Podcasts about Partisan Review

J.J. and Dr. Steven Zipperstein capture the essence and relevance of this elusive visionary. Follow us on Twitter (X) @JewishIdeas_Pod to see the realization of Ahad Ha'Am's pessimistic prophesies. Please rate and review the the show in the podcast app of your choice!We welcome all complaints and compliments at podcasts@torahinmotion.orgFor more information visit torahinmotion.org/podcastsSteven J. Zipperstein is the Daniel E. Koshland Professor in Jewish Culture and History at Stanford University. His second book, Elusive Prophet: Ahad Ha'am and the Origins of Zionism (University of California Press, 1993) won the National Jewish Book Award. In 1998, it appeared in Israel in a Hebrew translation published by the Ofakim series of Am Oved. Zipperstein has published more than fifty articles as well as many review essays in a wide range of journals, magazines, and newspapers, including the New York Times, Washington Post Book Review, Forward, The New Republic, Dissent, Partisan Review, Jewish Review of Books, New England Review, and The Atlantic. In spring 2022, he was awarded the Stanford Humanities and Sciences Dean's Award for excellence in Graduate Teaching.  In 2023, Zipperstein was elected to the American Academy of Arts and Sciences. His next book “Stung by Life. Philip Roth: A Biography” will appear in October 2025 in the Jewish Lives series at Yale University Press.

https://linktr.ee/scrubmode Today we talk about the founding of the Hermetic Order of the Golden Dawn, all the places it cribbed stuff from, and its hilarious and tragic collapse into WIZARD CIVIL WAR. Alchemists, mages, poets, revolutionaries and maybe the fattest drop kick of all time. We got it all. Thank you Jesse Sanders for making our music. Partisan Review 1948 Witches and Witchcraft, by Dean Miller https://www.mentalfloss.com/posts/william-butler-yeats-aleister-crowley-magic-duel https://www.openculture.com/2016/10/aleister-crowley-william-butler-yeats-get-into-an-occult-battle.html https://www.theguardian.com/books/1997/sep/07/biography.wbyeats https://toarumajutsunoindex.fandom.com/wiki/Battle_of_Blythe_Road https://brewminate.com/secretly-metaphysical-the-hermetic-order-of-the-golden-dawn-in-the-19th-and-20th-centuries/ https://www.llewellyn.com/encyclopedia/article_print.php?article=4697 https://www.llewellyn.com/encyclopedia/article/35 https://www.atlasobscura.com/places/36-blythe-road https://mulberryhall.medium.com/odd-this-day-eb0ab552f3b3

Subscribe to Know Your Enemy on Patreon to listen to this premium episode, and all of our bonus content: https://www.patreon.com/knowyourenemy It was inevitable that Know Your Enemy would eventually discuss Arguing the World, the 1998 documentary about four Jewish intellectuals who emerged from the alcoves and arguments of City College in the 1930s and influenced American politics and letters for much of the rest of the twentieth century, and beyond: Irving Howe, Irving Kristol, Daniel Bell, and Nathan Glazer.Why now? Most of all, it's the kind of documentary we love—the personal rivalries, the gossip, the self-conscious intellectuality, and the, well, arguments. But we'll also be publishing an episode next week with historian Ronnie Grinberg about her new book, Write Like a Man: Jewish Masculinity and the New York Intellectuals, and while the overlap in subject matter is not perfect, this documentary would make for a great primer for listeners (since we know you're the kind of listeners who do not despise homework). It's also an excellent chance to revisit the history of the left, old and new, and their fraught relationship with each other; to consider the place of intellectuals and thinking in a time of urgent action; and, as ever, to talk about the ways the subjects of Arguing the World might fit into America's right turn and "how we got here."Watch:Arguing the World, dir. Joseph Dorman (1998); YouTube, PBS, IMDBRead:Irving Howe, "This Age of Conformity," Partisan Review, Jan-Feb 1954Irving Howe, "Socialism and Liberalism: Articles of Conciliation?" Dissent, Winter 1977Irving Kristol, “Memoirs of a Trotskyist,” NYTimes, Jan 23, 1977

To lead into the next season of Enduring Interest, we're re-releasing our first two seasons, covering totalitarianism and ideology and liberal education.  We'll be back on September 8 with a new season covering free speech and censorship. In this episode Rita Koganzon and I discuss two essays by the philosopher Hannah Arendt: “Crisis in Education” and “Reflections on Little Rock.” The former was first published in Partisan Review in 1958 and the latter in Dissent in 1959. Rita gives an account of the context for the two essays and how they are related. We discuss Arendt's critique of a number of progressive educational reforms including learning as doing and emancipating children from the authority of adults. Rita explains Arendt's concept of natality and her understanding of the relationship between knowledge and authority. We discuss Arendt's reasons for pessimism as far as school integration as an educational enterprise and why the Little Rock essay generated such controversy. We also discuss the relevance of Arendt's reflections on education to our own time. Rita Koganzon is the associate director of the Program on Constitutionalism and Democracy and Assistant Professor of Politics at the University of Virginia. Her research focuses on the themes of education, childhood, authority, and the family in historical and contemporary political thought. Her first book, Liberal States, Authoritarian Families: Childhood and Education in Early Modern Thought (Oxford, 2021) examines the justifications for authority over children from Jean Bodin to Jean-Jacques Rousseau. Her research and essays have been published in the American Political Science Review and the Review of Politics, as well as in the Hedgehog Review, National Affairs, The Point, and the Chronicle of Higher Education, among others. She received her PhD in Government from Harvard University, and her BA in History from the University of Chicago. Check out Rita's essay “A Tale of Two Educational Traditions.” “Crisis in Education” can be found in Between Past and Future and “Reflections on Little Rock” in Responsibility and Judgment.

To lead into the next season of Enduring Interest, we're re-releasing our first two seasons, covering totalitarianism and ideology and liberal education.  We'll be back on September 8 with a new season covering free speech and censorship. In this episode I speak with Clare Cavanagh, Frances Hooper Professor of Arts and Humanities and Professor of Slavic Languages and Literatures at Northwestern University. She's the author of a forthcoming authorized biography of Czeslaw Milosz and a prize-winning translator of the poets Adam Zagajewski and Wislawa Szymborska. Her essays and translations have appeared in publications including The New York Times Book Review, the New York Review of Books, the Times Literary Supplement, and Partisan Review. Some of her recently taught courses include What is Lyric Poetry? ; Gender and Revolution in Soviet Russian Culture; Heart of Europe: Poland in the Twentieth Century; Poetry and the Cold War; and 19th Century Russian Poetry. Clare and I discuss three poems by Czeslaw Milosz: “You Who Wronged”; “Child of Europe”; and “Mittelbergheim.” These poems are from an early collection called Daylight, some which were written when Milosz was working as a cultural attaché for the post-war Polish government. Clare calls Daylight a “book of struggle” where Milosz is asking questions about his audience and his own perspective and role as a poet. He writes about the falsification of history and the corruptions of ideology. We draw some connections between the poems and the arguments elucidated in his famous book The Captive Mind. Clare also offers her thoughts on Milosz's conception of the role of poetry broadly speaking. We conclude our conversation with some recommendations for listeners on where one might start to engage with Milosz's vast body of work. Clare also shares some of her experiences in meeting Milosz in Krakow and her impressions of him.

Clare Coffey and Dan Walden discuss influencer culture, MLMs, and the monetization of friendship. They also go entirely off script and end up in so many different rabbit trails that it is frankly difficult to write a podcast description that even begins to reflect the reality here. Among the topics covered: Whether Blackwater is kind of a MLM for guys, whether Clare is willing to take CIA money to write mean essays about Mary McCarthy for The Partisan Review (she is), the plight of the lumpen bohemian, and what it would take to make a really good American Iberico cured ham.

