring to Pace University to study International Marketing. Without completing his first term, he dropped out and enrolled at Brooklyn College, where he graduated with a BA in Nineteenth Century American Literature. He subsequently received his MFA in Poetry from NYU.  He currently splits his time between Western Massachusetts and New York City, where he serves as a Professor in Modern Poetry and Poetics in the MFA Program at NYU.

Today's guest Joanna Johnson, brilliant teacher otherwise known as Unlearn16, reminds us that the constitution only matters if people stand up for it, otherwise it's just a piece of paper. So get ready for chaos. Clearly our institutions aren't the guardrails we thought they were, but we, the people, are. As always, if you find worth in what we do, please consider SUBSCRIBING to PoliticsGirl Premium. You'll get this podcast ad free and it, and the the rants delivered directly to your inbox so even if we're shut out of social media, you'll still get access to the most highly researched, factual information available. Independent media needs your support now more than ever. Go to https://www.politicsgirl.com/premium and subscribe today!! Thank you so much! xoPG Guest social: https://unlearn16.com/ Paris Review article about Epstein: https://www.theparisreview.org/blog/2020/04/06/behind-the-mask-of-corruption/ As always, please RATE and SUBSCRIBE so we can grow the show, open the dialogue, and inspire change moving forward! All show links here!: https://linktr.ee/politicsgirl This episode is sponsored by… https://tovala.com/politicsgirl code: PoliticsGirl https://leesa.com code: politicsgirl https://Quince.com/politicsgirl iQBar: TEXT PG to 64000

Practical ways to upgrade your narrative. Melissa Febos is the national bestselling author of five books, including Girlhood, Body Work: The Radical Power of Personal Narrative, and a new memoir, The Dry Season. She is the recipient of awards and fellowships from the Guggenheim Foundation, the National Endowment for the Arts and others. Her work has appeared in The Paris Review, The New Yorker, The Best American Essays and others. She is a professor at the University of Iowa. In this episode we talk about: How to "audit" your personal narrative with simple questions Melissa's five-step method for rewriting unhelpful stories Why community, and vulnerability are required for real change; in other words, why it's harder to do this work alone Melissa's own experiences running this playbook with regard to her relationships and her addictions. Get the 10% with Dan Harris app here Sign up for Dan's free newsletter here Follow Dan on social: Instagram, TikTok Subscribe to our YouTube Channel To advertise on the show, contact sales@advertisecast.com or visit https://advertising.libsyn.com/10HappierwithDanHarris