Understanding the Denouement as well as John Barth's idea of the “complexified equilibrium” and Jessica Brody's “Five-Point Finale” with authors Rebecca Rolland and Rishi Reddi. Rebecca Rolland is the author of the Art of Talking with Children (HarperOne, 2022), a combination memoir and parenting/education guide that will be translated into over 10 languages. She's also a poet, essayist, and novelist, winner of the Dana Award for Short Fiction, with three poetry collections published and a fourth one coming out next year. She lives in Boston with her family.Rishi Reddi is the author of the novel Passage West, a Los Angeles Times “Best California Book of 2020” which tells of the early South Asian immigrants to California, and Karma and Other Stories, which received the 2008 L.L. Winship /PEN New England Award for Fiction. A National Book Critics Circle Emerging Critics Fellow for 2021-2022, her reviews, essays and translations have appeared in the New York Times, Los Angeles Review of Books, Kirkus Reviews, LitHub, Alta Journal, and Partisan Review, among others. Rishi has received fellowships and grants from the MacDowell Colony, Bread Loaf, the Massachusetts Cultural Council, and the U.S. Department of State. She lives in Cambridge, MA, and is the Director of Environmental Justice in her day job with the government of Massachusetts. Find John Barth's essay Incremental Perturbations in Julie Checkoway's (editor) Creativing Fiction. And Jessica Brody's 5-Point Final can be found in her craft book: Save the Cat Writes a Novel.Find these and more of fave craft books as well as our panelists' most recent publications on our Bookshop page: https://bookshop.org/shop/the7amnovelist This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 7amnovelist.substack.com

In this episode, we finish up reading Mansfield Park, with Chapters 46 to 48. We talk about contrasts within the book, the attitude to Maria and Henry, Edmund and Fanny's views of Mary, Sir Thomas's reflections in the final chapter, the wrapping up of the other characters and how we are told about Edmund falling in love with Fanny.We discuss Fanny Price, then Ellen talks about principle and education, and Harriet looks at how adaptations and modernisations treat these chapters. Things we mention: General and character discussion:Margaret Drabble,  “Introduction”,  Mansfield Park (1996 – Signet Classics edition)Anthony Powell, Casanova's Chinese Restaurant [volume 5 of A Dance to the Music of Time] (1960)William Shakespeare, Henry IV Parts 1 and 2Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Tony Tanner, various works including “Introduction”, Mansfield Park (1966 – Penguin Books edition)Marvin Mudrick, Jane Austen; irony as defense and discovery (1952)Mary Brunton, Self-Control (1810)Linda V Troost and Sayre N Greenfield, “A History of the Fanny Wars”, Persuasions 36 (1), 2014, pp. 15–33.D W Harding, ‘Regulated Hatred: An aspect of the work of Jane Austen', Scrutiny, 8 (4), 1940, pp. 346–362.C S Lewis, ‘A Note on Jane Austen', Essays in Criticism, IV (4), October 1954, pp. 359–371.Lionel Trilling, “Mansfield Park“, Partisan Review 21 (September-October 1954): 492-511. Also published in Encounter, September 1954: 9-19.Kingsley Amis, “What Became of Jane Austen?”, The Spectator, 4 October 1957 – republished in What Became of Jane Austen? And Other Questions (1970)Historical discussion:Maria Edgeworth, Moral Tales: Angelina; Or L'amie Inconnue. the Good French Governess. Mademoiselle Panache. the Knapsack (1801)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)D.E. Stevenson, Celia's House (1943)For a list of music used, see this episode on our website.    

This week, we're putting our calls on hold to bring out our second Super Chiller episode. This audio essay focuses on why Camp is such an integral part of horror and what we really mean when we call something campy. This essay acts as a tentpole between the two halves of our Glamp Month coverage, allowing us to better understand all the wonderfully campy films we've been dying to watch with you. Follow our show on social media @CallsInsidePod and our host Kevin Sparrow on Twitter @dirtydevlin Referenced in this episode: Jack Barbuscio - “The Cinema of Camp (AKA Camp and the Gay Sensibility)”. In Camp: Queer Aesthetics and the Performing Subject, edited by Fabio Cleto, 1999. Harry M. Benshoff - Monsters in the Closet, 1997. Moe Meyer - The Politics and Poetics of Camp, 1994. Susan Sontag - “Notes on ‘Camp'”. Partisan Review, 1964. --- Send in a voice message: https://anchor.fm/calls-inside-pod/message

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Marie Howe is the author of four volumes of poetry: Magdalene: Poems (W.W. Norton, 2017); The Kingdom of Ordinary Time (W.W. Norton, 2009); What the Living Do (1997); and The Good Thief (1988). She is also the co-editor of a book of essays, In the Company of My Solitude: American Writing from the AIDS Pandemic (1994). Her poems have appeared in The New Yorker, The Atlantic, Poetry, Agni, Ploughshares, Harvard Review, and The Partisan Review, among others.From http://www.mariehowe.com/home. For more information about Marie Howe:“What the Living Do”: https://wwnorton.com/books/What-the-Living-Do/“Marie Howe”: https://www.poetryfoundation.org/poets/marie-howe“Poet Marie Howe on ‘What the Living Do' After Loss”: https://www.npr.org/2014/04/25/306528499/poet-marie-howe-on-what-the-living-do-after-loss

In this episode, we read Chapters 12 to 16 of Mansfield Park. We talk about why Fanny refuses to act, why Edmund agrees to join in, the sheer amount of comedy in the scenes of the theatricals, and the Cinderella aspect of the plot.We talk about Tom Bertram, and then Ellen looks at theatre in the Regency period, and why Fanny and Edmund disapprove of the the theatricals. Harriet talks about the popular culture versions, including some modernisations and a variation that she hasn't looked at before.Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Lionel Trilling, “Mansfield Park“, Partisan Review 21 (September-October 1954): 492-511. Also published in Encounter, September 1954: 9-19.Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) Historical discussion:Chuck Hudson, ‘Theatre in Georgian England' (2015)Elizabeth Inchbald, Lovers's Vows [full text on Project Gutenberg] (1798)Deirdre Le Faye [Editor], Jane Austen's Letters (1995)Lionel Trilling, “Mansfield Park“, Partisan Review 21 (September-October 1954): 492-511. Also published in Encounter, September 1954: 9-19.Claudia L. Johnson and Clara Tuite, 30 Great Myths about Jane Austen (2020)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:Westerly Films, Allagash Films, Metropolitan (1990) – starring Carolyn Farina and Edward ClementsYouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)D.E. Stevenson, Celia's House (1943)John Mullan, Live at the Hay Festival (2014) [YouTube] – referred to in the discussion of Celia's HouseVariations:Lona Manning, A Contrary Wind(2017), A Marriage of Attachment (2018) and A Different Kind of Woman (2020) For a list of music used, see this episode on our website.  

Alger Hiss is taken to prison   Alger Hiss's conviction — technically for perjury, but effectively for treason — was a major event.  It was a disaster for The Establishment, especially liberal Democrats, and vindication for Republicans and populist Democrats.  The 18 month labyrinth of HUAC hearings, depositions in Hiss's libel suit, grand jury proceedings, and two criminal trials were the long, long overture to the so-called McCarthy Era.  Senator McCarthy, in fact, gave his famous “I have a list . . .” speech just weeks after Hiss's conviction.  This Podcast gives an overview of the many and complex reactions to the guilty verdict.  Everyone, it seems, accepted the factual correctness of the verdict.  But many liberals could not help making up excuses for Hiss, or damning Chambers for being fat and melodramatic.  And many conservatives and populists could not help painting all liberals and Harvard graduates with the black pitch of Hiss's treason.  Most interesting and encouraging to me, a significant number of liberals and Democrats were sufficiently mature and morally alive to engage in genuine introspection and self-criticism, to admit they had ‘blown it big time' when it came to Soviet traitors in our midst, and to resolve to fashion a liberal anti-communism that was just as vigorous as what Republican conservatives had been offering for decades.     FURTHER RESEARCH    The McCarthy Era, although sparked by this Case, is an oceanic subject beyond the scope of these Podcasts.  If you want to read about it, among the best conservative books are George H. Nash's “The Conservative Intellectual Movement in America Since 1945” (Basic Books 1976), esp. 84-130; and Richard Gid Powers' “Not Without Honor:  The History of American Anticommunism” (Free Press 1995), esp. 191-272.See also Professor Harvey Klehr's essay “Setting the Record Straight on Joe McCarthy,” https://archives.frontpagemag.com/fpm/setting-record-joe-mccarthy-straight-harvey-klehr/.   Among the far more numerous, totally anti-McCarthy books are David Caute's “The Great Fear:The Anti-Communist Purge Under Truman and Eisenhower” (Touchstone 1979), esp. 56-62; Fred J. Cook's “The Nightmare Decade:The Life and Times of Senator Joe McCarthy” (Random House 1971); Victor Navasky's “Naming Names” (Viking 1980) (especially the early pages); I.F. Stone's “The Truman Era: 1945-52” (Little Brown 1953) (Stone was himself a secret agent of the Soviet Union); and James A Weschler's “The Age of Suspicion” (Random House 1953).  I must note that it was a stroke of genius for the minimizers of Communist treason to name the era after anti-Communism's most irresponsible big name.  This is as if racists had succeeded in labeling the civil rights movement The Al Sharpton Movement.     Concerning the impact of the Hiss verdict in particular, Dean Acheson, in his autobiography “Present at the Creation:  My Years at the State Department” (Norton 1987), titles his pertinent chapter (at 354) “The Attack of the Primitives Begins.”  Alistair Cooke (at 340) also saw nothing good coming from Hiss's conviction.  A more mature view, at page 267 of Walter Goodman's “The Committee:The Extraordinary Career of the House Committee on Un-American Activities” (Farrar, Straus & Giroux 1968), is that the Hiss-Chambers Case “whip[ped] up a storm which did not last long but left ruins in its wake.”  Other more realistic analyses of the Case's impact on America are in Weinstein at 529-47 (chapter titled “Cold War Iconography I:  Alger Hiss as Myth and Symbol”); the best single essay on this Case in my opinion, Leslie Fiedler's “Hiss, Chambers, and the Age of Innocence” at 3-24 of his “An End to Innocence:  Essays on Culture and Politics” (Beacon Press 1955) and Diana Trilling's essay “A Memorandum on the Hiss Case,” first published in The Partisan Review of May-June 1950 and re-published at 27-48 of Patrick J. Swan's anthology of essays on this Case, “Alger Hiss, Whittaker Chambers, and the Schism in the American Soul” (ISI Books 2003).  The latter two essays I highly recommend.   Questions:  If you had been adult when Hiss was convicted, what would have been your reaction to his conviction?  ‘Justice at long last,' ‘a miscarriage of justice,' ‘guilty but a fair trial was impossible,' ‘technically guilty but with an excuse,' or something else?  Would your reaction have been purely emotional/political/tribal, or would you have cited one or more facts to support your reaction?  Would you have been totally certain that your reaction was the right one, or would you have harbored some doubts?

Author Laurence Leamer discusses his book “Capote's Women: A True Story of Love, Betrayal and a Swan Song for an Era” with professor, historian, and film critic Leo Braudy. Laurence Leamer is a New York Times best-selling writer and journalist. He is a former Ford Fellow in International Development at the University of Oregon and an International Fellow at Columbia University. In addition to Leamer's eighteen books, he has written for New York Magazine, The Washingtonian, Harper's, and The New York Times Magazine. He is regarded as an expert on the Kennedy family and has appeared on NBC Nightly News, CNN, and NPR discussing American politics. Leamer has written several best-selling biographies of other Americans, including Johnny Carson, the Reagan family, and Arnold Schwarzenegger. Leo Braudy is a cultural historian and film critic. He is a professor of English and American Literature at the University of Southern California. His work appears in journals such as American Film, Film Quarterly, Genre, Novel, Partisan Review, and Prose Studies—to name a few. Braudy's book “Jean Renoir: The World of His Films” was a finalist for the National Book Award. He has written for The New York Times, The Washington Post, and Harper's.

In this episode, we read Chapters 4 to 7 of Mansfield Park. We talk about the character-revealing scenes, how the presentation of Fanny may make some readers dislike her, why Maria became engaged to Mr Rushworth, and Henry Crawford's behaviour.We discuss the character of Mary Crawford – who is perhaps almost as divisive as Fanny Price – and then Ellen talks about baronets, Members of Parliament, and the idea of ‘interest'. Harriet considers how the three adaptations, and two of the modernisations, present these chapters. Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Lionel Trilling, “Mansfield Park“, Partisan Review 21 (September-October 1954): 492-511. Also published in Encounter, September 1954: 9-19.Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)John Mullan, Live at the Hay Festival (2014) [YouTube]Kingsley Amis, “What Became of Jane Austen?”, The Spectator, 4 October 1957 – republished in What Became of Jane Austen? And Other Questions (1970)The Daily Knightley (2021) [podcast] Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)D.E. Stevenson, Celia's House (1943)Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen. 

In this episode Rita Koganzon and I discuss two essays by the philosopher Hannah Arendt: “Crisis in Education” and “Reflections on Little Rock.” The former was first published in Partisan Review in 1958 and the latter in Dissent in 1959. Rita gives an account of the context for the two essays and how they are related. We discuss Arendt's critique of a number of progressive educational reforms including learning as doing and emancipating children from the authority of adults. Rita explains Arendt's concept of natality and her understanding of the relationship between knowledge and authority. We discuss Arendt's reasons for pessimism as far as school integration as an educational enterprise and why the Little Rock essay generated such controversy. We also discuss the relevance of Arendt's reflections on education to our own time.   Rita Koganzon is the associate director of the Program on Constitutionalism and Democracy and Assistant Professor of Politics at the University of Virginia. Her research focuses on the themes of education, childhood, authority, and the family in historical and contemporary political thought. Her first book, Liberal States, Authoritarian Families: Childhood and Education in Early Modern Thought (Oxford, 2021) examines the justifications for authority over children from Jean Bodin to Jean-Jacques Rousseau. Her research and essays have been published in the American Political Science Review and the Review of Politics, as well as in the Hedgehog Review, National Affairs, The Point, and the Chronicle of Higher Education, among others. She received her PhD in Government from Harvard University, and her BA in History from the University of Chicago. Check out Rita's essay “A Tale of Two Educational Traditions.”   “Crisis in Education” can be found in Between Past and Future and “Reflections on Little Rock” in Responsibility and Judgment.

In this episode I speak with Clare Cavanagh, Frances Hooper Professor of Arts and Humanities and Professor of Slavic Languages and Literatures at Northwestern University. She's the author of a forthcoming authorized biography of Czeslaw Milosz and a prize-winning translator of the poets Adam Zagajewski and Wislawa Szymborska. Her essays and translations have appeared in publications including The New York Times Book Review, the New York Review of Books, the Times Literary Supplement, and Partisan Review. Some of her recently taught courses include What is Lyric Poetry? ; Gender and Revolution in Soviet Russian Culture; Heart of Europe: Poland in the Twentieth Century; Poetry and the Cold War; and 19th Century Russian Poetry.   Clare and I discuss three poems by Czeslaw Milosz: “You Who Wronged”; “Child of Europe”; and “Mittelbergheim.” These poems are from an early collection called Daylight, some which were written when Milosz was working as a cultural attaché for the post-war Polish government. Clare calls Daylight a “book of struggle” where Milosz is asking questions about his audience and his own perspective and role as a poet. He writes about the falsification of history and the corruptions of ideology. We draw some connections between the poems and the arguments elucidated in his famous book The Captive Mind. Clare also offers her thoughts on Milosz's conception of the role of poetry broadly speaking.   We conclude our conversation with some recommendations for listeners on where one might start to engage with Milosz's vast body of work. Clare also shares some of her experiences in meeting Milosz in Krakow and her impressions of him.

In this episode, we are talking to Mark Krotov, the publisher and co-editor of n + 1, a magazine of politics, essays and fiction described once: “like Partisan Review, but not dead” (Keith Gessen, co-founder). Mark was born in Moscow and left Russia for Atlanta at the age of six. He graduated from Columbia in 2008. Before joining n + 1, he was an assistant editor at Farrar, Straus and Giroux, an editor at Overlook Press and a senior editor at Melville House. Agata Popeda is a Polish-American journalist. Interested in everything, with a particular weakness for literature and foreign relations. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we are talking to Mark Krotov, the publisher and co-editor of n + 1, a magazine of politics, essays and fiction described once: “like The Partisan Review, but not dead” (Keith Gessen, co-founder). Mark was born in Moscow and left Russia for Atlanta at the age of six. He graduated from Columbia in 2008. Before joining n + 1, he was an assistant editor at Farrar, Straus and Giroux, an editor at Overlook Press and a senior editor at Melville House. Agata Popeda is a Polish-American journalist. Interested in everything, with a particular weakness for literature and foreign relations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

On the final episode of Season One of The Invisible Gift, Andrew meets famed writer, and Pulitzer prize winning poet, Philip Schultz. In this episode, we're taken to the heart of the question: How did a boy who couldn't read or write win a Pulitzer prize? Andrew and Philip share an incredible conversation where Philip takes us back to his challenging and character forming childhood. Philip explains the genesis behind his persona writing, how it can unlock one's writing potential, and how this process led to his globally successful school: The Writer's Studio. Philip also explains how he learned about his dyslexia, the story behind his powerful memoir My Dyslexia, we hear a performance of Philip's poem ‘Googling Ourselves'.    Top Quotes “I lived in a world where dyslexia explained a lot. The life of the imagination was a more feasible, safer life than the one on the outside.” - Philip Schultz “The hardest thing in teaching is encouraging people to translate what they really feel about the subjects they're writing about” - Philip Schultz “I couldn't learn how to read or write. So I became a writer.” - Philip Schultz “The struggle is to overcome the image of the self as a failure.” - Philip Schultz   About The Guest Philip Schultz was born into a working class family in Rochester, New York. He struggled in school, failing to learn to read until he was eleven years of age. Despite this, Philip would go on to study in university, and released his first collection of poetry Like Wings in 1978. Philip Schultz has been teaching creative writing for almost five decades. After spending four years as the director of New York University's graduate creative writing program, he founded his own school, The Writers Studio, in 1987. Schultz's work has been published in The New Yorker, Partisan Review, The New Republic, The Paris Review, Slate, and other magazines. He won the 2008 Pulitzer Prize for his collection poetry Failure. This, before the Nobel Prize for Literature, is the highest honour a poet can receive globally. He wouldn't learn he was dyslexic until his son was diagnosed with the condition, at the age of 57. In 2011, he published his memoir My Dyslexia.  Resources https://www.writerstudio.com/courses/online/ https://www.newyorker.com/contributors/philip-schultz https://www.kitall.co.uk/ https://www.onefineplay.com/   About The Host The Invisible Gift is hosted by entrepreneur and dyslexic, Andrew Kitley. With twenty years experience, Andrew Kitley has worked his way up the metaphorical and literal ladder to become Managing Director of Kitall: an engineering firm. Under Andrew's guidance, Kitall is now one of the most sought after names to complete complex engineering projects in the UK. In each episode of The Invisible Gift, Andrew seeks the advice & inspiration of a fellow trailblazer who has defied the odds to achieve the extraordinary - turning the challenge of dyslexia into a gift.

En este episodio contamos con la colaboración de Lidia García (@queercanibot) del podcast ¡Ay, Campaneras! para hablar de cultura popular. Un episodio muy especial en el que nos preguntamos ¿Qué es eso de la cultura pop? ¿Cómo nos relacionamos con ella? ¿Cuál es su potencia política como lugar de encuentro, de resistencia? Cultura, resistencia, poder, música, baile y revuelta: este episodio es más que nunca puro Pol&Pop. Anunciamos también algunas de las novedades de la temporada: a partir de ahora los contenidos serán semanales. Cada semana colgaremos un nuevo episodio, centrado en una sección. Episodios un poco más cortos pero más episodios. Recordad que nos podéis escuchar en Ivoox, Spotify y Anchor, que podéis apoyarnos con la suscripción de fans en Ivoox y seguirnos en las redes sociales: Twitter: @podcastpol Telegram: https://t.me/PolAndPop Si os gusta dadle al dedito! Podcast ¡Ay Campaneras!: https://www.ivoox.com/podcast-ay-campaneras_sq_f1874283_1.html BIBLIOGRAFÍA Sieburth, Stephanie (2016): Coplas para sobrevivir, Cátedra. Vázquez Montalbán, Manuel (1971): Crónica sentimental de España, Lumen. Sontag, Susan (1964): “Notes on ‘Camp’”, Partisan Review, Vol. 31, Núm. 4 (otoño 1964), págs. 515-530. Fernández Porta, Eloy (2008): Homo Sampler, Tiempo y consumo en la era afterpop, Anagrama. MÚSICA Bulbasound: Funny Electro Swing Vyvero: Cumbiaton8 Parce: Solxis Global Jams Volume 2 Luis Alfonso: Vibra EFECTOS Fragmento de ¡Qué vienen los socialistas! (Mariano Ozores, 1982) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In the 1950s, William Faulkner (1897-1962) was one of most celebrated novelists in America, highly praised for this formal innovation, his prodigious storytelling gifts, and his sweeping, multigenerational portrait of Southern society. James Baldwin (1924-1987) was a writer on the rise, youthful and energetic, fearless and incisive, known for essays and commentary as brilliant as his fiction. In this episode of The History of Literature, we take a look at the public debate surrounding the civil rights movement, which Faulkner addressed in a (purportedly) drunken interview in which he said, "If I have to choose between the United States Government and Mississippi then I'll choose Mississippi. If it came to fighting I'd fight for Mississippi against the United States, even if it meant going out into the street and shooting Negros." At calmer points, Faulkner freely acknowledged that integration was the correct view "morally, legally, and ethically" but was not, in his view, "practical." In 1956, writing in the pages of the Partisan Review, Baldwin responded to these and other Faulkner statements with a brief, dazzling essay "Faulkner and Desegregation," in which he analyzed Faulkner's position on race, linked Faulkner's publicly expressed views to the inner world of the Southerner of the 1950s, and - it became clear a few months later - set the stage for his own efforts to inhabit and portray the mindset of a white Southerner in his fiction. How does the fiction of these two men work? What did it say about race and power and the precarious balance of a time, a place, and an era? What does understanding this mean for us today? We'll explore those questions in our next two episodes, where we look at a pair of short stories, Faulkner's "A Rose for Emily" and Baldwin's "Going to Meet the Man." Help support the show at patreon.com/literature or historyofliterature.com/shop. (We appreciate it!) Find out more at historyofliterature.com, jackewilson.com, or by following Jacke and Mike on Twitter at @thejackewilson and @literatureSC. Or send an email to jackewilsonauthor@gmail.com. Music Credits: “Darxieland” and "Allemande Sting" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Aaron Balshan launches his new project, the Partisan Review; and Kyle Shideler takes us into the North Virginia special election putting an alleged antisemite into the state house of delegates.

Music writing has always been something of an occult practice, trying by some weird alchemy to use concepts to describe stuff that defies the basic categories of intellect. So long as we stick to classical music, we can pretend that nothing too odd is happening, since the classical tradition has been steeped in notation for centuries. But when a musicologist attempts to analyze, say, an ambient track by Brian Eno, things aren't so simple. Suddenly notation won't do, and there comes the need to make use of every tool in the poet's shed. This episode focuses on a recently published article by Phil on this question. In due course, the discussion turns to the power of good writing: its capacity not just to convey an author's subjective impressions, but to disclose new facets of the ineffable, baroque objective world. SHOW NOTES Phil Ford, "Style as Analysis" in The Routledge Companion to Popular Music Analysis: Expanding Approaches (https://www.routledge.com/The-Routledge-Companion-to-Popular-Music-Analysis-Expanding-Approaches/Scotto-Smith-Brackett/p/book/9781138683112), edited by Ciro Scotto, Kenneth M. Smith and John Brackett Christopher Ricks, [Dylan's Vision of Sin](https://en.wikipedia.org/wiki/Dylan%27sVisionsofSin)_ Ferrucio Busoni, Sketch of a New Esthetic of Music (https://www.gutenberg.org/files/31799/31799-h/31799-h.htm) Susan McClary, Feminine Endings: Music, Gender, and Sexuality (https://www.upress.umn.edu/book-division/books/feminine-endings) Hans Ulrich Gumbrecht, Production of Presence: What Meaning Cannot Convey (https://www.sup.org/books/title/?id=1360) Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture-ebook/dp/B00DPJ6RE6) Jerry Hopkins, [No One Here Gets Out Alive](https://en.wikipedia.org/wiki/NoOneHereGetsOutAlive)_ Brian Eno, [Another Green World](https://en.wikipedia.org/wiki/AnotherGreenWorld) Mitchell Morris, The Persistence of Sentiment: Display and Feeling in Popular Music of the 1970s (http://california.universitypressscholarship.com/view/10.1525/california/9780520242852.001.0001/upso-9780520242852) William Youngren, “Balliett’s Bailiwick,” Partisan Review 32, no. 1 (Winter 1965) Whitney Balliett, Collected Works (https://www.goodreads.com/book/show/1168302.Collected_Works) E.M. Forster, [Aspects of the Novel](https://en.wikipedia.org/wiki/AspectsoftheNovel)_ Henri Bergson, [Matter and Memory](https://en.wikipedia.org/wiki/MatterandMemory)

On today’s episode, Pádraig Ó Tuama and Marie Howe, in a conversation with Micah Lott of Boston College, discuss the political possibilities of poetry: to bear witness, to inspire the moral imagination, and to provide perspective on our neighbors’ lives and the world around us. A poet, theologian, and group worker, Pádraig Ó Tuama is the leader of Corrymeela Community, an interdenominational church in Belfast dedicated to conflict transformation and church reconciliation. Ó Tuama has published and edited collections of poetry, essays, and theology, including Readings from the Book of Exile, Sorry for Your Troubles, and In the Shelter: Finding a Home in the World. Working with groups in Ireland, Britain, Australia, and the United States, he leads workshops and retreats on storytelling, spirituality, and conflict resolution. The Poet Laureate of New York State from 2012 to 2014, Marie Howe has published four collections of verse. Her books include The Good Thief, which was chosen for the National Poetry Series by Margaret Atwood; What the Living Do, an elegy to her brother John, who died of an AIDS-related illness; The Kingdom of Ordinary Time; and Magdalene: Poems. Her poems have appeared in many publications, including the New Yorker, The Atlantic, Poetry, Ploughshares, and the Partisan Review. Howe has received fellowships from the Bunting Institute at Radcliffe College, the National Endowment for the Arts, the Guggenheim Foundation, the Academy of American Poets, and the Fine Arts Work Center in Provincetown. She has taught at Sarah Lawrence College, Columbia University, and NYU. Rewrite Radio is a production of the Calvin Center for Faith and Writing, located on the campus of Calvin College in Grand Rapids, MI. Theme music is June 11th by Andrew Starr. Additional sound design by Alejandra Crevier. You can find more information about the Center and its signature event, the Festival of Faith and Writing, online at ccfw.calvin.edu and festival.calvin.edu and on Facebook, Twitter, and Instagram.

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins' extensive and well-researched history of Trilling sheds insight into Diana's life. She examines Trilling's position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins' work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins' extensive and well-researched history of Trilling sheds insight into Diana's life. She examines Trilling's position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins' work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu.

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins’ extensive and well-researched history of Trilling sheds insight into Diana’s life. She examines Trilling’s position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins’ work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins’ extensive and well-researched history of Trilling sheds insight into Diana’s life. She examines Trilling’s position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins’ work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins’ extensive and well-researched history of Trilling sheds insight into Diana’s life. She examines Trilling’s position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins’ work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins’ extensive and well-researched history of Trilling sheds insight into Diana’s life. She examines Trilling’s position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins’ work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins’ extensive and well-researched history of Trilling sheds insight into Diana’s life. She examines Trilling’s position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins’ work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book, The Untold Journey: The Life of Diana Trilling (Columbia University Press, 2017), Natalie Robins examines the life of writer and socialite Diana Trilling (1905-1996). Trilling wrote for The Nation, Harpers, and Partisan Review as well as popular magazines McCalls and Vogue. In addition, she wrote Mrs. Harris: The Death of the Scarsdale Diet Doctor and four other books. The wife of professor and literary critic Lionel Trilling, Diana also edited his work, serving as his most trusted confidant. Robins shares the inner struggles Diana endured through her relationship with Lionel as well as her competing public and private work. In this thorough biography, Robins’ extensive and well-researched history of Trilling sheds insight into Diana’s life. She examines Trilling’s position in anticommunist liberal politics, family feminism, and the university literary circles. Spotlighting an influential member of New York City culture, Robins’ work on Diana Trilling is an important addition to literary and popular history of the 1960s. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in peoples lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're talking about Allen Ginsberg and Diana Trilling. Specifically, we're talking about an essay Diana Trilling wrote for The Partisan Review about attending an Allen Ginsberg reading at Columbia University in 1959, one which her husband--famous literary critic Lionel Trilling--chose to skip, despite being Ginsberg's former teacher. We try to parse Diana Trilling's attitude toward the reading, which seems to be simultaneously salty and tender. You can read Diana's essay, and peruse all of The Partisan Review's archives, via Boston University. We also talk about lots of other 1959 goings-on, including monkeys in space!

The instant national bestselling author of the acclaimed debut novel Sweetbitter, Stephanie Danler, stopped by the show to chat with me about her not-so-overnight success as a rising literary star. Ms. Danler signed a six-figure deal with Knopf for her first book, the coming-of-age story of a young woman transplanted into New York City’s upscale, cutthroat restaurant world. Bestselling author Jay McInerney called Sweetbitter “… a stunning debut novel, one that seems destined to help define a generation,” and the book has been compared to Anthony Bourdain’s Kitchen Confidential. Before returning to her love of writing, and earning an MFA in Fiction from The New School in NY, Ms. Danler spent much of her life working in the food and wine industry. Stephanie has also written essays for The Paris Review, Vogue, Literary Hub, and Travel + Leisure. Join us for this two-part interview, and if you’re a fan of the show, please subscribe in iTunes to automatically see new interviews, and help other writers find us. If you missed the first half you can find it right here. In Part Two of the file Stephanie Danler and I discuss: The Dichotomy of Procrastination and Deadlines Why Relationships Are Important to Writers On the Deconstruction and Sanctity of Creativity How Great Writers Leave ‘Blood on the Page’ Some Great Advice on Why You Just Need to Finish Listen to The Writer Files: Writing, Productivity, Creativity, and Neuroscience below ... Download MP3 Subscribe by RSS Subscribe in iTunes The Show Notes How ‘Sweetbitter’ Author Stephanie Danler Writes: Part One Sweetbitter: A novel – Stephanie Danler StephanieDanler.com with Links to Essays by Stephanie Danler This is Water – David Foster Wallace Stephanie Danler on Instagram Stephanie Danler on Twitter Kelton Reid on Twitter The Transcript How Sweetbitter Author Stephanie Danler Writes: Part Two Kelton Reid: The Writer Files is brought to you by StudioPress, the industry standard for premium WordPress themes and plugins built on the Genesis Framework. StudioPress delivers state of the art SEO tools, beautiful and fully responsive design, air-tight security, instant updates, and much more. If you’re ready to take your WordPress site to the next level, see for yourself why over 177,000 website owners trust StudioPress. Go to Rainmaker.FM/studiopress right now. That’s Rainmaker.FM/studiopress. These are The Writer Files, a tour of the habits, habitats, and brains of working writers from online content creators to fictionists, journalists, entrepreneurs, and beyond. I’m your host, Kelton Reid, writer, podcaster, and mediaphile. Each week we’ll discover how great writers keep the ink flowing, the cursor moving, and avoid writer’s block. The instant national best-selling author of the acclaimed debut novel Sweetbitter, Stephanie Danler, stopped by the show this week to chat with me about her not-so-overnight success as a rising literary star. Ms. Danler signed a six figure deal with Knapf for her first book, the coming of age story of a the young woman transplanted into New York City’s upscale, cut-throat restaurant world. Best-selling author Jay McInerny called Sweetbitter a stunning debut novel, one that seems destined to help define a generation. The book has been compared to Anthony Bourdain‘s Kitchen Confidential. Before returning to her love of writing and earning an MFA in fiction from The New School in New York, Ms. Danler spent much of her life working in the food and wine industry. Stephanie has also written essays for The Paris Review, Vogue, Literary Hub, and Travel + Leisure. Join us for this two-part interview, and if you’re a fan of the show, please click “subscribe” to automatically see new interviews with your favorite authors and help other writers to find us. If you missed the first half of this show, you can find it at WriterFiles.FM and in the show notes. In part two of the file, Stephanie and I discuss the dichotomy of procrastination and deadlines, why relationships are important to writers, on the deconstruction and sanctity of creativity, how great writers leave blood on the page, and some sound advice on why you just need to finish. Let’s talk about your work flow a little bit. Are you working on a Mac or a PC there? Stephanie Danler: Oh, a MacBook. I had this ancient one that was so heavy that I used to lug around the world, and this one is so light and fancy. I adore it. Kelton Reid: They get lighter by the day, don’t they? Stephanie Danler: I’m very happy about that. Kelton Reid: Are you a Microsoft Word, or a Scrivener disciple? Stephanie Danler: What’s Scrivener? I have no idea. Microsoft Word. I’m not, like, a software person. Kelton Reid: I just assume that there are two camps, and the Scrivener’s like a new … It’s a newer software that incorporates a lot of kind of organizational tools that a lot of writers are using now. But you sound like a classic, dyed in the wool Microsoft Word-er. Stephanie Danler: Yeah, and lots of notebooks. Not structured or an outline person, or an organized person at all. The Dichotomy of Procrastination and Deadlines Kelton Reid: Do you have any best practices, kind of going back to block and whatnot, for beating procrastination? Stephanie Danler: I mean, no, on procrastination. I don’t know how to beat that. I would welcome any tips that you have. I should listen to the other podcasts. Kelton Reid: I think a lot of writers lean into it because it’s part of their creative process. Stephanie Danler: I think that deadlines are incredible, extremely helpful, and I think adrenaline is extremely helpful. Maybe that’s because I worked in restaurants for so long that it feels very familiar to me. For beating block, I think there’s just reading. I think that when you’re feeling bored or uninspired by your own mind, I think it’s time to visit someone else’s mind. I was just recently rereading Susan Sontag’s journals, and she’s admonishing herself. She’s like, “You will not read anymore. You are procrastinating.” I was like, “Okay. I could just be so lucky to procrastinate like Susan Sontag. I’ll take the reading.” Why Relationships Are Important to Writers Kelton Reid: Yeah, yeah. For sure. So Campari and soda, a glass of wine. How else does Stephanie Danler unplug at the end of a long writing day? Stephanie Danler: There’s definitely a beverage involved, and I think that it really does signal that you’ve exited the work day in a way. I like to be outside. It’s part of the reason that I moved to Southern California, even though I’d barely been here. But I think it’s important to actually be in nature as much as possible. You miss that in the city, by just contact with the world. I need to talk to people. It’s a very intense experience to sit alone with your many voices all day, trying to decide which to listen to. I think that calling someone and getting out of your own head and your own problems is the reminder that, “Oh, I’m just a human. I’m just a regular human being in the world, and I’m going to go to sleep, and this doesn’t matter so much.” It does. It’s art, and it’s what I’ve dedicated my life to, but there’s also just living, and being a good friend, and a good partner, and making meals. That’s equally as important. On the Deconstruction and Sanctity of Creativity Kelton Reid: For sure. Well, I’d love to dig into your creativity if you have time. Stephanie Danler: Yeah. That’s like, the vaguest word. It’s like one of those catch-alls, and it’s like a branding tool now, that I don’t even know what it means. But yes, ask away. Kelton Reid: How do you personally define creativity? Stephanie Danler: As I was just being so cynical about creativity, I was thinking also about how sacred it really is. When I think about real creativity, I think about that moment when you’ve been staring at the same material, or the same words, or the same landscape, or building, or face, and you feel like you know it. You feel like everything about it is staid and formulaic, and it’s dead. Then these synapses connect, and it’s new. Then I think about Ezra Pound’s slogan, “Make it new.” I think that that’s creativity. There is no new material. There’s only new ways of perceiving, and that is where original, exciting thought comes from. Kelton Reid: When do you personally feel the most creative? You may have already answered this, but can you nail it down? Stephanie Danler: Yeah. I think that it’s really important to remember how much of writing takes place away from the desk and off the page. I find that I’m very creative where I’m having those synapses firing, where I’m seeing connections, when I’m in transit. Whether I’m driving, or walking, or riding the subway, those are extremely fertile times for thought, because you can wander. That’s all writing, for me. That’s all work. I’m not always even in a rush to write those things down. I kind of observe the thoughts, and if they’re important, and if they’re going to add to whatever dialogue I’m having, they’ll come back to me at the desk. I think in transit is a really lovely time. Kelton Reid: Do you have a creative muse right now? Stephanie Danler: I have been walking a lot since I’ve been back, and I live in Laurel Canyon, so I’m surrounded by trails. I used to walk a lot in New York as well. I used to walk the bridge. I found that to give me a really great mental space. I’m always reading poets, and I read poetry first thing in the morning, and that is such a huge part of my practice. They, whoever they are, never fail to make me excited about language again, which, excitement is one step away from inspiration. Usually that works. How Great Writers Leave ‘Blood on the Page’ Kelton Reid: Very nice. In your estimation, what makes a writer great? Stephanie Danler: That’s a huge question. I really value honesty. Not just honesty, but sincerity in writing. I find, in a lot of modern or postmodern fiction, I feel this distance from the reader, this lack of sincerity, where I’m supposed to be appreciating how clever something is, but the writer hasn’t actually left any blood on the page, so to speak. There isn’t this authenticity, and I’m drawn towards writers in which I can really feel their pulse right behind the page. I don’t know whether that’s lived experience, and there are plenty of fiction writers who make everything up that can give you that feeling, but that’s a mark of talent. Kelton Reid: Completely. Do you have a couple of favorites right now that you’re just kind of stuck on? Sitting on your bedside table? Stephanie Danler: I have such an insane stack on my bedside table. I am so bored of hearing myself praise Maggie Nelson, because I do it all the time, but Maggie Nelson is a critic, essayist, poet. She most recently put out The Argonauts, which is a masterpiece. Then, we have her book of poetry. It’s really a poetic essay called Bluets. At this point, I’ve read everything that she’s written, and she does not care about genre. She does not care about the rules, and I find it so inspiring. Kelton Reid: That’s awesome. Do you have a best-loved quote floating there somewhere over your desk, like so many authors? Stephanie Danler: Yeah. I have a bunch. I actually have a bunch of poems. But my real quotes are on my body. I have some tattoos that are quotes that I carry with me. I have, “This is Water,” from David Foster Wallace, which was a speech he gave at my university, Kenyon College, which has now turned into, like, a manifesto of sorts. What else do I have? I have Clarice Lispector, the last line of her book The Passion According to G.H., is, “And so I adore it,” which is really just an affirmation, after you’ve gone through this novel of destruction, really. It’s really allegorical and very Kafkaesque, even though I hate it when people call things Kafkaesque. That’s the easiest way for me to put it. After you’ve gotten to the bottom of this hole, where there’s no meaning, it ends with this kind of cry, “And so I adore it.” I think of that one often. Kelton Reid: Very cool. I’ve got a couple of fun ones for you, to wrap it up. We will be right back after a very short break. Thanks so much for listening to The Writer Files. Jerod Morris: Hey, Jerod Morris here. If you know anything about Rainmaker Digital and Copyblogger, you may know that we produce incredible live events. Some would say that we produce incredible live events as an excuse to throw great parties, but that’s another story. We’ve got another one coming up this October in Denver. It’s called Digital Commerce Summit and it is entirely focused on giving you the smartest ways to create and sell digital products and services. You can find out more at Rainmaker.FM/summit. That’s Rainmaker.FM/summit. We’ll be talking about Digital Commerce Summit in more detail, as it gets closer. For now, I’d like to let a few attendees from our past events speak for us: Attendee 1: For me, it’s just hearing from the experts. This is my first industry event, so it’s awesome to learn new stuff and also get confirmation that we’re not doing it completely wrong where I work. Attendee 2: The best part of the conference for me is being able to mingle with people and realize that you have connections with everyone here. It feels like LinkedIn live. I also love the parties after each day, being able to talk to the speakers, talk to other people who are here for the first time, people who have been here before. Attendee 3: I think the best part of the conference, for me, is understanding how I can service my customers a little more easily. Seeing all the different facets and components of various enterprises then helps them pick the best tools. Jerod Morris: Hey, we agree one of the biggest reasons we host the conference every year is so that we can learn how to service our customers, people like you, more easily. Here are just a few more words from folks who have come to our past live events. Attendee 4: It’s really fun. I think it’s a great mix of beginner information and advanced information. I’m really learning a lot and having a lot of fun. Attendee 5: The conference is great, especially because it’s a single-track conference where you don’t get distracted by Which session should I go to? and, Am I missing something? Attendee 6:The training and everything, the speakers have been awesome, but I think the coolest aspect for me has been connecting with those people who are putting it on and the other attendees. Jerod Morris: That’s it for now. There’s a lot more to come on Digital Commerce Summit. I really hope to see you there in October. Again, to get all the details and the very best deal on tickets, head over to Rainmaker.FM/summit. That’s Rainmaker.FM/summit. Kelton Reid: Are you a paper or an e-book lover? Stephanie Danler: I don’t have an e-book thing. I can’t do it. I can’t even talk about it. Kelton Reid: Should we cut this? Stephanie Danler: It makes traveling so difficult. No. I love that people read, and my friends have their Kindles, and they love their Kindles, and it’s made them more voracious readers, and I’m so happy about that, but that’s repulsive. I can’t. You have no sense of weight or where you are in a book, and you can’t dog-ear the pages, and you can’t write in them. It’s just, no, no, no. Not for me. Kelton Reid: Well, I believe that you can make marginalia in some Kindles now, but of course it doesn’t look the same years and years down the road when somebody else opens the book. Stephanie Danler: There’s something about reading, even on a computer screen, where you have no idea of where you are in the novel. I love reading a passage and knowing that I’m one-third of the way in, and that sense of expectation that it builds. The way you engage with it knowing that you’re five pages away from the ending, you’re just lost on the screen in cyberspace. It’s terrible. Kelton Reid: It sounds like an alternate dimension. Stephanie Danler: You don’t have to cut this. I really believe in everything I’m saying. I’m very comfortable with this. Kelton Reid: We’ll leave it all in. It’s great. It’s good stuff. Do you have kind of a favorite literary character of all time? Stephanie Danler: That’s such a fun one. I love Henry James‘ women. I love Isabelle Archer from Portrait of a Lady, followed closely by Madame de Vionnet in The Ambassadors. One is like, the young, intelligent, optimistic heroine of the novel, and then Madame de Vionnet is the older, manipulative, cynical, slightly toxic character. Obviously, if you have read my book, I’ve drawn from both of those. I love his women. Kelton Reid: If you could choose an author from any era for an all expense paid dinner to your favorite restaurant in the world, who would you take, and where would you take them? Stephanie Danler: I would take this writer M.F.K. Fisher. She wrote in the mid-20th century. She’s ostensibly a cookery writer, but she’s one of the most underrated writers of the 20th century. She’s incredible. She basically writes personal essays that are centered around food, but at the end you’re crying and you don’t know why. She’s incredibly powerful and very dark and funny. M.F.K. Fisher and I … Where would I take her? She lived in France for so long. I would love to take her to Spain. I’ve been to Spain. I was a Spanish wine buyer for a moment, and I’ve traveled extensively throughout that country, and I think she would be shocked by the quality of food in places like San Sebastian and Barcelona. Yeah, I would take M.F.K. Fisher on a tapeo, a tapas crawl. Kelton Reid: Nice, nice. Love that idea. Actually, it’s making me very hungry and thirsty thinking about that. Do you have any writer s fetishes? I know a lot of writers have collections and rare artifacts of the trade, and many don’t. Do you have anything that kind of hangs around or follows you around the world? Stephanie Danler: I mean, I have my notebooks, and I’ve been writing in them forever. I have my ridiculous library, but I think that every writer has a ridiculous library. My collection of old magazines and old Paris Reviews and old Kenyon Reviews, those are kind of special and idiosyncratic. I have a small collection of The Partisan Review, which was really powerful in the 40s and 50s. It was more powerful intellectually than The New Yorker at the time. Those are so special. You have Jean-Paul Sartre writing for The Partisan Review next to Robert Lowell. Those are incredible. Kelton Reid: Going back to the notebook really quick, what kind of notebook is it? Stephanie Danler: They’re Moleskine notebooks. Black. Kelton Reid: Aha. Stephanie Danler: “Aha.” I know. So boring. I keep a small one for personal, private, nonsensical writing. Then, I keep a larger one for thoughts pertaining to work. If anyone ever tries to sell you the small notebook, you don’t want that. You want the big notebook. Some Great Advice on Why You Just Need to Finish Kelton Reid: Can you offer advice to your fellow scribes, fellow writers, on how to keep the ink flowing, how to keep the cursor moving? Stephanie Danler: I think I go back to reading. I think you need to be reading as much as you’re writing, if not more. I also often tell fellow writers that you have to finish. I remember a professor told me that at The New School, Darryl Pinckney. He said, “You need to finish your projects.” I was like, “Well, duh. Of course, I’m trying to finish.” His point is that so many of us start things. There’s so much energy in, “I have written the opening sentences of the great American novel.” But we never finishing it is an entirely different beast. I think another facet of that is not to be too precious about it because writers do not realize that your first draft is almost meaningless. It doesn’t matter how good it is, how bad it is. You’re going to revise it 1,000 times, and until you write the last sentence, you have no idea what you’re looking at. Whether it is the great American novel, or whether it has to be burned. Get to the end. Kelton Reid: Well, Sweetbitter is a great novel. Congratulations. I love this blurb by Jay McInerney, who, that’s impressive alone, said, “A stunning debut, destined to help define a generation.” It really captures that fast paced, kind of late night, sexy subculture of the restaurant world, but it’s so much more. It’s incredibly well written, and I encourage the listeners to seek it out. I’m sure they can’t miss it at this point because it’s kind of everywhere. Congrats on that. I did have a question about kind of, any of your peers from that period, if you are still in touch with them, did they have any thoughts on kind of how you captured the world? Stephanie Danler: Yeah. I am, as you probably know, having worked in restaurants, your restaurant family, you see them around forever. I’ve had so many different restaurant families, and they’ve all shown up at one event or another. Even when I was in Portland, Oregon, where I knew no one, someone showed up who I used to work with who was living there. Everyone’s been so gracious and supportive, and the notes that I receive are so kind, and I think it’s because it’s fiction. I think that probably everyone I’ve ever worked with picked up the book and was like, “Oh, I bet I’m in here.” They’re not. I think that it makes it easier for them to read, and also, so many times, they’re like, “This took me back. This is like a love letter to our lives in that moment.” That is exactly what I wanted. It really is a deeply nostalgic work, and I didn’t realize it at the time, but I was in the process of leaving New York, and Union Square Café was closing, and it really is a tribute to that moment of youth, and that moment in New York City. Kelton Reid: That s cool. Stephanie Danler: Yeah, they have been so lovely. Kelton Reid: That’s awesome to hear. Well, congratulations on all of the successes, and we look forward to more. Hope you come back and talk with us again. Where can writers and listeners connect with you out there? Stephanie Danler: I am very active on Instagram, which seems strange for a writer, because I cannot Tweet. I don’t understand anything about it. But there’s an incredible book loving community on Instagram, where people are sharing writers and recommendations, and I post a lot of poetry that I’m reading, and try to give it as much visibility as possible, and yeah. People seem to like reading it on Instagram, so that’s where I am. Kelton Reid: Neat, neat. Very cool. All right, Stephanie. Well, thanks again, and it has been a true pleasure chatting with you about writing. Stephanie Danler: Thank you so much. Kelton Reid: Thanks so much for joining me for this half of a tour through the writer’s process. If you enjoy The Writer Files podcast, please subscribe to the show and leave us a rating or a review on iTunes to help other writers find us. For more episodes, or to just leave a comment or a question, you can drop by WriterFiles.FM, and you can always chat with me on Twitter @KeltonReid. Cheers. Talk to you next week.

On this edition of the Jewish Sacred Aging podcast, Rabbi Address welcomes Aviya Kushner, the author of The Grammar of God: A Journey Into the Words and Worlds of the Bible.   About Aviya Kushner, in her own words: I grew up in a Hebrew-speaking home in New York. For as long as I can remember, I have been fascinated by language, culture, and belief. My first book, The Grammar of God: A Journey Into the Words and Worlds of the Bible (Spiegel & Grau/Random House 2015), is about the intense experience of reading the Bible in English after an entire life of reading it in Hebrew. My writing has also appeared in The Gettysburg Review, Gulf Coast, Partisan Review, Poets & Writers, A Public Space, The Wilson Quarterly, and Zoetrope: All-Story. I have worked as a travel columnist for The International Jerusalem Post and as a poetry columnist for BarnesandNoble.com. I am currently an associate professor of Creative Writing at Columbia College Chicago, and I am a contributing editor at A Public Space as well as a mentor for The National Yiddish Book Cente

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer's Workshop at the University of Iowa, she took the novelist Marilynne Robinson's class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner's interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture's most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer’s Workshop at the University of Iowa, she took the novelist Marilynne Robinson’s class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner’s interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture’s most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer’s Workshop at the University of Iowa, she took the novelist Marilynne Robinson’s class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner’s interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture’s most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer’s Workshop at the University of Iowa, she took the novelist Marilynne Robinson’s class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner’s interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture’s most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer’s Workshop at the University of Iowa, she took the novelist Marilynne Robinson’s class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner’s interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture’s most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer’s Workshop at the University of Iowa, she took the novelist Marilynne Robinson’s class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner’s interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture’s most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aviya Kushner grew up in a Hebrew-speaking family, reading the Bible in the original Hebrew and debating its meaning over the dinner table. She knew much of it by heart–and was later surprised when, while getting her MFA from the Writer’s Workshop at the University of Iowa, she took the novelist Marilynne Robinson’s class on the Bible and discovered she barely recognized the text she thought she knew so well. From differences in the Ten Commandments to a less ambiguous reading of the creation story, the English translation often felt like another book entirely from the one she had grown up with. Kushner’s interest in the differences between the ancient language and the modern one gradually became an obsession. She began what became a ten-year project of reading different versions of the Hebrew Bible in English and traveling the world in the footsteps of the great biblical translators, trying to understand what compelled them to take on a lifetime project that was often considered heretical and in some cases resulted in their deaths. In The Grammar of God: A Journey into the Words and Worlds of the Bible (Spiegel and Grau, 2015) Kushner illustrates how the differences in translation affect our understanding of our culture’s most important written work. A fascinating look at language and the beliefs we hold most dear, The Grammar of God is also a moving tale about leaving home and returning to it, both literally and through reading. Aviya Kushner has worked as a travel columnist for The International Jerusalem Post, and her poems and essays have appeared in The Gettysburg Review, Harvard Review, Partisan Review, and The Wilson Quarterly. She teaches at Columbia College Chicago and is a contributing editor at A Public Space and a mentor for the National Yiddish Book Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

For our first podcast, we present James Baldwin's 'Sonny's Blues'. Born and raised in Harlem, James Baldwin's writing and his work on behalf of African Americans is known worldwide. His debut novel 'Go Tell It on the Mountain, and his powerful collections of non-fiction, 'Notes of A Native Son, 'Nobody Knows My Name' and 'The Fire Next Time, established him as one of the most important literary voices of the 20th century. 'Sonny's Blues', which first appeared in The Partisan Review in 1957, and later on in Baldwins short fiction collection, 'Going to Meet The Man', in 1965. This story is an example of Baldwin at his finest: a story about family, community, race, and yes Music. This story's central relationship is between two brothers, one a teacher and dutiful husband, the other, a troubled, but rising jazz pianist recently paroled after being imprisoned for selling heroin. Baldwin's masterful expression of his character's inner dialogue, best exemplified by the title character's struggle to reconnect with his skills on the bandstand, gives us a clear view into the mind of an artist and an eloquent description of jazz.

Alan Kaufman joins us to discuss his wake-up to 12-step recovery. His most recent memoir, Drunken Angel, appears in paperback and hardcover from Viva Editions. Dave Eggers has written that “there is more passion here then you see in twenty other books combined.” Kaufman’s critically-acclaimed and previous memoir, Jew Boy (Fromm/Farrar,Strauss, Giroux), has appeared in three editions, hardcover and paperback, in the United States and Great Britain. He is the award-winning editor of several anthologies, the most recent of which, The Outlaw Bible of American Literature, was recently reviewed on the cover of the New York Times Book Review. He has taught in the graduate and undergraduate schools of the Academy of Art University and in writing workshops in San Francisco. His work has appeared in Salon, The Los Angeles Times, The San Francisco Chronicle, Partisan Review and The San Francisco Examiner.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Peter Filkins is a graduate of Williams College and Columbia University, where he received his M.F.A. in poetry. An Associate Professor in the Division of Languages & Literature at Simon's Rock College of Bard in Great Barrington, Massachusetts, Filkins has translated Ingeborg Bachmann's collected poems, Songs in Flight, which received an Outstanding Translation Award from the American Literary Translators Association. In addition he has translated Bachmann's novel fragments, The Book of Franza and Requiem for Fanny Goldmann, as well as a novel by Alois Hotschnig titled Leonardo's Hands. His own poems have appeared in two volumes, What She Knew and After Homer, and his poetry, translations, and reviews, have appeared in The Paris Review, Partisan Review, Poetry, The New York Times Book Review, The Los Angeles Times Book Review, The New Republic, and numerous other publications. He is currently working on a translation of H. G. Adler's novel, Eine Reise, and his new collection of poems will be released by Zephyr Press in 2006.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Peg Boyers was born in 1952 in San Tomé, Venezuela. She spent her first twelve years of school in twelve locations—including Havana, Cuba, Pakambaru, Indonesia, Venice, Italy and Tripoli, Libya— not to mention a year without any school at all and another achieved through correspondence courses while residing in Port Harcourt, Nigeria. When she landed in Saratoga Springs, NY for four consecutive years at Skidmore College she put down roots and stayed there. She teaches Creative Writing at Skidmore and is the Executive Editor of the quarterly, SALMAGUNDI. Boyers' poems have appeared in The Paris Review , The New Republic , Slate, Ploughshares , Raritan , Daedalus , Notre Dame Review , Southern Review , Southwest Review , New England Review , Ontario Review , Partisan Review , The New Criterion , Michigan Quarterly Review , Guernica , and other magazines. She is author of two books of poems, HARD BREAD (University of Chicago Press, 2002) and HONEY WITH TOBACCO (University of Chicago Press, 2007). Boyers has translated, from Spanish and Italian, such writers as Guillermo Cabrera Infante and Natalia Ginzburg. She has also conducted extensive published interviews with such writers as Ariel Dorfman and Natalia Ginzburg. She is the co-editor (with Robert Boyers) of THE SALMAGUNDI READER and THE NEW SALMAGUNDI READER, published, respectively, by the University of Indiana Press and Syracuse University Press.